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Mary Schafer: A Legacy of Quilt History

Mary Schafer of Flushing, Michigan has long been recognized as one of the forerunners of quilt studies as well as the developer of one of the most important quilt history collections in the United States. Over a period of over 40 years she developed a collection of over 200 quilts plus quilt tops, fabrics, and quilt blocks which are representative of most quilt styles and periods in American history. With the assistance of hundreds of individuals across the country, Michigan State University Museum was able to acquire the core Mary Schafer Quilt and Ephemera Collection.

This exhibition provides information about Mary Schafer and showcases items from the collection.
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Mary Schafer with her Linden Mill quilt, photo by Pearl Yee Wong.


Mary Schafer

Mary was born on April 27, 1910 in Austria-Hungary.  In 1911, her father, Josef Vida, immigrated to Brazil and then the United States where he settled in Kansas City, Kansas.  In 1915 he brought his family to join him but within a year, his wife, Mary’s mother, became ill and passed away.  Searching for a better life, Josef moved his family to Flint, Michigan during the early 1920s.  There, Mary’s interest in needlework was first nurtured when women in her neighborhood taught her sewing, tatting, and other needlework forms.
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Mary with her mother, Julianna, and her brother, Josef, before leaving Austria-Hungary. Photographer unknown, courtesy of Mary Schafer.

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The Schafer’s wedding party, June 22, 1929. Mary’s husband Fred is standing in the center of the back row behind Mary. Photographer unknown, courtesy of Mary Schafer.

Mary Schafer’s First Kit Quilts

As a young woman, Mary’s interest in needlework was first nurtured when women in her Flint, Michigan neighborhood taught her sewing, tatting, and other needlework forms. In 1949, Mary purchased a kit to make a quilt but, after reading the instructions, the project seemed overwhelming and she returned the kit to the store.  In 1952, Mary decided to try again.  She purchased the “Rhododendron” kit quilt produced by Progress Company and, despite her earlier frustration, finished the quilt in six months.
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Mary Schafer, ca. 1949. Photographer unknown, courtesy of Mary Schafer.

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Mary's first quilt, "Rhododendron."
Mary became known for her creative borders in quilts; the border in this kit quilt might have served as an inspiration.
Photo by KEVA.

After immediately buying and completing a second appliquéd kit quilt, she was hooked on quilting.
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Poppy Wreath
Mary Schafer
c1954
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.77

This appliquéd piece was Mary’s second quilt. It was made from a kit produced by the Progress Company. The design is very typical of a mid-century kit quilt- a center medallion with a floral motif. Typically, kit quilts such as this would have included numbered and precut appliqué pieces, and the quilting lines would have been pre-marked with dots on the background fabric. Learning from these early quilts, Mary used the method of marking quilting lines using dots throughout her career.

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Circle of Poppies Instruction Sheet.
On this instruction sheet, one can find the directions Mary would have followed to create her Poppy Wreath quilt.

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Ribbon for Poppy Wreath
At the Saginaw (Michigan) County Fair in 1964, Mary won a Second Place Award for her Poppy Wreath quilt.

Mary Schafer’s First Pieced Quilt

Inspiration appears in many forms; in 1956 Mary Schafer found hers while cleaning out the trunk of her car.  Her son had recently returned from military service, and the homecoming was celebrated with a beach party.  Picking up after the event, Mary discovered a wet and dirty unclaimed quilt that had been used as a beach blanket.  Wanting to honor the quiltmaker, Mary washed and repaired the quilt in attempt to restore the piece to its glory days.  She then created a classic red and white reproduction featuring an original border and quilting designs—elements that became Mary’s trademarks.  This was Mary’s first pieced quilt. 

As Mary researched to find the name of the pattern, she became a subscriber to Aunt Kate’s Quilting Bee and began to amass every reference to quilting she could find.  Unable to find the pattern’s name and because the design reminded her of a mill wheel, Mary named it “Linden Mill” after the only nationally registered historical site in her home of Genesee County at the time.

