Quilter's Muse Virtual Museum               

Online since 2002. Patricia and James Cummings, Quilter's Muse Publications, Concord, NH.

Political Quilt Blocks

Presidents, Parties, and Politics
Celebrated With Needle and Thread

by Patricia Cummings
photos by James Cummings

 

Every four years, a new president is elected to lead the United States of America. The “commander-in-chief” is chosen from a field of candidates. Voters cast preliminary votes for their favorite contender, and political parties choose one candidate each, as their president-elect, to run in the general election. The final “say” lies with the Electoral College. Since women were not allowed to vote in political elections in the United States until November 2, 1920, they took up needle and thread instead, to voice their opinions. This article is a brief introduction to some politically-motivated quilt blocks.

First:  Quilt Blocks to Honor Candidates Who Lost

Henry Clay

Henry Clay (1777-1852), was a perpetual presidential candidate. A long time statesman, Clay had served in the Kentucky state legislature, and then in the United States Congress before running for president as a National Republican in 1824. When the Whig Party was organized in 1832, Clay ran again as a Whig to oppose Jacksonian policies. Clay never succeeded in his presidential bids but is remembered for his keen abilities as a mediator, a trait that earned him two titles, “The Great Compromiser,” and “The Great Pacificator.”

 

"Clay's Compromise" block, made by Patricia Cummings

"Clay’s Compromise," a quilt block designed by Nancy Cabot, 1930s Chicago Tribune columnist, celebrates Henry Clay’s abilities to negotiate. An example of this block is shown here, in patriotic colors of red, white, and blue.

 

"Clay's Favorite," example 1 in 1930s colors

 

Cabot also designed a block called “Clay’s Favorite.” The example shown here utilizes 1930s reproduction fabric. The color choice of brown in one version of this block is significant. That color symbolized the rivalry between Henry Clay and John Caldwell Calhoun, seventh U.S. Vice President. The block acquired the published names of “Clay’s Choice,” and then, “Harry’s Star.” Later, the same geometric block became tagged as “Henry of the West.” Finally, all references to Clay’s name were dropped when the blockwas published as “Star of the West."

"Clay's Favorite," example 2, in 19th century colors

Like many women of her day, Henry Clay’s wife, Lucretia Hart Clay, was an avid needleworker who created a number of quilts, including one which has a center oval with her husband’s portrait embroidered on it.

"Alf" Landon: Another Would-Be Presidential Hopeful

“The Landon Sunflower” is a quilt block that looks much like a Dresden Plate configuration except that it has a proportionately larger center circle. Dedicated to Alfred M. Landon, (1887-1987), Kansas governor from 1933-37, the block was published in the Kansas City Star newspaper. A Republican, Landon lost to incumbent President Franklin D. Roosevelt in 1936. The block remains a token of acknowledgement for Landon’s campaign efforts, and a tribute to Kansas, "The Sunflower State."

"Landon's Sunflower," as basted into a quilt in progress.

Stephen Douglas: “The Little Giant”

“The Little Giant,” a quilt block with many pieces, refers to Stephen Douglas, (1813-1861), a noted orator and debater, who was Lincoln’s political opponent in the 1860 presidential election. The block's name recalls Douglas’ nickname, a reference to his diminutive stature. The same block has also been published as,
“Heart’s Desire.”

"The Little Giant" honors Stephen Douglas.
Pieced and appliqué by Patricia Cummings

Party Politics in Cloth

“Whig Rose,” (“Democratic Rose”), and “Whig’s Defeat,” are two very large appliqué blocks connected to the campaign of 1844 when Henry Clay, the Whig party’s Presidential candidate, was defeated by Democrat James K. Polk (1845-49). In 1845, the beautiful and intricate “Whig Rose” block design was hijacked by some quilters who called it “Democratic Rose,” according to their own political leanings. This is surely a good example of women voting with their needles!

"Complex Whig Rose," as appliquéd by Patricia Cummings

Several variations of the “Whig Rose” design are showcased in the book, Red and Green:  An Appliqué Tradition, by Jeana Kimball, (That Patchwork Place, 1990). With permission of That Patchwork Place, the block, “Complex Whig Rose,” that was assembled using the pattern provided in Jeana’s book, is shown in this article. Quilt block researcher, Yvonne Khin, has provided sketches of a number of variations of the “Whig Rose” design in The Collector’s Dictionary of Quilt Names and Patterns (Acropolis Books, 1988).

