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Double Trellis; Double Trellis M. G.
CITE THIS QUILT
QUILT INDEX RECORD
This quilt, dated 1933 and bearing Gasperik's appliquéd initials, as well as the embroidered words "Century of Progress" on the back, may be the first quilt Mary completed. Its thick batting and lines quilted right across applique leaves perhaps betray a novice quilter's inexperience. It is clear that this quilt employed a commercial pattern or kit. Two very similar quilts are offered for sale by Cindy Rennels Antiques in January 2013. Rennels' website states both of these came from Indiana, but that the seller does not know the source of the pattern.
On all three quilts (The Gasperik version and the two Indiana versions) the green and red triangles comprising the vertical borders are appliqued, not pieced. The two Indiana versions do not have the solid red and solid green border strips Gasperik added to the top and bottom of her quilt. The Rennels' quilt I purchased is a summer spread. Gasperik's version has thick batting and is more than twice as densely quilted. If it can be assumed that the summer spread made by the unknown person displays the quiltING design proposed by the pattern (or kit) commercial source, then it can be said that Gasperik HAD to make changes, because the quilted lines on the summer spread do not connect and look incomplete along the two vertical borders. It appears that although Gasperik used a commercial pattern, she could not rely on it for complete quiltING instructions. It is interesting that even in what is likely to be Gasperik's first completed (cotton) applique quilt, she practiced two things which became a hallmark of almost all Gasperik quilts: she altered or added to a pattern or kit she was given or purchased, AND she placed special emphasis on creating and executing a complete and detailed quiltING design.
With the help of a local group, the Tuley Park quilt club, Mary very quickly learned expert technique. But it is not clear to Salser if her grandmother made this quilt before or after she joined the Tuley Park group. The Chicago Park District had a booth at the Century of Progress Fair, in its own quilt display area. The Chicago Tribune on May 20, 1934 published in a column called "Notes of a Century of Progress", on page 12, the following notice: "The Chicago Park District will hold a quilt contest, which will be conducted in connection with its exhibit at A Century of Progress. Members or former members of any park quilting club may enter this contest tomorrow or Tuesday, May 21 and 22. The quilts will be on display at the exhibit in the Hall of States. Prizes will be given at the end of the Fair." At the time she began to make quilts, Gasperik may have believed that "Century of Progress 1933" should be appliqued to all quilts, and not just those made IN 1933 for that occasion. Late in life, Mary asked her daughter Elsie to NOT keep this quilt, probably because she did not wish it to be associated with her work. Instead, Elsie brought it to her daughter Susan. Although red, green and white are the national colors of several European countries, it is interesting that Mary selected colors of the Hungarian flag to make this, perhaps her first, quilt.
Where are the records for this quilt housed?
Mary Gasperik Legacy Project
Who documented this quilt?
Mary Gasperik Private Collection
CONTRIBUTING INSTITUTIONAL INVENTORY CONTROL NUMBERS: Enter the main control number for this item you are entering.
TYPE OF QUILT OBJECT: Choose the best description for the quilt being documented.
QUILT'S TITLE, IF IT HAS ONE: Many quilts have no title, but contemporary quilters often give a name to their quilts.
OWNER'S NAME FOR QUILT'S PATTERN: Enter the name given to the quilt by the owner. This can be the name the family used to refer to the quilt as it passed through different generations, e.g. "Aunt Susie's quilt" or a pattern name that the owner used.
Double Trellis M. G.
OVERALL WIDTH: Enter how wide the quilt is.
OVERALL LENGTH: Enter how long the quilt is.
SHAPE OF EDGE: Choose the best description for the edges of the quilt.
SHAPE OF CORNERS: Choose the best description for the corners of the quilt.
PREDOMINANT COLOR(S): Enter all colors that are found in the quilt.
Green; Red; White; Yellow
OVERALL CONDITION: Choose the best description for the quilt being documented.
DAMAGE TO QUILT: Use this field to describe specific damage to the quilt.
OTHER DAMAGE TO QUILT: If you chose Other, please describe the damage.
single brownish stain of unknown origin in central area of quilt
TYPE(S) OF INSCRIPTION: Choose all the options that are found on the quilt.
CONTENT OF INSCRIPTION(S): Enter the exact inscription here, including dates in the same form in which they appear on the quilt. Do not correct any spellings. If you are unsure of a letter or name, place a (?) to indicate uncertainty.
