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Morning Glory; Morning Glory (Doris)
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QUILT INDEX RECORD
DESCRIPTION OF ESSAY: Paragraph length description of the object.
The pair of Blue Morning Glory quilts are alike in both appliqué and quilting. This 1992 photograph of the second of the quilts shows the damage caused by a family dog 50 years earlier. In 1999, Mary's grand-daughter, Joanne Gasperik, an award-winning quilter in her own right, repaired the damaged lower section of the 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. For a museum, this will probably be your acquisition number. It may be the number given to the quilt by the state or county project.
TYPE OF QUILT OBJECT: Choose the best description for the quilt being documented.
QUILT'S TITLE, IF IT HAS ONE: Enter the name given to the quilt by the maker. Many quilts have no title, but contemporary quilters often give a name to their quilts. If the quilt has no title, leave this field blank.
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.
Morning Glory (Doris)
OVERALL WIDTH: Enter how wide the quilt is. Specify units of measure (mm or in or inches)
OVERALL LENGTH: Enter how long the quilt is. Specify unit of measure (mm or in or inches).
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): CHECK ALL THAT APPLY: Enter all colors that are found in the quilt. Use ctrl + click to choose more than one.
Blue or Navy; Green; White
OVERALL COLOR SCHEME: Choose the best color scheme description for the quilt being documented.
Light or pastel 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. Use ctrl + click to choose more than one.
Tears or holes
REPAIRS TO QUILT: If the quilt has been repaired or restored, use this field to describe the work that was done. Leave the field blank if the quilt has had no repairs.
Patched with new fabrics
COMMENTS OR NOTES ON QUILT'S CONDITION OR REPAIR HISTORY: Some quilts have had extensive or unusual repair work done. Please use this field to describe anything that didn't fit in the previous fields.
Mary Gasperik's grand-daughter Joanne Gasperik repaired the quilt in 1999.
TYPE(S) OF INSCRIPTION: Choose all the options that are found on the quilt. Use ctrl + click to choose more than one.
OTHER TYPE(S) OF INSCRIPTION: If you chose Other, please describe the type of inscription here. This is not the field for the actual inscription, just the type of inscription.
Joanne Gasperik, who repaired the torn quilt, sewed an inked label on the repaired quilt in 1999.
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.
Mary Gasperik is the maker of this quilt. Above is the remnant of her original label. It is thought to be an early quilt - before 1939. Sandy, the boxer, got lonesome and bored one day, and took her frustrations out on this quilt, one of a pair. Granddaughter Joanne Gasperik restored it June 5-22, 1999
DATE OF INSCRIPTION: Enter the date found on the quilt. If there is more than one date, enter others in field 20 (as mm-dd-yyyy or c.yyyy, e.g. c.1965)
METHOD OF INSCRIPTION: Choose the method used to inscribe the quilt. Use ctrl + click to choose more than one.
Attached label; Ink
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 (as mm-dd-yyyy or c.yyyy, e.g. c.1965). Leave blank if you don't know.
OTHER EXTERNAL OR PROFESSIONAL DATE ESTIMATION: If the date was estimated by an antique dealer, quilt historian or appraiser, enter that date (as mm-dd-yyyy or c.yyyy, e.g. c.1965).
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.
Earliest estimated date is based on a 1938 packing slip for Bucilla #2005 Morning Glory.
LAYOUT FORMAT: Choose the best description for the layout (or set) of the quilt.
Medallion or framed center
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.
Three wide borders echo the scalloped edge. Colors of border are shaded from dark blue, through medium blue to light blue. Center panel is encircled with a morning glory vine. This border design element is part of the Bucilla kit #2005 "Morning Glory."
FABRIC FIBER TYPES USED IN QUILT TOP: Choose all the types of fiber that are used to make the quilt top. Use ctrl + click to choose more than one.
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. Use ctrl + click to choose more than one.
CONSTRUCTION TECHNIQUES USED IN QUILT TOP: APPLIQUE TECHNIQUES: Choose the applique method used to construct the quilt. Use ctrl + click to choose more than one. Skip the question if no applique appears on the quilt.
CONSTRUCTION TECHNIQUES USED IN QUILT TOP: EMBELLISHMENT TECHNIQUES: Choose the embellishment technique used to make the quilt. Use ctrl + click to choose more than one. If your answer in Field 38f was no, skip this question.
