Wednesday, January 17, 2018

Emma Andres Quilts and Her Happiness Museum -- Part 1 of 3

This article is based on in-person interviews in April 1980 and June 1981 and numerous phone calls over the two year period as well as Miss Andres' scrapbooks.

Emma Andres owns the Happiness Museum in Prescott, Ariz. She was a "fine" quiltmaker whose quilts show imagination and originality as well as fine technique. To JOURNAL readers she is better known as the generous friend who loaned us scrapbooks she kept, filled with mementos and correspondence from her friends Florence Peto, Bertha Stenge, Carrie Hall, and "Dad" Pratt.

Written by Joyce Gross

Emma Mary Martha Andres was born August 18, 1902 in Prescott, AZ which was ten years before Arizona became a state. One can spell "Emma" using the initials of her names.

Emma’s mother, Anna, was born in Central City, Colorado.
Her father, Matt(hew) was born in Alsace-Lorraine but came to Colorado as a young boy. Her parents were married in Central City and settled down to raise their family. Emma was the middle child with a sister who is now Sister Anna Marcella in the St.
Joseph order in Los Angeles and three brothers who are all dead. Emma's sister was more studious as a child than Emma and Emma enjoyed the choir at Sacred Heart Church.

Matt Andres had a small cigar store in the small town of Central City for many years before they moved to Prescott in 1902 (the year Emma was born). 

Mr. Andres saved 2,000 metal tobacco tags as premiums for a fancy baby carriage for his new baby and Emma still has several of the metal tags in her museum as well as the premium book with a picture of the carriage.

Emma attended catholic school for the first grades and then decided she wanted to attend public school. She is now sorry her parents allowed her to change because she thinks she missed some of the religious education that would have been of benefit to her. 

Mr. Andres wanted to get out of the tobacco business so he took the family to Clearadon on the Texas panhandle and spent two years there before moving back to Prescott.

 Emma went back to public school and the family moved into a small house which is still standing.

Her father built a small building in the back of the lot where he made cigars. During this period she learned to strip the tobacco leaves from the stems and became adept at banding the cigars. Emma says she didn't realize how difficult it was to make.

In 1919 Matt Andres decided business was sufficiently good so that he could open a cigar store. He rented a small store on North Cortez in downtown Prescott where there was more traffic. "Now," Emma says with her dry humor, "You could shoot off a gun up the street after 3 p.m. and not hit a soul!"

Emma recalls there were often one or two other cigar makers in town but they didn't last long. In the back of the small store there is a large room which is now used for storage but was then the production center.
According to Emma, in Mr. Andres' heyday production ran about 7,000 or 8,000 cigars a month. He delivered the cigars every month by horseback or horse and buggy to most of the mines in the area.  He even went to Jerome, now a ghost town, but then a thriving mining town perched on the side of a mountain 5100 feet above sea level and 35 miles distant. He stocked cigars and candy in the big display cases which house the thousands of items in Emma's Happiness Museum.
Emma began working full time in the cigar store after graduating from Prescott High in 1921. When her father retired in 1929 because of ill health she tried to keep the business going. She sold papers and magazines and finally turned to selling religious mementoes.

After seeing a quilt at the County Fair in 1931 she began her first quilt. She chose an applique Tiger Lily kit purchased from an advertisement in Jan 1931 WOMAN'S WORLD.

"The blocks and unbleached muslin for entire top of quilt" was advertised for $3.75. The magazine which was headquartered in Chicago advertised, "72 inch unbleached muslin for the back is available for 45¢ a yard." Emma remembers she later purchased a kit advertised in the May 1932 WOMAN'S WORLD entitled Wild Rose.

Page from Emma's Scrapbook

She did all of her quilting on her lap until 1933 when she purchased a small quilting hoop from Stearns & Foster. The date is verified by a letter carefully taped in a scrapbook from the company thanking her for her order. The metal hoop with an expandable rim allows the quilt to be held firmly. It has the original label on it and occupies a place of honor on top of one of her quilts in the museum. The first quilt she quilted in it was a stuffed quilt, pink on one side and blue on the other. From her first quilt she was determined to use a lot of quilting –a vow she has diligently kept.

Part 2 tomorrow

See a small exhibit of Emma's Quilts at the Arizona History Museum

     January 13, 2018 to February 28, 2018

Emma Andres Quilt Collection

949 E. 2nd Street
Tucson, AZ  85719

Friday, February 24, 2017

Nine Patch Dream

Looking at this red and white quilt block pattern which I did not find in the Encyclopedia of Pieced Quilt Patterns by Barbara Brackman.  It is a 12 inch block set on point with alternating plain blocks. It has a 3 inch plain white border.  Click here for my EQ pattern.

Tuesday, February 21, 2017

Starry Red Quilt

Trying to find this quilt block or a name.  
So far haven't had any luck.  
I think it is a very cool block.
It is a 14 inch block set straight with 
alternating plain blocks.  
Click here for my EQ7 pattern.

Tuesday, September 20, 2016

White on White Candlewick Spread

I found this spread in Ohio about a year ago.  Ripped and dirty, with very worn fringe, I knew I had to rescue. In one of the photos you can see where I hand stitched and repaired the spread.  I also show the back of the spread where you get a very good look at the embroidery.  Very thick and heavy thread used to make the knots and the tufted work. The ground fabric is cotton, very heavy and strudy.  I have no idea of the date for something like this.  The fringe around 3 sides was worn and missing in most areas.  It easily broke when pulled just a little.  I chose to remove all the fringe, but I have kept an example.

