I’m proud to have talented quilt teacher, designer, and historian Linda Halpin visit Sites and Stories. Last time, Linda wrote about how she came to study the quilts referenced in the famous Little House books by Laura Ingalls Wilder.
She also helped me out when I decided that a quilt would be at the center of Death on the Prairie, the 6th Chloe Ellefson mystery.
Here’s Linda’s story.
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It turns out my connection to Laura wasn’t done. Many years after Quilting With Laura was published, I met Kathleen Ernst in one of my classes. Kathleen had written several books for the American Girl company. My daughter was a big fan of American Girl. It was a line of book characters and dolls that taught history through different eras. Their stories were rounded out by books on cooking, period clothing, and current events. The dolls encouraged imagination as they taught history.
Fast forward several years after that first encounter to when Kathleen contacted me about a new project she was working on. She had expanded her writing to include books for adults with a line of mystery books based on a woman named Chloe Ellefson. Chloe worked at a living history museum, and like the American Girl characters, she brought artifacts to life by studying what life was like when the artifacts were used, who used them, how they were used, what life was like at the time. It was all the things I loved about Little House and American Girl, but this time geared towards adults.
I love Kathleen’s story telling style. She interweaves story lines back and forth from historical to present day as Chloe investigates her artifacts. Kathleen’s new project was a story in which Chloe is given a quilt said to have been made by Laura Ingalls Wilder, and she sets out to investigate if this could really be true. What Kathleen wanted from me was a quilt that could help tell Chloe’s story, one that incorporated the blocks Laura talked about in her books.
My prior investigation told me that there were only three patterns Laura mentions by name: Nine Patch, Bear’s Track, and Doves in the Window. My quilt research taught me that at the time Laura was learning to quilt, patterns didn’t have specific names the way they do today. They were simply called ‘patchwork.’ It wasn’t until 1889 that patterns began to be identified by different names, mostly as a marketing tool for Ladies Art Company, a mail order catalog where people could order patterns.
Prior to that, patterns were spread person to person, or blocks were printed in women’ magazine of the day, such as Godey’s Ladies Magazine. Interestingly enough, sewing was so much a part of every day life that only an ink drawing of the blocks were given. No templates, no directions. Women were able to draft their own patterns and figure out the construction on their own just by looking at the pictures.
When Laura was learning to quilt in the 1860s and ’70s, patterns weren’t identified by specific names. By the time she sat down to write her stories in the 1930s and on, pattern names were widely used. What she called Doves in the Window in her stories could have been one of several different designs, as several different patterns share that name. When writing Quilting With Laura, the intrigue for me happened when I tried to determine just which Doves in the Window pattern Laura had used for her wedding quilt. There was no real quilt to look at. Very early on in their marriage, a house fire destroyed most of Laura and Almanzo’s belongings, including her wedding quilt.
At the time my book was published, I found what I thought for sure was the correct Doves in the Window pattern. It was one that, like Bear’s Track, had lots of bias edges. It’s the one I could see Caroline making Laura take out over and over again until she had it right. And it looks like doves. Surely that must be the pattern she was talking about.
Or, could it have been this one, also called Doves in the Window, but that was very similar to Bear’s Track?
That would certainly explain why she called it Bear’s Track in On The Banks of Plum Creek, but Doves in the Window in These Happy Golden Years.
But wait! Could it have been this one –
– very similar to a block made by Laura on display at the Laura Ingalls Wilder Park and Museum in Burr Oak, IA?
In making Chloe’s Quilt for Kathleen, I had the opportunity to create a little mystery of my own. For the front of the quilt, I combined Nine Patch, the pattern both Laura and Mary made (and the pattern Mary continued to make even after she lost her eyesight), Bear’s Track, and the Doves in the Window that resembles the Bear’s Track.
I used reproduction fabrics that mimicked the fabrics Laura would have used as a child. I even used the construction technique seen so often in antique scrap quilts of piecing together tiny fragments of cloth until they were large enough to cut out the small pieces needed to make the block.
When I was done, I had created this quilt for Kathleen.
But for my mystery, I couldn’t resist also including the Burr Oak Doves in the Window variation, as I felt it told a story of its own. The back of Kathleen’s quilt shows a variation of the Burr Oak block (lower left in photo below), as well as another Doves in the Window design. The Burr Oak block is very similar to a pattern I discovered in an old quilting book from 1929, where author Ruth Finley collected patterns and stories and recorded them in one of the first books written on quilting. In the Finley book, Doves in the Window appears as the block shown top right below.
Is it possible that this was the pattern Laura made? Was she trying to recreate it from memory, thereby making one so similar to the Finley block by making the Burr Oak block? We may never know, but it sure is fun to speculate!
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Linda Halpin has been teaching quiltmaking across the United States and Canada for over 40 years. She is one of a handful of teachers certified by the Embroiderer’s Guild of America as a Quiltmaking Instructor. In addition to Quilting with Laura, which focuses on hand piecing, the way Laura would have done, she has also written several other quiltmaking books as well as The Little House Sampler pattern, which is geared toward today’s machine piecing techniques. She was invited both in 2015 and 2016 by Andover Fabrics of New York to make quilts for them using their Little House on the Prairie inspired lines of fabrics, available in quilt shops nationwide. To see more of Linda’s work, or to learn about the classes and lectures she offers, visit her website at www.lindahalpin.com.
Learn more about Death on the Prairie, and all of the Chloe Ellefson Mysteries, on my website.