FABRIC FIBER TYPES USED IN QUILT BACK: Choose the fiber type used to make the quilt back. Use ctrl + click to choose more than one.
COLOR OF BACKING: Enter all colors that are found in the quilt backing. Use ctrl + click to choose more than one.
Blue or Navy
DESCRIPTION OF BACK: Choose the best description for the back of the quilt. Use ctrl + click to choose more than one.
MATERIALS USED IN QUILT BINDING: Choose the fiber type used to make the quilt binding. Use ctrl + click to choose more than one.
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. Use ctrl + click to choose more than one.
QUILTING DESIGNS USED: DECORATIVE PATTERNS: Choose the decorative quilt design found on the quilt top. Use ctrl + click to choose more than one. Skip the question if none of the designs appear on the quilt.
PLEASE DESCRIBE OTHER QUILTING DESIGNS USED: Describe any quilting designs that appear on the quilt, but were not listed in a previous field.
The elaborate basket of fruit and flowers quilted into the very center of this quilt is found on 4 Gasperik quilts: #009, #016, #024, and #06. It is from an unknown source. The scale and elaborateness of this quilted vase is reminiscent of commercial applique flower basket block patterns widely available in the 1930s and 1940s.
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.
Details about the quilt's original construction can be found in a letter from Joanne Gasperik, who repaired the quilt in 1999. Her letter describes in detail both what she learned about Gasperik's original quilt-making techniques, and the exact nature of the repairs that she made. The contents of this letter are transcribed by Salser under the field category: "Other related items such as publications, image, oral history, or ephemera"
QUILT TOP MADE BY: Enter the name of the person(s) who made the quilt top. Names must be listed last name first, followed by first name and middle name or initials; last name should be followed by a comma and space.
QUILTED BY: Enter the name of the person(s) who quilted the top. Names must be listed last name first, followed by first name and middle name or initials; last name should be followed by a comma and space.
CITY: Enter the name of the city where the quilt was made. Skip the question if you don't know where the quilt was made.
COUNTY: Enter the name of the county where the quilt was made. Skip the question if you don't know where the quilt was made.
STATE: Enter the name of the state where the quilt was made. Skip the question if you don't know where the quilt was made.
COUNTRY: Enter the name of the country where the quilt was made. Skip the question if you don't know where the quilt was made.
HOW WAS QUILT ACQUIRED BY OWNER: Choose the best description for how the owner acquired the quilt. Use ctrl + click to choose more than one. Skip the question if you don't know how the owner acquired the quilt.
OCCASION, DATE, PERSON INHERITED FROM, ETC: If the quilt was inherited, enter any information you know about the inheritance. Skip the question if the quilt was not passed on through a family.
Given by Mary Gasperik to her son Elmer and daughter-in-law Doris
QUILTMAKER'S REASONS FOR MAKING THE QUILT: If the quilt was made for a specific purpose, choose the reason from the list. Use ctrl + click to choose more than one.
Gift or presentation
PLEASE EXPLAIN OTHER OCCASION, IF APPLICABLE: If you chose Other, please explain the occasion.
Made for her son Elmer and his wife, who may have requested them to be made in shades of blue.
QUILT WAS ORIGINALLY DESIGNED TO BE USED AS: Not all quilts were made for beds. Choose how the quilt was originally used. Use ctrl + click to choose more than one.
Bedding, special occasion
QUILT IS PRESENTLY USED AS: Choose how the quilt is being used by the present owner. Use ctrl + click to choose more than one.
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. Use ctrl + click to choose more than one.
QUILT TOP PATTERN SOURCE: Choose where the quilt maker found the pattern for this quilt. Use ctrl + click to choose more than one.
Commercial/Published source: Book; Commercial/Published source: Newspaper; Commercial/Published source: Kit
QUILTING DESIGN PATTERN SOURCE: Choose where the quilt maker found the pattern for the quilting design used in this quilt. Use ctrl + click to choose more than one.
COMMERCIAL QUILTING DESIGN SOURCE NAME: If you know the commercial name of the quilting design used for this quilt, please enter it. This may include books, magazines, newsletters, pattern companies, etc.
Quilted oval feathered wreath may be adapted from quilting design #521 in "Colonial Quilts" by Hubert Ver Mehren.
