the colonial williamsburg foundation earned media coverage - october 2, 2014

The Colonial Williamsburg Foundation Earned Media Coverage

October 2, 2014

http://www.washingtonpost.com/lifestyle/travel/this-weeks-travel-deals/2014/09/25/c91247f0-3dfa-11e4-9587-5dafd96295f0_story.html

This week’s travel deals

By Carol Sottili, Andrea Sachs

September 25, 2014

1: A reenactor foments revolution on the streets during a visit to Colonial Williamsburg, Va. (Bill O'Leary/THE WASHINGTON POST)

This week's best travel bargains around the globe.

Land

Colonial Williamsburg is offering a perk-filled package at five properties through Nov. 25. The

Revolutionary Experience deal starts at $85 per person double and includes one night’s

accommodations, breakfast, Colonial Williamsburg admission valid at Revolutionary City and the Art

Museums (length-of-stay ticket is usually $48), Tavern ghost walk (normally $12) and $100 resort activity

card per room. For hotels, choose from the Williamsburg Woodlands, Williamsburg Lodge, Williamsburg

Inn, Providence Hall Guesthouses and Colonial Houses. Minimum two-night stay required. A two-night

stay in midweek October, for instance, costs $337 for two people, including taxes. Credit is valid at

Colonial Williamsburg shops, restaurants, and spa and recreation facilities. Info: 888-965-7254,

www.colonialwilliamsburg.com.

The Kennebunkport Resort Collection, a group of eight boutique properties in the Kennebunkport area

of coastal Maine, is offering three nights for the price of two. Stay Sunday through Thursday by Oct. 30.

Prices vary. For example, in late October, three nights in a king room at the Tides Beach Club now starts

at $543, including taxes and resort fees — a savings of $215. The deal also includes continental


breakfast, WiFi and use of bikes. Request promo code KRC3. Info: 800-573-7186,

www.kennebunkportresortcollection.com/special-offers.

Sea

With Grand Circle Cruise Line, save up to $1,500 per couple on airfare for two European holiday river

cruises. The nine-day Christmas Markets along the Danube, which departs Dec. 14 and 16, starts at

$1,845 per person double and includes round-trip air from Washington Dulles; add $125 in port charges.

The cruise sails from Nuremberg, Germany, to Vienna. The nine-day Christmastime on the Seine, which

departs Dec. 7 and 14, starts at $1,845, plus $165 in fees, and includes air from Dulles. The ship sails

round trip from Paris, with visits to Vernon, Rouen and Mantes-La-Jolie, France. Book by Oct. 6 and use

promo code PRAA-100. The savings: The flight for the Danube trip was reduced from $1,300 to $550; for

Seine, from $1,400 to $650. Info: 800-221-2610, www.gct.com.

Book a balcony or higher stateroom on select Cunard cruises and receive gratuities, specialty dining and

up to $400 in onboard credits per stateroom. The promo applies to select transatlantic, transpacific,

Caribbean, European and U.S. itineraries departing October through April. For example, on the 12-night

New England and Canadian Sojourn cruise aboard the Queen Mary 2, a club balcony stateroom starts at

$3,499 per person double, plus $182 in taxes. The ship departs New York on Oct. 16. The tips, meal and

credit are worth $248 per person. Book by Oct. 15. Info: 800-728-6273, www.cunard.com.

Air

Southwest is offering sale fares to Atlanta for travel Nov. 3 through Feb. 26. For example, nonstop flights

from Reagan National start at $218 round trip, including taxes. Other airlines are matching, but fare

typically starts at $329. Sale does not apply to Friday or Sunday travel. Blackout dates apply. Book by

Oct. 12 at www.southwest.com.

Package

Delta Vacations is offering a $500 instant credit, plus a free night in a hotel, on packages of at least

seven nights to St. Croix. Deal applies to five properties: Buccaneer Hotel, Divi Carina Bay Resort and

Casino, the Palms at Pelican Cove, Renaissance St. Croix Carambola Beach Resort and Spa, and Sand

Castle On the Beach. Prices vary. For example, in early January, round-trip air from Washington Dulles to

St. Croix, a week in an economy studio at Sand Castle, airport transfers, breakfast and taxes now costs

$1,807 for two travelers. Book by Nov. 15; travel Jan. 3-May 10. Deal also includes $200 worth of

coupons valid at restaurants, boutiques and attractions. Use promo code STXNICE15. Info:

www.deltavacations.com/usvi.

http://www.gct.com/


Troy Tours is offering a sale on its six-night Istanbul & Rome tour for select departures November

through March. The deal starts at $1,399 per person double and includes round-trip flights on Turkish

Airlines from Washington Dulles to Istanbul, and Istanbul to Rome; three nights each at the Istanbul

Wyndham Old City and the Hotel Napoleon in Rome; daily breakfast; airport transfers; and two full-day

tours. Add $116 in taxes. Priced separately, the trip in early March, for example, costs about $1,831.