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Linden Mill
Maker unknown
c1900
Found in Linden, Michigan
Collection of the Michigan State University Museum acc.#1998:53.52

This quilt was the inspiration for what would become a quilt legacy. Saddened that this quiltmaker’s work had fallen into such a state, Mary did everything she could to restore the quilt.

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Linden Mill
Mary Schafer
1956
Flushing, Genesee, Michigan
Collection of the Michigan State University Museum acc.#1998:53.51

After rescuing the original Linden Mill, Mary took on the challenge of creating this reproduction. After Mary finished her copy of the Linden Mill quilt, Mary had enough quilts to cover all of the beds in her household. She temporarily turned back to other sewing for a short time. Mary eventually made a total of three quilts in the Linden Mill design.

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During the period that Mary began to conduct her quilt research, quilting had become a “forgotten” art and published materials were scarce and often hard to find. Home-produced publications such as Aunt Kate’s Quilting Bee, Jay Bees and Little-n-Big were invaluable resources of patterns and other information for quilters.

Round Robins

Through quilting magazines, Mary discovered “Round Robins,” the practice of swapping patterns through the mail.  Subsequently, Mary participated in numerous Round Robins, often becoming involved in as many as five at one time.  Through these exchanges of letters, patterns, and blocks, important friendships were formed and Mary became a part of an active network of quilters.  Among Mary’s correspondents were Joy Craddock of Denison, Texas, publisher of the 4 J’s; Glenna Boyd, publisher of Aunt Kate’s Quilting Bee; Delores Hinson, one of the founders of the National Quilt Association; and National Quilter’s Hall of Fame Inductee Cuesta Benberry.

These quilt blocks are of patterns typically exchanged through Round Robins.  Round Robins often had a theme, for instance, participants only exchanged Kansas City Star blocks.  Women quite often belonged to several circles simultaneously.

Letters and patterns such as these circulated among round robin members.  The letters served as vehicles for quilters to share information not only about quilts but about many aspects of their daily lives.

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Round Robins

Round Robin participants traced or drafted patterns to swap. In a time when few quilt books were available, this was a way to build a library of quilting patterns.
Photo by KEVA

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Quilt Blocks

Through the Round Robins, Mary received many hundred quilt blocks. Seeing the variety of patterns familiarized her with many blocks. She has made and given away just as many.
Photo by KEVA

Mary Schafer’s friendship with Betty Harriman
One of Mary’s strongest friendships to grow out of the round robin exchanges was with Betty Harriman of Bunceton, Missouri who was introduced to Mary through Barbara Bannister, a mutual friend. Mary and Betty shared many of the same tastes in quilt patterns as well as an interest in history. They never met in person but their friendship flourished first through an exchange of letters and later through regular telephone conversations. The pair frequently would work on the same design, each creating their own interpretation of a pattern. Following Betty’s death in 1971, Mary purchased Betty’s unfinished quilts from the family. Bringing Betty’s projects to completion continued Mary’s tie to her friend.

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Lee's Rose and Buds
Betty Harriman, piecer, finishing by Mary Schafer
D1969-1972
Virginia and Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.50

When Betty died, both women were working on their own Lee’s Rose and Buds. Betty’s notes stated that the pattern was from a quilt “made in 1852 (or 1854) by Mother and Grandmother or Cousin Mamie Lee. Mamie Lee was born [in] 1860, the night Abraham Lincoln was elected president…Quilt now owned by Robert E. Lee, son of Mamie Lee. This old quilt is in perfect condition and very beautiful.” Betty was a descendent of Robert E. Lee, this connection made the choice of pattern even more meaningful to her. When Mary received the quilt from the Harriman estate, it was partially marked for quilting.

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Lee's Rose and Buds
Mary Schafer
c1972
Flusing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.49

Although both women began their quilts from the same pattern, they each handled the pattern in their own unique way. Mary used bolder colors and created her own quilting designs. Mary also brought one of her signature borders to the quilt.

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Lee's Rose and Buds pattern
Pattern from Betty’s version of Lee’s Rose and Buds.