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.
Bucilla Applique Bedspread "Morning Glory" Design No. 2005 kit was used to design the four Gasperik Morning Glory quilts, but Marie Webster's child's quilt design "Morning Glory" in pink was likely used as the inspiration for making adjustments and changes to the Bucilla design. Bucilla kits did not come in blue, they included multicolored flowers, and their flower and leaf pattern shapes do not match the shapes on the Gasperik quilts. It requires only 4 different pattern shapes to make the morning glory wreath: one flower, one bud, one calyx and one leaf. The patterns are simple: it is their arrangement and embroidery which create the beautiful complexity. Gasperik clearly admired the Bucilla border design. The Nancy Cabot quilt column (in the Chicago Tribune) also published a Morning Glory (oval wreath) quilt based closely on Marie Webster's 1912 design which appeared in her book and in Ladies Home Journal.
EXHIBITIONS (LIST ALL): List all known exhibits where this quilt has been displayed including: Title, Location, Dates, Venue of Exhibit and Catalog Title or publications, if applicable. Use this field for all information.
An exhibit tag which is separated from its quilt reads "Morning Glory Wreath First Prize in Springfield Mrs. Mary Gasperik"
OTHER RELATED ITEMS SUCH AS IMAGE, ORAL HISTORY, OR EPHEMERA: Use this box to list other materials that exist about this quilt. This may include oral history, articles, additional photos or publications, etc.
Bucilla kit #2005 Morning Glory; Nancy Cabot newspaper illustration of Morning Glory; Marie Webster's color photo of child's quilt "Morning Glory." Bucilla boxtop indicates the kit was available in two colors: Orange and white or Green and white. Salser has an ebay printout of a quilt offered for sale in 2003 which looks like a completed Green and white Bucilla kit. That ebay quilt had a sewn on patch identifying the quilt as a gift "Made by Mary Reid 1927 and presented to Betsy Nichols 1952 Christmas". Letter from Joanne Gasperik documenting her restoration of this quilt: "I began the restoration of "Blue Morning Glory" late in the day June 5, 1999. It took 2 days to "reverse stitch" the applique of the middle scallop to the border scallop. Then I "unquilted" the first row of quilting in the middle scallop, to easier slip the new border under. Original quilting threads seemed normal length, were knotted at one end only and back-woven 1" to 1.5". Starts and stops of applique thread were difficult to determine. New backing fabric was appliqued first, along the entire bottom and up the right side of the quilt about 30", and a little part of the damaged area. Then I appliqued the front fabric, trimming to a generous curved seam allowance. Not wanting two seams next to each other, I decided against mitering the left hand corner, and ran the fabric straight across to the first available original binding fabric. After all new fabric was attached, I cut away the torn areas in a straight line, parallel to the back seam and whip-stitched the new batting - Hobbs Organic Cotton/ with scrim - to the old batt. This was the thinnest of all cotton batting I could find, to match the thin, but uneven old batting. When it came time to quilt, I first tried painstakingly to replace each stitch where it had been, but the scallops and points on the original were random and uneven. Two corners originally had 5 quilting rows, one had 6, and one had 7 rows. I decided to have all points meet at the top, and therefore adjusted the new corner to have 7 quilting rows, instead of the original 5. The quilting was completed June 20. I began working on the binding on June 21 and finished on June 22, 1999. The original double French binding was 1.5" wide and pleated at each "V". I replaced it in the same manner. I tried hard to match the new fabric to the old, though in the final analysis it doesn't look like I did." Joanne sent a series of color photographs detailing her repair progress, and the torn original quilt pieces which she replaced, to Susan Salser.
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: Choose whether the quilt is owned by a person (private) or a museum or public collection.
NAME OF QUILT OWNER: Add name of Quilt Owner if public other.
Elmer Gasperik heirs - Kathy Jacob contact
QUILT OWNER COUNTRY: Country of current quilt owner
AUTHOR/INTERVIEWEE: The person who brought the quilt for documentation is the source. Enter his/her name here.
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: If you chose other, please describe how the quilt maker participated in the design.
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: Enter the maiden name of the quilt maker.
GENDER: Choose the gender of the quilt maker(s). Use ctrl + click to choose more than one.