In her book, Encyclopedia of Appliqué (McLean Virginia:  EPM, 1993), Barbara Brackman shows eleven hand drawn sketches for appliqué patterns that all were known as "Whig Rose." Those were documented by noted quilt historians of their day, among them Florence Peto, Carrie Hall and Rose Kretsinger, and others. Only one of the eleven blocks is dated:  1859.

The block seems to date to an earlier time according to an online post in 2004 in which quilt historian Charlotte Bull mentions that A Quilter's Companion by Dolores Hinson (1978) states that a quilt pattern for another "Whig Rose" pattern was found in an attic in Pennsylvania. A diary that accompanied the extant quilt says that it was completed in 1814. Now, the quilt resides in an unnamed museum. Before inclusion in Hinson's book, that block had never been published.

"Whig's Defeat," as pieced and appliquéd by Patricia Cummings

“Whig’s Defeat” is a block which celebrates President Polk’s victory. Often assembled in red, white, blue, and indigo, the block is both pieced and appliquéd and is best attempted by an advanced quilter. Mid-twentieth century quilt historian, Florence Peto, believed that the indigo plumes on this block were made to represent the tail feathers of a rooster, the Democratic party symbol at that time. The sample block for this article was created with use of a pattern from Woman’s Day Book of American Needlework by Rose Wilder Lane, (Simon and Schuster, 1963). A variation of this quilt pattern can be found in the book, America’s Heritage Quilts, (Better Homes and Gardens, 1991).

Democratic Donkey and Republican Elephant

At the end of the nineteenth century, the “Democratic Donkey” replaced the rooster as the symbol of the Democratic Party. An example of an embroidered rooster, rendered in white outline stitch on a black background, appears on a crazy quilt made in 1884. The patch is located directly above another patch on which appears a photo transfer of both Grover Cleveland, and his running mate, Thomas Andrew Hendricks. Close-up photos of these patches accompany an essay by Julie Powell, titled “Quilted Ballots: Political and Campaign Textiles,” in the book, On the Cutting Edge, edited by Jeannette Lasansky, (PA: Oral Traditions Project, 1994).

"Ararat," a quilt block, hand pieced by Patricia Cummings

Icon or Coincidence?

On July 18, 1931, years after the Democrats’ adoption of the donkey mascot, the Kansas City Star newspaper provided its readers with a donkey quilt block, called “Giddap.” This occurred within a month and a half of the paper having published an elephant block called “Ararat.” At first, it was believed that the goal had been to give equal time to both party icons. In truth, the Star’s quilt block designer, Eveline Foland, was simply acknowledging the procurement of a much awaited elephant named “Ararat,” at the local zoo.

An example of a “Democratic Donkey” quilt is the antique baby quilt which features four donkeys, rendered in the pastel colors of yellow and blue. The quiltmaker’s decision to vary the directional position of the donkeys adds much visual interest to the work. The antique quilt, owned by Patricia Cummings can be seen within the pages of the book, Straight Talk About Quilt Care, elsewhere on this website.

"54-40 or Fight” Boundary Disputes
Warrants New Quilt Block

The “54-40 or Fight” slogan, popular among American citizens who wanted the boundary between Canada and the northwest territory to be set at 54° 40’ N, inspired a star quilt block with nine patch units which carries the same name. The division line previously set by the Treaty of Paris in 1783 failed, due to the use of a faulty map which incorrectly sited the Mississippi River. After much negotiation, the dispute was finally resolved in 1846, when the Oregon Treaty established the boundary line at the 49^th parallel.

"54-40 or Fight" quilt block, pieced by Patricia Cummings

Lincoln Duly Honored

In his presidential bid, Abraham Lincoln, a man was both loved and reviled during his lifetime, decided to emphasize his humble beginnings in a log cabin, a tactic which mirrored William Henry Harrison’s previously successful campaign. The pieced “Log Cabin” quilt block became popular in the 1860s, as did the block called, “Lincoln’s Platform.”

The four pieced quilt blocks are called "Lincoln's Platform," and were originally designed circa 1860. The overall quilt was designed, embroidered and hand-quilted by Patricia Cummings.