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Variable Star pattern, templates, and block sent from Mary to Betty
Mary’s excellent drafting skills are evident in Variable Star pattern she sent to Betty. This collection of pattern, template, and block would have been typical of materials exchanged between the pair.

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Kansas City Star patterns
Mary received this collection of Kansas City Star blocks from Betty’s estate.

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Pennsylvania Dutch Flower Garden
Mary Schafer and Betty Harriman
1973
Bunceton, Cooper County, Missouri and Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.73

Betty and Mary both contributed blocks to this quilt. The pattern is from Country Gentlemen magazine, a source of mail order patterns in the 1930s. The border is Mary’s original contribution. Mary had her neighbors sign the quilt blocks.

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Flowering Almond
Betty Harriman (1890 -1971), piecer; Mary Schafer (1910-2006), quilter
1968-1971
Bunceton, Cooper County, Missouri and Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.35

After the death of her friend Betty, Mary took on the task of completing many of Betty’s unfinished tops. This appliqué design, a popular motif from the mid-19th century, was one of Betty’s favorites. Part of the challenge posed to Mary as she undertook the finishing of Betty’s work was trying to complete the quilts in a manner that Betty herself would have selected. Mary has completed at least sixteen of Betty’s quilts.

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Flowering Almond pattern

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Sunburst with Mariner’s Compass
Maker unknown
c1800-1830
New England
Collection of the Michigan State University Museum acc.#1998:53.99

Mary purchased this quilt from Betty in the late 1960’s. Within the quilt can be found a wonderful collection of early printed fabrics.

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Letter from Hulda H. McGinnis
Following Betty’s death, Mary began writing an article telling of Betty’s place in quilt history. She corresponded with Betty’s sister, Hulda H. McGinnis about Betty and her quilts during this period.

Quilt History
As Mary became more interested in quilt history, she began to collect quilts, quilt tops, and vintage fabrics. Often, she incorporated her finds into a new quilt top. She would add an original border, create a unique quilting design, and have the top quilted by someone else.

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Quilts Their Story and How to Make Them
Marie D. Webster
1915


Few quilt books were published before the 1970s quilt revival period. Mary relied on books authored by quilt study pioneers Marie Webster, Florence Peto, Carrie Hall, and Rose Kretsinger to learn about quilt patterns and history.

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American Quilts and Coverlets
Florence Peto
1949

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Feathered Star
Ora Brown
c1850-1865
Monroeville, Indiana
Collection of the Michigan State University Museum acc.#1998:53.34

Purchased from a local antiques dealer c. 1963, the Feathered Star was the first historical quilt Mary collected. Acquired during the early years of her quilt study, Mary sought to collect every bit of information she could find about quilts and quilt history.

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Pyramids
Matilda Vary, piecer, Mary Schafer, finishing, Ida Pullum, quilter
Top c1876, finishing 1980
Ceresco, Calhoun County, Michigan and Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.78

Within the Pyramids quilt, one can find Centennial fabrics. These were patriotic fabrics created to commemorate the 1876 Centennial.

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Sawtooth
Matilda Vary, piecer; Mary Schafer, finisher
Top c1876, finished c1980
Ceresco, Calhoun County, Michigan and Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.86

After she added a border and had the quilt finished, Mary Schafer signed the name of the top’s maker in ink on the quilt. Because a multitude of fabrics appear in the quilt, this textile provides a good study collection of fabrics from the last quarter of the 19th century. Mary’s paisley border is a typical print of a fabric available during the time she finished the quilt. A pattern for this quilt will be featured in the MSUM book, Great Lakes, Great Quilts (2001).

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Dutchman's Puzzle
Mary Schafer, piecer
c1976
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.30

This quilt is an example of Mary’s interest in making and completing quilts incorporating pieces of the past. The fabrics all date from the early 1900’s. Mary’s finished quilt won the blue ribbon for best pieced quilt from old fabrics at the 1978 Festival of Quilts Contest in Santa Rosa, California.

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The Flushing Observer recognizes Mary’s award for her Dutchman’s Puzzle quilt.

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Program from the Santa Rosa Quilt Guild's Festival of Quilts in 1978.