BIRTH DATE: Enter the birth date of the quilt maker (as mm-dd-yyyy or c.yyyy, e.g. c.1965).
DEATH DATE, IF APPLICABLE: Enter the date of death of the quilt maker (if applicable, as mm-dd-yyyy or c.yyyy, e.g. c.1965).
QUILTMAKER'S ETHNIC BACKGROUND/TRIBAL AFFILIATION: Enter the ethnic background or tribal affiliation of the quilt maker.
EDUCATIONAL BACKGROUND: Enter the last level of education completed by the quilt maker.
QUILT MAKER'S COUNTRY OF BIRTH: Select the quilt maker's country of birth, if known.
IN WHICH KIND OF ENVIRONMENT DID THE QUILTMAKER GROW UP: Choose the kind of environment the quilt maker(s) are from. Use ctrl + click to choose more than one.
COUNTY: Enter the county where the quilt maker lives/lived.
CITY: Enter the city where the quilt maker lives/lived.
STATE: Enter the state where the quilt maker lives/lived.
COUNTRY: Enter the country where the quilt maker lives/lived.
FATHER'S NAME: Enter the name of the quilt maker's father.
FATHER'S BIRTHPLACE: Enter the birthplace of the quilt maker's father.
FATHER'S ETHNIC/TRIBAL BACKGROUND: Enter the ethnic background or tribal background of the quilt maker's father.
MOTHER'S NAME: Enter the name of the quilt maker's mother.
MOTHER'S BIRTHPLACE: Enter the birthplace of the quilt maker's mother.
MOTHER'S ETHNIC/TRIBAL BACKGROUND: Enter the ethnic background or tribal background of the quilt maker's mother.
SPOUSE'S/SPOUSES' ETHNIC/TRIBAL BACKGROUND(S): Enter the ethnic background or tribal background of the quilt maker's spouse.
SPOUSE'S/SPOUSES' OCCUPATION(S): Enter the occupation of the quilt maker's spouse.
Milk Dealer/Grocery Store Owner/Butcher
NUMBER OF CHILDREN: Enter the number of children of the quilt maker.
NUMBER OF FEMALE CHILDREN: Enter the number of daughters of the quilt maker.
1 (Elsie 1909-1988)
NUMBER OF MALE CHILDREN: Enter the number of sons of the quilt maker.
2 (Elmer and Stephen)
HOW DID THE QUILTMAKER LEARN TO QUILT: Choose the way(s) the quilt maker learned to quilt. Use ctrl + click to choose more than one.
From guild or club member; Self-Taught
WHEN LEARNED TO QUILT (CHECK ALL THAT APPLY): Choose the age when the quilt maker learned to quilt. Use ctrl + click to choose more than one.
WHY DOES/DID THE QUILTMAKER QUILT: Choose the best explanation(s) for why the quilt maker makes quilts. Use ctrl + click to choose more than one.
OTHER, WHY THE QUILTMAKER QUILTS: If you chose Other, explain the why the quilt maker 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 belongs to a group, enter the name of the group.
LOCATION OF GROUP: Enter where the group meets. Include the name of the building, city, county, and state.
Southside Chicago and Detroit MI
SPECIALIZED ACTIVITIES/EVENTS OF QUILTING GROUP: Enter activities the group participates 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: Choose the number that approximates how many quilts the quilt maker has made.
more than 50
DOES/DID QUILTMAKER SELL QUILTS: Has the quilt maker ever sold a quilt or sold quilting services?
DOES/DID QUILTMAKER TEACH QUILTING: Is the quilt maker also a quilt teacher?
PHOTO CREDIT: Credit for photographer.
ACCESS AND COPYRIGHT INFORMATION FOR IMAGE: Choose whether this TIF is available to use other than in this database.
FOR HOLDER OF COPYRIGHT, CONTACT: Enter the name of the person or institution that owns the copyright to the image.
Cite this Quilt
Gasperik, Mar. Morning Glory. 1938-1945. From Mary Gasperik Legacy Project, Mary Gasperik Private Collection. Published in The Quilt Index, https://quiltindex.org/view/?type=fullrec&kid=18-14-35. Accessed: 10/28/21
Gasperik 04: Kit Quilts
Gasperik 04: Kit Quilts
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.
Morning Glory Design No. 2005
Morning Glory Design No. 2005
A quilt kit.
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