Book by Feb. 28. Info: 310-417-3460, www.troytours.com.

Carol Sottili, Andrea Sachs

Submit travel deals to [email protected] [email protected] . Prices were

verified at press time, but deals sell out and availability is not guaranteed. Some restrictions may apply.

http://www.troytours.com/

http://www.washingtonpost.com/blogs/capital-weather-gang/wp/2014/09/30/photos-wonderful-weather-for-a-weekend-in-williamsburg/

Photos: Wonderful weather for a weekend in Williamsburg

By Kevin Ambrose

September 30, 2014

1: A cannon is fired in Colonial Williamsburg Saturday afternoon. (Michael Ambrose)

The weather this past weekend was absolutely perfect for the Fall Focus event held by the College of

William and Mary. My son, Michael, and I made the trip early Saturday morning to visit William and

Mary and attend the event for prospective students. We decided to stay for the weekend in

Williamsburg, to include time for photography and our usual Colonial Williamsburg vacation activities.

We’re kind of a Williamsburg family, usually visiting the city at least once a year. I love the colonial

activities, the tavern food, Busch Gardens, and the opportunities to shoot photos of the beautiful

landscape and historic buildings.

The Fall Focus event gave me and Michael another excuse to have a mini-vacation in Williamsburg and

the weather couldn’t have been better. We took plenty of photos and have included a few in this

posting.


2: Both Saturday and Sunday featured beautiful weather to check out the sights in Colonial Williamsburg. (Michael Ambrose)

William and Mary tour guides walk backwards

The highlight of attending William and Mary’s Fall Focus event was the student-led tour around campus.

We learned that tour guides at William and Mary walk backwards while talking, basically backward-

stepping for over a mile while talking to the tour group most of the time. I noticed on the backs of some

tour guide’s shirts were printed the words, “We walk bricks backwards.”

After watching our tour guide for a while, I realized the front of their shirts should state, “Please warn

me if I’m about to walk into something.”

The tour around the College of William and Mary was absolutely beautiful but our little tour group

remained focused on warning our tour guide that she was about to walk into a railing or that she was

about to fall down a staircase. We had a few close calls, one trip, but no serious accidents. Overall, it

was a wonderful tour.

Of course, the perfect weather added to the experience of our tour around the scenic campus. I did

wonder how the backward walking tour guides do in the rain when the footing is a little more slippery

and puddles fill the brick walkways. Are they are given a forward walking waiver? Probably not.


3: The light of the rising sun shines on the statue of Norborne Berkeley Sunday morning on the campus of the College of William and Mary. (Kevin Ambrose)

Ghosts of Williamsburg

How many college tours can be followed by a ghost tour with just a short walk across town? I’m not

sure of the answer but it’s probably not many. It can be done in Williamsburg, however. A short walk

down Duke of Gloucester Street from William and Mary and you’re in Ghost Central.

My kids and I have taken the ghost tours in Williamsburg for years. Our favorite is the Tavern Ghost

Walk that starts at Shields Tavern. On Saturday evening, Michael and I met our tour group at 7:00 p.m.,

just as the sun was setting and a chill was developing in the air.

I’ve noticed that over the years the tavern ghost stories seem less scary. It appears that Williamsburg is

now inhabited by mostly friendly ghosts. I suppose that’s good for their tourism.

We heard a story on the ghost walk about a small group of William and Mary students that were

recently scared by a ghost in Colonial Williamsburg. That was about the scariest story we heard all

evening. Not too bad. Somehow, that little detail was left out during William and Mary’s Fall Focus

event earlier in the day. Ghost stories are not the best way to recruit new students, I suppose.


4: Both Saturday and Sunday morning began with light fog before the sky cleared and sunshine prevailed. (Kevin Ambrose)

The Williamsburg taverns

I love to eat on vacation thus I love to dine at Williamsburg’s numerous taverns. My family’s favorite is

Shields Tavern, although we have dined at most.