The June 1949 issue of Woman’s Day magazine offers a photo of a “Lincoln Drape” quilt, made circa 1870 by Mrs. Eden Randall of Cadiz, Ohio. The appliqué quilt is comprised of repeat blocks, red in color, and in a four point configuration, with reverse appliqué in the center. The background fabric is white. There is a narrow red border all around, and then a wide outer border with an appliquéd swag design in the same red.

Shelburne Museum’s 2003 special quilt exhibition, “The Art of the Needle,” featured an appliquéd quilt that includes a finely wrought figure of Abraham Lincoln. Reportedly, the quilt was made by Vermont’s famous painter, “Grandma Moses,” whose work is on display at the Bennington Museum.

Presidents’ Attire Generates Block

The "Lincoln’s Hat" block does not have the least bit of resemblance to the tall, black, stovepipe hat for which President Lincoln is famous. Rather, it is a complex, pieced and appliquéd block with 42 pieces and 12 appliquéd triangles. First published in Mary Elizabeth Johnson’s book, Prize Country Quilts, (Oxmoor House, 1977), the prize-winning block was designed by Gertrude Mitchell, Russell Springs, Kentucky, in patriotic colors to honor Lincoln, and the principles upon which this country was founded.

Quilted Items to Honor President Jimmy Carter

In the 1970s, the motif of peanuts took center stage in several quilts made during the presidential campaign of Jimmy Carter. Jill Jayne-Read of Georgia created a peanut quilt called “Jimmy Who?” This was made circa 1976, while she was campaigning in New Hampshire as part of the “Peanut Brigade.” The quilt’s center medallion panel has an upright yellow peanut, that is pictured as a man with a cane and top hat. The border is composed of embroidered Carter patches.

The “Use it All” block, designed by Grace Simpson, refers to President Jimmy Carter’s attempts to stave off inflation. She used a peanut shape for some of the quilting. Quilters seem to need little reason to pick up a needle so that their whimsical designs will come to fruition.

The White House

Three quilt block designs: “White House Rose,” from Needlecraft magazine, February 1934; “Road to the White House” from Farm Journal, January 1938; and “White House Steps,” published by both the Ladies Art Company (No. 221), and the Old Chelsea Needlecraft Service in the 1930s, all demonstrate the symbolic importance of the White House to the American people. Carrie Hall and Rose Kretsinger added the block, “White House Steps,” to their book, Romance of the Patchwork Quilt, in 1929. In addition, Famous Features magazine published “Lady in the White House,” a geometric block.

"White House Steps," a quilt block pieced by Patricia Cummings

Printed Cloth Features Important Historic Figures

A much celebrated wholecloth toile quilt draws upon a classical theme, and is called, “The Apotheosis of Washington and Franklin.” This quilt made between 1789-1825, measures 90 1/8" x 100." Privately owned, that particular quilt was included in a landmark exhibit, in the year 2000, at the Brandywine River Museum in Chadds Ford, Pennsylvania. The out-of-print, exhibition catalog from the display titled, The Fabric of Persuasion, Two Hundred Years of Political Quilts by G. Julie Powell, showcases a wide assortment of special political textiles.

Summary

"Tree and Truth" pieced quilt block honors of George Washington

As we have seen, there have been many quilts and quilt blocks created in the nineteenth and twentieth centuries that serve to remind us of the vital role that politics play in our free, democratic society. Often, the meaning of a block is symbolic, such as the party icons, or even completely abstract. All of the political and commemorative blocks, we have considered, are tangible manifestations of the sentiments of women, offered in thread and cloth. Creative outlets were a way to express thoughts and to support causes.

A block that honors President James Garfield, re-created from a pattern in Blockbase.

There is still much more that can be said about political textiles. We hope that you have enjoyed this brief glimpse of a few of them. Handiwork reminds us that the love of quilting and needlework extends across boundaries of wealth, social class, and political stature, and that this simply act of sewing, that we call “quilting,” truly unites us all and continues to provide a way for anyone to feel connected to the political process.

 

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Parts of this article were previously published in the November 2005 issue of The Quilter magazine.

Please note:  If anyone wishes to re-create any of the pieced blocks here, a good starting point is the computer program, Blockbase. A link to amazon for the purchase of this product is offered here, for your convenience. Scroll up and you will find it on the right hand side bar. Thank you.
 

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©Copyright 2005-2007. Patricia Cummings, Quilter's Muse Publications, Concord, NH.  pat@quiltersmuse.com

 

 

pat@quiltersmuse.com