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Prize ribbon awarded to Mary Schafer at the Santa Rosa Festivel of Quilts.

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Album
Maker unknown
1856
Bird-in-Hand, Pennsylvania
Collection of the Michigan State University Museum acc.#1998:53.1

Representative of Mary’s interest in historic quilts, this antique signature quilt is an example of Pennsylvania Dutch quiltmaking. Found inscribed on the blocks are “Miss Barbara Swan 1856” and “Mr. D. Royer 1856.” It has been suggested that the signatures point to the quilt being made as a gift for an engaged couple. The printed cottons are indicative of its provenance—mustard-yellow, red and green with a blue border. The quilting designs include hearts, tulips, and a barn design with a cable quilted into the border.

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Whig Rose
Maker unknown
1800-1840
Massachusetts
Collection of the Michigan State University Museum acc.#1998:53.113

Mary acquired her pair of “Whig Rose” quilts through an antiques dealer from Linden, Michigan who made buying trips to Pennsylvania and New England. Mary sought to collect or create a comprehensive range of quilt styles to use as samples when lecturing on quilts.

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Whig Rose
Maker unknown
c1850-1870
Provenance unknown
Collection of the Michigan State University Museum acc.#1998:53.115

Red, yellow, and green are indicative of the quilt’s Pennsylvania Dutch provenance. The four-block layout is common to the large-scale appliqué quilts created during the mid-19th century. Mary’s collection contained a second Whig Rose quilt thought to have been made by the same hand.

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Whole Cloth
Theresa Hamilton
1837
Harpersfield, (state unidentified)
Collection of the Michigan State University Museum acc.#1998:53.116

As the supply of cotton thread became greater and less expensive after 1810, the popularity of quilts featuring stuffed (also called “trapunto”) work increased. Intricately stitched, these textiles were a showcase for the expert needlewoman. This quilt is inscribed in silk thread, “Theresa M. Hamilton. October 8, 1837. Harpersfield.

Mary Schafer’s Bicentennial Quilts

The celebration of the Bicentennial of the United States helped foster a renewed interest in quilting in America.  Across the country, individuals and groups made quilts that paid tribute to important events and individuals in the nation’s history.  Mary’s series of quilts made during the 1970s included ones that incorporated images of or references to Washington, Lafayette, General Burgoyne, Molly Pitcher, and the American Flag.

During this period quilting publications became more widely available and interest in the public display of quilts was heightened.  Mary participated in as many as quilt shows as possible.

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Marie Webster in colonial outfit. Photographer unknown, courtesy of Mary Schafer.

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The cover of Quilter’s Journal shows Mary dressed in Colonial and demonstrating quilting. Marie Webster is photographed dressed in this romantic style while presenting her quilts during the 1920s and 1930s. The practice of women dressing up Colonial costume for quilting demonstrations has been documented as far back as the Civil War.

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The Bicentennial quilts won many prizes when exhibited.

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Eisenhower
Mary Schafer, piecer
1967-1968
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.32

Made for her grandson, the Eisenhower quilt began as a simple variation of a nine patch. Mary soon decided to make President Eisenhower the theme. The center block was replaced with a symbol of Eisenhower’s military and political service to the country represented by the eagle and five stars. The laurel leaves of the border represent the honors he received. A continuous vine wrapping around the border represents his unity with the people. Forty-eight stars can be found in the appliqué and in the quilting stitches to represent the number of states during his presidency.

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Washington Plume
Mary Schafer
1968
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.110

Adapted from an 18th c. Virginia territory quilt housed at Mt. Vernon, Virginia, the quilt upon which this was based was presented to the Mt. Vernon Ladies Association in 1886. Betty Harriman viewed the original quilt while visiting George Washington’s home of Mt. Vernon and wrote to Mary about the design. The pattern- old, historically significant, and ambitious in construction was the perfect match for the women’s interests.

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Mary’s Bicentennial series quilts were frequently exhibited as a part of local Bicentennial celebrations. Mary’s quilting activities often received the attention of local papers.

