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Grandmother's Fan; Grandmother's Fan
CITE THIS QUILT
QUILT INDEX RECORD
McCall Pattern No. 74 Dresden Plate and Fan Design published in 1933 is the source of this quilt's pieced block and quilting designs in the plain blocks. Traces of Gasperik's embroidered "Century of Progress/1893-1933" message are still visible on the quilt back. Consequently the family believes the quilt was made in 1933 or 1934. The appliqué bow knot border is similar to an appliqué border pattern called Jersey Tulip, a Mary McElwain pattern sold through Lockport Batting Company in the 1940s.
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.
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.
Blue or Navy; Green; Pink; Purple; White; Yellow
OVERALL COLOR SCHEME: Choose the best color scheme description for the quilt being documented.
Bright or primary colors
OVERALL CONDITION: Choose the best description for the quilt being documented.
DAMAGE TO QUILT: Use this field to describe specific damage to the quilt.
Disintegration of fabric; Tears or holes; Wear to edge or binding; Other
OTHER DAMAGE TO QUILT: If you chose Other, please describe the damage.
This quilt was heavily used by Elsie and is in very frail condition, although it photographs astonishingly well.
TYPE(S) OF INSCRIPTION: Choose all the options that are found on the quilt.
OTHER TYPE(S) OF INSCRIPTION: If you chose Other, please describe the type of inscription here.
"..G. A-CENTURY of PROGRE.. 18 ".
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/1893-1933"
METHOD OF INSCRIPTION: Choose the method used to inscribe the quilt.
LOCATION OF INSCRIPTION: Enter where the inscription was found on the quilt.
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.
LAYOUT FORMAT: Choose the best description for the layout (or set) of the quilt.
NUMBER OF QUILT BLOCKS: This field only applies to quilts with a block format. Some blocks are harder to count than others (e.g. Storms at Sea, Double Wedding Ring). If needed, describe how the blocks were counted or if there are half blocks/corner blocks
20 pieced blocks and 20 plain blocks
ARRANGEMENT OF QUILT BLOCKS: BLOCK ORIENTATION: This field only applies to quilts with a block format. Choose the best description for how the quilt blocks appear in 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.
Alternating with plain squares
BLOCK STYLE: Some patterns use the same shape template throughout the quilt (i.e. Charm quilts, Grandmother Flower Garden, Brick wall, Lone Star). If this applies to your quilt, choose the best description.
Same block throughout
NUMBER OF BORDERS: Borders are the strips of fabric that are added after the blocks (and sashings) are put together. They appear on the outside edges of the quilt. Quilts often have multiple borders. Enter the number of borders on the quilt.
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.
Applique deep swag and bow knot border in purple, pink and green.
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: PIECING TECHNIQUES: Choose the piecing method used to make the quilt.
CONSTRUCTION TECHNIQUES USED IN QUILT TOP: APPLIQUE TECHNIQUES: Choose the applique method used to construct the quilt.
FABRIC FIBER TYPES USED IN QUILT BACK: Choose the fiber type used to make the quilt back.
MATERIALS USED IN QUILT BINDING: Choose the fiber type used to make the quilt binding.
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.
QUILTING DESIGNS USED: MOTIFS/OVERALL PATTERNS: Choose the overall quilt design found on the quilt top.
Echo; Single parallel lines
QUILTING DESIGNS USED: DECORATIVE PATTERNS: Choose the decorative quilt design found on the quilt top.
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.
A similar border design by Mary McElwain used in Jersey Tulip appeared on Lockport (NY) batting inserts with credit to her as the designer.
Gasperik pared down the number of McCall blocks from 9 x 12 to 5 x 8, allowing her to perfectly accommodate the swag applique border pattern which she got from a different source. In making the Giant Dahlia top (#015) and the not-quite-complete Floral Bouquet(#004) Gasperik couldn't solve the problem of successfully attaching a border from one source with a quilt center from another source. She must have been very pleased to successfully complete Grandmother's Fan!
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.
DETAILS ON HOW THE QUILT WAS ACQUIRED:
This quilt was given to Karen Finn by her mother, Elsie Krueger.
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.
Grandmother's Fan is one of two quilts which Gasperik gave to her daughter Elsie early enough that the girls remember it being on their parents' bed. The other Gasperik quilt which Elsie liked to use on her bed was Double Feather Star (#045), a quilt whose pattern Elsie helped to make.
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.
Commercial/Published source: Pattern
COMMERCIAL SOURCE NAME(S): If you know the commercial name of the pattern used for this quilt, please enter it. This may include books, magazines, newsletters, pattern companies, computer software programs, and kits.
McCall's No. 74 Dresden Plate and Fan Design published in 1933
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 pieced Fan block and the quilting motifs probably came from the 1933 McCall pattern.
OTHER RELATED ITEMS: List other materials that exist about this quilt like oral histories, wills, diaries, or patterns.
Pattern envelope McCall Pattern No. 74 Dresden Plate and Fan Design.
Lockport Batting Co. tissue paper inserts with Jersey Tulip pattern.
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:
Karen Krueger Finn
QUILT OWNER'S COUNTRY:
AUTHOR/INTERVIEWEE'S RELATION TO THE QUILT:
Author/researcher; Blood relative of quiltmaker
OTHER RELATIONSHIP TO SOURCE: If you chose Other, for the relationship to the source, describe the relationship here.
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:
A learning experience, this quilt was made early and demonstrates's Gasperik's success in adjusting pattern units from commercial sources to fit a border from one source to an interior from an unrelated source. Creative combining came to be a hallmark of Gasperik's quilts. 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.
LOCATION OF GROUP:
Southside Chicago and Detroit MI
SPECIALIZED ACTIVITIES/EVENTS OF QUILTING GROUP: Enter activities the group participated in.
Chicago group met to quilt and held periodic quilt shows; Detroit group held national exhibits and contests.
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?
ACCESS AND COPYRIGHT IS:
HOLDER OF COPYRIGHT:
Cite this Quilt
Gasperik, Mar. Grandmother's Fan. 1933. From Mary Gasperik Legacy Project, Mary Gasperik Private Collection. Published in The Quilt Index, https://quiltindex.org/view/?type=fullrec&kid=18-14-23. Accessed: 12/09/21
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