Century of Progress 1933
DATE OF INSCRIPTION: Enter the date found on the quilt.
LOCATION OF INSCRIPTION: Enter where the inscription was found on the quilt.
OTHER LOCATION OF INSCRIPTION: If you chose Other, please describe where the inscription was found.
M.G. on the front. Century of Progress on the back.
TIME PERIOD: Choose the time frame that best describes when the quilt was made. The date does not have to appear on the quilt to enter it in this field. This can be your best guess based on family stories or your own knowledge of quilts.
DATE FINISHED: Enter the date the quilt was finished.
FAMILY/OWNER'S DATE FOR QUILT: If there are family stories that indicate a date when the quilt was made, enter that date.
OTHER EXTERNAL OR PROFESSIONAL DATE ESTIMATION: If the date was estimated by an antique dealer, quilt historian or appraiser, enter that date.
OTHER DATE ESTIMATION BY WHOM: Enter the name and/or title of the person who estimated the quilt's date for field 23d.
FURTHER INFORMATION CONCERNING DATE(S): If you know anything else about the date the quilt was made, please tell the story.
Estimated date is based on embroidered date, but it might also refer to the 1933 Century of Progress quilts that she saw at the 1933 Chicago World's Fair. Other quilts she made have the same dates. Nevertheless, this is one of her first quilts.
LAYOUT FORMAT: Choose the best description for the layout (or set) of the quilt.
SPACING RELATIVE TO OTHER BLOCKS: This field only applies to quilts with a block format. Choose the best description for how the quilt blocks are set together.
Strippy or vertical bands (in vertical rows separated by plain vertical bars)
BORDER DESCRIPTION: Describe the style of the borders (i.e. pieced, appliqued, stenciled) and the width of each border, from the inside to the outside.
Plain borders at top and bottom. Applique borders at right and left sides.
FABRIC FIBER TYPES USED IN QUILT TOP: Choose all the types of fiber that are used to make the quilt top.
FABRIC PATTERNS, STYLES, MOTIFS, OR PRINT CATEGORIES USED IN QUILT TOP: Choose all the types of prints that are used to make the quilt top.
CONSTRUCTION TECHNIQUES USED IN QUILT TOP: APPLIQUE TECHNIQUES: Choose the applique method used to construct the quilt.
UNIQUE OR OTHER CONSTRUCTION TECHNIQUES: Enter any unusual technique that hasn't been described in a previous field.
Oddly, piecing was not used as a construction technique to make this quilt. Even though the red and green triangles, arranged on strips LOOK like piecing, they are in fact appliqued.
FABRIC FIBER TYPES USED IN QUILT BACK: Choose the fiber type used to make the quilt back.
COLOR OF BACKING: Enter all colors that are found in the quilt backing.
NUMBER OF PIECES: Enter the number of pieces of fabric used in the quilt back.
WIDTH OF PIECES: Enter, in inches, the width of the pieces of fabric on the back of the quilt.
7", 32.5", 32.5"
DESCRIPTION OF BACK: Choose the best description for the back of the quilt.
MATERIALS USED IN QUILT BINDING: Choose the fiber type used to make the quilt binding.
FABRIC STRUCTURE USED IN BINDING: Choose the fabric structure used to make the quilt binding.
CONSTRUCTION TECHNIQUES USED IN BINDING: Choose the construction technique used to make the quilt binding.
WIDTH OF QUILT BINDING: Choose the width (in inches) of the binding of the quilt. Measure from the front side only.
less than a half inch
MATERIAL USED FOR QUILT BATTING OR FILLING: Choose the fiber content that best describes the material used to fill the quilt.
QUILTING TECHNIQUES USED: Choose the technique that best describes the way the quilt layers are held together.
THREAD COLOR: Enter the color(s) of thread used to hold the quilt layers together.
NUMBER OF QUILTING STITCHES PER INCH (PLACE 1): Count only the stitches that are visible on the top and measure in one place on the quilt. Enter the measurement.
NUMBER OF QUILTING STITCHES PER INCH (PLACE 2): Count only the stitches that are visible on the top and measure in a different place on the quilt. Enter the measurement.
WIDTH BETWEEN QUILTING LINES (IN INCHES): Try to determine the average distance between quilt motifs to determine how densely the quilt is quilted. Enter your estimate.