Tuesday, September 6, 2016

Dolly and her little quilt


“Grandma’s Last Quilt”

The first time I saw this design was in a book published in 2000 by Chitra Publications. Grandma’s Last Quilt. Loving applique and antique album quilts I immediately fell in love with the quilt. January 2001 I was a member of a group, Tucson Applique Stitchers, a chapter of The Applique Society.  Our annual focus was to create a quilt to donate to a worthy cause. A fellow member suggested we make this quilt. Also at the time Laurene Sinema’s line of fabric “1850’s Legacies & Beyond” was on the market.
Laurene Sinema’s line of fabric “1850’s Legacies & Beyond”
Laurene Sinema (June 22, 1929 - November 23, 2003) an inductee in the Arizona Quilters Hall of Fame had a huge influence on Arizona appliquers and quilters. Laurene was fighting her battle with cancer and the TAS decided we would use her fabric in the quilt as a tribute to her.
Twenty-five members of the TAS worked many hours to hand applique and hand quilt the Album Quilt. In November 2003 the quilt was raffled and proceeds were donated to Quilt for a Cause.
The winner of the quilt donated the quilt back to Quilt for a Cause for their 2006 auction. The quilt was entered in multiple quilt shows, including the International Quilt Show in Houston where it won a third place ribbon.
But the story for me does not end there. And no I did not win the quilt at the 2006 auction. But I can assure you it has a great new home where it is loved and adored.

While cruising a Phoenix antique store in 2006, I found the following advertisement for the Country Gentlewoman magazine dated 1941.

Country Gentlewoman
"Flower Album"

Of course I recognized it immediately as the Album Quilt the TAS had made. The advertisement says you can order a transfer pattern for $1.00. I am still trying to find out more information about this pattern. It is almost impossible to find past records from magazines from that time period. I was happy to have the original page from the magazine to add to my ephemera.

March 2008 the following quilt was on eBay, I knew I had to have it.

The eBay quilt had the exact same blocks as Grandma’s Last Quilt. I noticed the placements of the blocks were different. But when I looked at the ad from the Country Gentlewoman clearly the first three rows that run head to foot are the same block placement as my quilt. I was excited to own such a wonderful quilt.

Other sightings of this design:
In the book Minnesota Quilts (2005)  on page 118 is a quilt called Sampler Quilt. They are the exact same 25 blocks. At first glance the layout looked different. But then I noticed if I looked at the mirror image of the Minnesota Sampler Quilt it does have the same exact layout as my quilt.
Mirror Image Minnesota Sampler Quilt

I might guess the slide picture of the quilt was backwards when published. I would like to know.
In October 2008 I attended my first AQSG Seminar in Columbus, Ohio. I purchased a book from the silent auction. It is a small catalog of quilts from The Denver Art Museum (1974). A black and white picture of a quilt they call the Bride’s Quilt was pictured. I wrote right away to see if I could obtain a color picture. Found out it was published in a Japanese book American Patchwork Quilt-The Denver Art Museum (1986).  The DAM quilt was made and gifted to the museum by Charlotte Jane Whitehill. Whitehill dates her quilt 1945 and attributes the pattern given to her by Hazel Cline Lennartson. Information from DAM adds:
“The Lennartson family pattern, probably a copy of one of the Lennartson brides’ quilts with each square donated by a friend of the bride."
The DAM quilt has all 25 blocks and the layout is almost perfect match with my quilt if you do a mirror image. There are two blocks in the DAM quilt that are in a different location. Top row fourth block and third row second block are switched. Again could the slide have been put in backwards? Question for further study.
Came across another quilt with 12 of the 25 blocks.  This is in a book called American Beauties: Rose and Tulip Quilts (1988). The authors say:

“These 12 blocks and 13 others were first published by Country Gentleman in 1941 in an article about a sampler quilt from 1850. Around 1945, Charlotte Jane Whitehill used all of the patterns in her famous BRIDE’S QUILT, now in the Denver Art Museum.”

So Gwen Marston and Joe Cunningham, the authors, in 1988 had some piece of information that said Charlotte Jane Whitehill used the patterns? Or did they assume she used the patterns because of the dates?
They also refer to an article in Country Gentleman about a sampler quilt from 1850. The ad I have says Country Gentlewoman. I need to find out if there was such an article in the Country Gentleman. This quilt can now be seen on The Quilt Index.  This is where my research ends for now. 
If you have any information on this pattern I’d love to hear from you.

Monday, September 5, 2016

Patriotic Vintage Linens

Not only do I love the 20th century embroidered quilts and embroidered redwork quilts.  I love just about any linen with embroidery, if it is of the vintage area.  So when I am out doing search and rescue (shopping in antique shop) I can not pass up so many of the forgotten dresser scarves,  pillow covers, pillowcases and other odds and ends.  I have been collecting these for a long time and have many, as in 4 or 5 boxes full.  When I first started accruing these, they were pretty in expensive, usually less than $5.  But I have paid $50 or more for some of the ones mounted in frames, just because I really loved it and did not have that example.  Needless to say if I only worked with the vintage linens with any of my project I could not use them all in the rest of my life time.  But I have made a dent and have many, many ideas for more. Hope you enjoy this latest one. It is 98 inches wide and 90 inches long.  Jessica Gamez did the amazing custom longarm quilting on this.  I just love it.