The most memorable tavern meal occurred when my oldest son, Brad, was in the third grade. The

tavern’s owner, Mr. Shields, absolutely terrified him when he sang to our table. My kid was more

frightened during that dinner than during any of our ghost walks around Williamsburg. Despite scary

Mr. Shields, I kept dragging Brad back to the tavern every year because I think their ale-potted beef is

amazing.

Unfortunately, Mr. Shields is no longer with us. I even asked about him Saturday night. I learned there

are no current plans for introducing a new Mr. Shields. I miss him but at least Brad will be fine for a

fright-free dining experience for a while longer.


5: The crescent moon rises above the Kings Arm Tavern Saturday evening. (Michael Ambrose)

Thomas Jefferson gets no respect

Jon Stewart now tops the list of William and Mary’s most famous graduates. Stewart gave a humorous

commencement address ten years ago. Meanwhile, Thomas Jefferson, William and Mary’s other

famous graduate, seems to have lost favor on campus.

There is a prominent statue of Thomas Jefferson located near William and Mary’s Sunken Garden, but

we learned during our campus tour that Jefferson’s backside is pointing toward Charlottesville. He was

supposed to face toward Charlottesville. We also learned that a group of physics students at William

and Mary used lasers to determine that not only is Jefferson not facing Charlottesville but his eyes are

actually facing into a window of nearby women’s restroom. Thus, he’s been renamed, “Peeping Tom,”

by the students.

Yes, it’s apparent that ol’ TJ just doesn’t get much respect at William and Mary. Perhaps, in the future,

we’ll find a statue of Jon Stewart along the Sunken Garden in his place. If so, let’s hope they don’t face

him looking into a women’s restroom again.


6: The Brafferton at the College of William and Mary Sunday morning. (Michael Ambrose)

We returned Sunday afternoon to the Washington, D.C. area just as the clouds thickened overhead.

Monday’s weather featured more clouds with showers.

The change in the weather helped us appreciate the wonderful sunshine we experienced in

Williamsburg over the weekend. I bet even Thomas Jefferson would agree, if he were facing in the right

direction!

All comments about Jefferson, ghosts, and walking backwards aside, Colonial Williamsburg and William

and Mary are two of my favorite locations. The photos in this post do a fair job of capturing the beauty

of the town and campus, at least on a weekend with perfect weather.

And the ale-potted beef at Shields Tavern really is very good. Check it out next time you visit

Williamsburg.


7: The Redcoats are alive and well in Colonial Williamsburg. (Michael Ambrose)

8: The sun rises above William and Mary's Sunken Garden Sunday morning. (Michael Ambrose)


9: The Courthouse in Colonial Williamsburg. (Michael Ambrose)

10: We strolled through the farmer's market in Merchants Square Saturday morning while we waited for William and Mary's Fall Focus event to begin. Merchants Square is located across the street from the campus of William and Mary. (Kevin

Ambrose)


11: The Governor's Palace in Colonial Williamsburg. (Michael Ambrose)

12: William and Mary's Wren building.


13: Dusk with the crescent moon over Colonial Williamsburg. (Michael Ambrose)

14: Crim Dell Bridge on the campus of William and Mary. (Kevin Ambrose)


15: Posing with Michael in Williamsburg. (Michael Ambrose -- tripod and a ten second timer!)

http://www.gafollowers.com/easy-drive-spa-sports-american-history-colonial-williamsburg/

An Easy Drive: Spa, Sports and American History in Colonial Williamsburg

By Rick Limpert

September 26, 2014

Usually when we are talking about golf and history we are talking about the history of golf.

Names like Hagen, Hogan, Vardon. Jones, Snead, Palmer and Nicklaus usually dominate the conversation

with a little Tiger Woods thrown in for good measure, since no golf conversation these days isn’t

complete with some “Tiger Talk.”

This summer, I was able to play great golf and experience history involving names like Washington,

Jefferson, Henry, and Paine- as in George Washington, Thomas Jefferson, Patrick Henry and Thomas

Paine.

All in Colonial Williamsburg.

How to Get There

Coming from Georgia and the southeast, you have choices.

Three different airports are convenient. Delta has nonstops going to each of these airports.