QUILTING DESIGNS USED: MOTIFS/OVERALL PATTERNS: Choose the overall quilt design found on the quilt top.
Echo; Grid diamond
QUILTING DESIGNS USED: BACKGROUND FILL PATTERNS: Choose the background quilt design found on the quilt top.
ANY OTHER FEATURES OR NOTES ABOUT THE QUILT'S APPEARANCE, MATERIALS, OR CONSTRUCTION: Describe anything about the physical appearance of the quilt that wasn't already recorded in a previous field.
In terms of construction, this quilt is Gasperik's crudest quilt. In fact, when Salser's mother brought her the quilt, as a gift, she told Susan that her mother had asked that she throw out the quilt and NOT keep it. Elsie couldn't bring herself to throw it out. Neither could Susan.
QUILT TOP MADE BY: Enter the name of the person(s) who made the quilt top.
QUILTED BY: Enter the name of the person(s) who quilted the top.
CITY: Enter the name of the city where the quilt was made.
COUNTY: Enter the name of the county where the quilt was made.
STATE: Enter the name of the state where the quilt was made.
COUNTRY: Enter the name of the country where the quilt was made.
HOW WAS QUILT ACQUIRED BY OWNER: Choose the best description for how the owner acquired the quilt.
ANY ADDITIONAL STORIES OR NOTES ABOUT THE QUILT'S OWNERSHIP OR HISTORY: Describe anything about the history of the quilt that wasn't already recorded in a previous field.
When Elsie Krueger gave this quilt to Susan she explained that her mother had in fact not wanted it kept. At that point, during Gasperik's final illness, Elsie was distributing some of her mother's best quilts, so it is not surprising that Gasperik did not wish this one to be considered a gift. It was a surprise to Susan to even see it, because she doesn't recall it being included in the occasional "quilt turning" events at her grandmother's house.
QUILTMAKER'S REASONS FOR MAKING THE QUILT: If the quilt was made for a specific purpose, choose the reason from the list.
QUILT WAS ORIGINALLY DESIGNED TO BE USED AS: Choose how the quilt was originally used.
Bedding, special occasion
QUILT IS PRESENTLY USED AS: Choose how the quilt is being used by the present owner.
OTHER PRESENT USE(S) OF QUILT: If you chose Other, please explain the quilt's present use.
Mary's grandchildren regard her quilts as a unique collection to be preserved and appreciated.
SOURCE OF QUILT'S MATERIALS: Choose how the quilt maker acquired the fabric for this quilt.
QUILT TOP PATTERN SOURCE: Choose where the quilt maker found the pattern for this quilt.
ANY ADDITIONAL NOTES OR STORIES ABOUT THE QUILT'S DESIGN OR MATERIALS SOURCE: Describe anything about the design of the quilt that wasn't already recorded in a previous field.
The source or sources are a mystery to Salser. Although the monogram "M" and "G" at first appeared to resemble one of the letter styles included in "The Wonder Package" (a box of patterns which is a source Gasperik used on some other quilts) in fact the patterns don't quite match.
EXHIBITIONS: List all known exhibits where this quilt has been displayed.
The Quilts of Mary Gasperik, Ravenswood Historic Site, Livermore, CA, March 14-15, 1992.
AVAILABLE SOURCES FOR QUILTMAKER: List other source materials about this quiltmaker such as photos, oral histories, book or newspaper publications, fame for some other reason or event.
Merikay Waldvogel and Barbara Brackman. Patchwork Souvenirs of the 1933 Chicago World's Fair, (Nashville, TN: Rutledge Hill Press, 1993)102-103.
Merikay Waldvogel "One American Dream Comes True", Quilters Newsletter Magazine, March 2008, 46-49.
OWNERSHIP OF THIS QUILT IS:
NAME OF QUILT OWNER:
Susan Krueger Salser
QUILT OWNER'S COUNTRY:
AUTHOR/INTERVIEWEE'S RELATION TO THE QUILT:
Author/researcher; Blood relative of quiltmaker; Quilt owner
OTHER RELATIONSHIP TO SOURCE: If you chose Other, for the relationship to the source, describe the relationship here.
RELATIONSHIP OF SOURCE PERSON TO QUILT: Choose the best description of the relationship of the source to the quilt.