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Queen Charlotte’s Crown
Mary Schafer, piecer
1976
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.79

Queen Charlotte, the wife of George III, was the last queen to rule over America. Mary explained the pattern choice in the Bicentennial series stating, “one of the most difficult aspects of the Revolution for the colonists was severing their lifelong allegiance to the Queen.” (Marston, 30) The arrangement of the blocks pointing towards a central Maltese cross represented the rule of King George III. A resemblance to crown points can be found in the border’s triangle and square design. This quilt design is also known as Indian Meadow.

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Lafayette Orange Peel
Mary Schafer, piecer
1974
Flusing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.48

Often colorful mythology has arisen around the naming of quilt blocks or patterns. The story behind this tribute to Marquis de Lafayette can be found in Dolores Hinson’s A Quilter’s Companion. The mythology of this pattern speaks of an honoring banquet in Philadelphia. Oranges were served, and Lafayette divided the skin into four parts with his knife before peeling the fruit. A young woman asked for the skins as a souvenir, then took the peels and arranged them into a pattern for a quilt design. Found in the quilting designs are a fleur-de-lis, a symbol of King Louis XVI’s aide to the colonies, and thirteen stars to represent Lafayette’s service during the American Revolution.

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Burgoyne Surrounded
Mary Schafer, piecer
1974
Flusing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.10

The design commemorated the Battle of Saratoga. Here, British General John Burgoyne was surrounded and surrendered on October 17, 1777. The event is represented symbolically in the quilt by the blue squares symbolizing the Americans circling around the red squares symbolizing the British. In the border, the blue American squares can be found breaking through the red British lines. Within the quilting, Mary chose to use the Maltese cross as a representation of George III.

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Molly Pitcher
Mary Schafer, piecer; Ida Pullum, quilter
1975
Flusing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.60

The center square contains an embroidered image of Molly Pitcher, the Revolutionary heroine. The pieced blocks are based on an unnamed pattern from Connecticut. Mary found this old, unnamed design among the Nancy Page patterns. To Mary, the selection of this block allowed the quilt to not only pay tribute to Molly Pitcher, but to the anonymous female heroines of the past. The original quilting design is of a laurel wreath with a center star.

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Spirit of '76
Mary Schafer, piecer; Ida Pullum, quilter
c1974
Flusing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.93

This quilt was “dedicated to the patriots of 1776 and those who followed in service to our country.” The center block design is called “The Flag”, symbolic of the first Stars and Stripes. In Mary’s notes, she suggests that the spirit of ’76 is dynamic and still in motion today. As the final quilt of the Bicentennial, Mary chose not the subtle symbolism of the other quilts in the series, but a resplendent stars and stripes salute to the patriots of 1776.

Mary Schafer’s “Challenge Period”

During what she termed her “challenge period,” Mary not only increased her commitment to the study and making of quilts, but also became determined “to raise in popular esteem” the appreciation of quilts by educating the public about quilts and their history.  Mary received her first invitation to conduct a workshop in April of 1971 at the Flint (Michigan) YWCA and subsequently spoke to many groups, particularly in the Great Lakes region, on both historical and technical aspects of quilting.

During this period Mary made quilts in patterns and styles she felt were important in quilt history.  The collection of her quilts thus became instructional tools by which she could teach others about aspects of quilting history.

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Clamshell
Mary Schafer
c1966
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.13

The complexity of piecing the Clamshell pattern, due to the connecting of convex and concave edges, made this historically a quilt with a high level of difficulty. The National Quilt Association awarded two blue ribbons to this Clamshell quilt at their charter show in 1970. It is also the first quilt pictured in Delores Hinson’s book, A Quilters Companion.

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Mary proudly displayes her Clamshell quilt.

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Clamshell shapes cut from Mary's fabric.

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Prize ribbons received for Clamshell quilt from the Saginaw County Fair and the National Quilters’ Association.

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Lobster
Mary Schafer
1969
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.53

Mary discovered a picture of this quilt in Florence Peto’s Historic Quilts (1939). Peto credited the name of the design as a reference to the red uniforms of the British soldiers known as “Lobsterbacks” during the American Revolution. Depicted in the appliqué design are lobsters’ pincers and tails. Mary considered this quilt not only as a rare, historic pattern, but also as a tribute to the pioneering quilt study work of Florence Peto. Responding to Schafer’s work, Peto wrote “Do you know I have never seen another ‘Lobster’ quilt since the one pictured in Historic Quilts; I am happy to know you are keeping the design alive.” (Peto in letter to Schafer, February 7, 1968)

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Pattern for the Lobster quilt.

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Grapes and Vines
Mary Schafer
c1972
Flushing, Genesee County, Michigan
Collection of the Michigan State University Museum acc.#1998:53.43

Mary Schafer’s “Grapes and Vines” is patterned after a quilt pictured in Marie Webster’s classic 1915 book, Quilts. The intricate appliqué design was a trademark of Webster’s work. Mary received the pattern from the estate of Betty Harriman in 1971.

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Grapes and Vines
Marie Webster
1914

Marie Webster’s original Grapes and Vines quilt, completed in 1914.

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Pattern, templates, and fabric scraps from Grapes and Vines quilt.

Public Acclaim for Mary Schafer and Her Quilts

By the time of the quilting revival of the 1970s, Mary Schafer had become a well-known figure in the quilting world.  Mary collaborated with Gwen Marston and Joe Cunningham on exhibits and public programming.  Their efforts cumulated in the book, Mary Schafer and Her Quilts (MSU Press, 1990).  In addition to giving talks on quilting, Mary received awards for the quilts she had in numerous quilt contests and shows and her collection was shown in many exhibitions.  In 1986, Mary was honored with Michigan Senate Resolution No. 605, honoring her for “many contributions to the art of quiltmaking.

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As Mary’s fame grew, her collection began to be featured in many exhibits.

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Mary and her quilts have received much recognition from local press. Here she is with Martha Skaff, President of the Whaley Historical House and quiltmaker/author, Gwen Marston.

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In 1984, Quilter’s Newsletter Magazine profiled Mary’s work as a quilter and quilt scholar.

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Q is for Quilt
Mary Schafer, Gwen Marston, Joe Cunningham
1987
Flushing, Genesee County, and Beaver Island, Michigan
Collection of the Michigan State University Museum acc.#6714.1

Q is for Quilt is the result of a children’s book written by Gwen Marston rendering the alphabet through quilt patterns. Mary created the blocks in this quilt from traditional patterns with the exception of her original Cherry Wreath. Her collaborators, Gwen Marston and Joe Cunningham set the blocks together and quilted the piece. Kate Darnell provided the illustrations of the patterns. Revenue form Q is for Quilt helps to support the Michigan Quilt Project.

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Cover of Q is for Quilt, 1987.

The Mary Schafer Quilt and Ephemera Collection

In the mid-1990s, the MSU Museum began to work with Mary in order to keep her wonderful collection of quilts and ephemera- books, study fabric, patterns, correspondence, and other materials together for use by researchers and educators.  With the generous support of the Ruth Mott Fund, Kitty Clark Cole and Jeffrey Cole, and numerous individuals and quilt groups, the core of Mary Schafer’s collection was purchased for the MSU Museum.

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Mary Schafer at home studying her quilt ephemera.

Credits

Curator/Primary Researcher: Mary Worrall
Curatorial consultant and editorial assistance: Marsha MacDowell
Additional research, assistance, and virtual exhibit development: Beth Donaldson
Curatorial Assistance: Lynne Swanson
Exhibit Fabrication: Phil Lienhart
Exhibit Design: Melinda Hamilton and Mary Worrall
Graphic Design: Melinda Hamilton
Object photography: Pearl Yee Wong, KEVA, Mary Whalen
Additional assistance provided by: Michele Beltran, Latricia Horstman, Dustin O'Connor, Katy Donaldson, and Laura Porteous
Funding for this exhibit was provided by the Michigan Council for Arts and Cultural Affairs, Country Stitches, Kitty Clark Cole, and MSU Offices of the Provost and Vice-President for Research and Graduate Studies.

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