IF SOURCE PERSON IS QUILT OWNER: If the source is the owner, choose how they came to own the quilt.
Received as a gift
OTHER INFORMATION ON SOURCE PERSON TO QUILT:
Grand-daughter Susan Salser began this research effort in 1991, after she and her two sisters divided up the quilts which belonged to their mother (Elsie Gasperik Krueger) who died in 1988. Her ongoing research has been fruitful and interesting.
QUILTMAKER'S MAIDEN NAME:
QUILTMAKER'S BIRTH DATE:
DEATH DATE OF THE QUILTMAKER, IF APPLICABLE:
QUILTMAKER'S ETHNIC BACKGROUND:
QUILTMAKER'S EDUCATIONAL BACKGROUND:
QUILTMAKER'S COUNTRY OF BIRTH:
IN WHICH KIND OF ENVIRONMENT DID THE QUILTMAKER GROW UP?
CITY WHERE THE QUILTMAKER LIVES/LIVED:
COUNTY WHERE THE QUILTMAKER LIVES/LIVED:
STATE WHERE THE QUILTMAKER LIVES/LIVED:
COUNTRY WHERE THE QUILTMAKER LIVES/LIVED:
QUILTMAKER'S FATHER'S NAME:
FATHER'S ETHNIC BACKGROUND:
QUILTMAKER'S MOTHER'S NAME:
MOTHER'S ETHNIC BACKGROUND:
SPOUSE'S ETHNIC BACKGROUND:
Milk Dealer/Grocery Store Owner/Butcher
NUMBER OF CHILDREN:
NUMBER OF FEMALE CHILDREN:
1 (Elsie 1909-1988)
NUMBER OF MALE CHILDREN:
2 (Elmer and Stephen)
HOW DID THE QUILTMAKER LEARN TO QUILT?
From guild or club member; Self-Taught
WHEN DID THE QUILTMAKER LEARN TO QUILT?
WHY DOES/DID THE QUILTMAKER QUILT:
OTHER, WHY THE QUILTMAKER QUILTS:
At the time she made this particular quilt Gasperik was, apparently, teaching herself how to make quilts. The fact that later in life she asked her daughter to NOT keep this quilt suggests that she knew this was a beginner's effort and she did not want it to be regarded as representative of her work. Subsequently, Mary Gasperik made quilts because it was her life passion and greatest talent. As opportunities arose, she entered contests and exhibited them publicly. She also made special quilts for her family.
NAME OF QUILTING GROUP: If the quilt maker belonged to a group, enter the name of the group.
Tuley Park Quilt Club
LOCATION OF GROUP:
SPECIALIZED ACTIVITIES/EVENTS OF QUILTING GROUP: Enter activities the group participated in.
Group showings of quilts and quilting demonstrations.
ESTIMATED NUMBER OF QUILTS MADE BY THIS QUILTER:
more than 50
DID THE QUILTMAKER SELL QUILTS?
DOES/DID QUILTMAKER TEACH QUILTING: Is the quilt maker also a quilt teacher?
ANY OTHER NOTES OR STORIES ABOUT THE QUILTMAKER: Enter any information about the quilt maker not already entered in a previous field.
See introductory essay.
ACCESS AND COPYRIGHT IS:
HOLDER OF COPYRIGHT:
Cite this Quilt
Gasperik, Mar. Double Trellis. 1933. From Mary Gasperik Legacy Project, Mary Gasperik Private Collection. Published in The Quilt Index, https://quiltindex.org/view/?type=fullrec&kid=18-14-19. Accessed: 08/19/22
Mary Gasperik and the Tuley Park Quilt...
Mary Gasperik and the Tuley Park Quilting Club
May; 12; 2005
The Quilts of Mary Gasperik
The Quilts of Mary Gasperik
In 1992, three of Mary Gasperik's granchildren, worked with other family members to present the quilts of their grandmother.
The Quilts of Mary Gasperik
The Quilts of Mary Gasperik
March; 14; 1992
An exhibit catalog for a display of quilts made by Mary Gasperik at Ravenswood Historic Site, Livermore, California. March 14-15, 1992.
Chicago; Illinois; United States
Mary Gasperik made more than 80 quilts while living in Chicago at the height of the quilt revival of the 1930s and 40s.18-47-2