Newport News/Williamsburg International Airport (PHF) (20 minutes)

Norfolk International Airport (ORF) (45 minutes)

Richmond International Airport (RIC) (45 minutes)

Driving from the Atlanta area, it’s about an 8 hour drive going up I-85 north.


Where to Stay

As with any other popular destination, there are plenty of places to stay in Colonial Williamsburg. To get

the feel and experience Williamsburg in the best possible way, I would recommend staying at the

luxurious Williamsburg Inn or the convenient and upscale, Williamsburg Lodge.

Williamsburg Inn

All you need to know is that the Williamsburg Inn hosted Queen Elizabeth II and Prince Philip during

their much talked about visit in 2007. Built by John D. Rockefeller Jr. in 1937, the “Inn” offers 62

comfortable rooms and 9,000 square feel of conference space.

Williamsburg Lodge

If you want to get a feel for what is going on in the Revolutionary City, there is no better place to stay

than the Williamsburg Lodge. Located just a block from the Williamsburg Inn, the “Lodge” boasts 323

rooms, restaurants, modern amenities and is close in proximity to everything going on in Williamsburg.

Unlike anything you have ever experienced, in Colonial Williamsburg, you have the option to stay in

guest houses and Colonial houses at Providence Hall or in the historic Colonial Houses scattered around

the city.

Where to Play

If you want to do it, you can in Williamsburg. Educational excursions, art museums, live demonstrations,

golf, tennis, swimming pools and a world-class spa.

History is everywhere in Colonial Williamsburg, so you can’t go wrong doing anything in the historic

area. That includes shopping, dining and learning.

Don’t miss the DeWitt Wallace Decorative Arts Museum and the Abby Aldrich Rockefeller Folk Art

Museum. These two properties are loaded with artifacts that would be feature pieces at many other

museums around the country. Pay special attention to the exhibit on mental health and Public Hospital

of 1773 and the collection of guns and firearms- it’s one of the best I’ve even seen.

Relax a little at the Spa of Colonial Williamsburg. This award-winning spa is housed in a Georgian revival

building across the street from the Williamsburg Lodge. 12 private treatment rooms and couples suites

offer a little of something for everyone. There is a fitness room to complement the wellness and

rejuvenation rooms.

Hit some balls at the world class tennis center or tee it up at any of the three Golden Horseshoe golf

courses. 45 holes of golf in all are offered at the Gold Course, the Green Course and the Spotswood

nine-hole course that families just love to play.


The Gold Course, which recently celebrated its 50th anniversary is in exceptionally great shape and is a

true test for golfers of all levels.

Robert Trent Jones Sr. once called the Gold Course, his “finest design.”

The Golden Horseshoe Golf Club has again been reconfirmed as a Certified Audubon Cooperative

Sanctuary by Audubon International. Golden Horseshoe has held this distinction since 2001.

Golden Horseshoe Golf Club’s continued efforts to enhance wildlife habitat and protect the environment

at both of its 18-hole championship layouts – the Gold Course and Green Course as well as the nine-hole

Spotswood Course, surpassed the standards set by the Audubon Cooperative Sanctuary Program.

The golf courses were recognized by the Audubon organization for maintaining naturalized areas to

provide water, food and habitat for local and migratory wildlife, particularly the connected patches of

native grasses between the holes that offer wildlife corridors for movement. Other elements of Golden

Horseshoe’s program that won praise from Audubon International.

While playing 18 at Colonial Williamsburg, stop and look around and soak in the beauty.

What Else

The College of William & Mary is located right in the heart of Colonial Williamsburg. Feel free to

meander around the beautiful campus and visit the university bookstore.

Make sure you experience 18th-century life as you walk around the city. You will see tradesmen and

women working as printers, silversmiths, wigmakers and bookbinders. It’s quite a sight to see and

another living lesson in American history.

There are 11 restaurants located in Colonial Williamsburg, you can’t go wrong with any of them and you

will never be hungry.

Remember that all profits earned in Colonial Williamsburg go back to the Colonial Williamsburg

Foundation. This helps preserve what you see in the Revolutionary City and helps with the offering of

educational programs, preserving the Historic Area buildings and museums and bring new art and

exhibits to the area.

Plan your trip to Colonial Williamsburg see American the way it was, the way it is, and make sure you

picture how it might be in the future.

Spa, sports and more in what is Historic Virginia.


1: The Historic Williamsburg Lodge

www.EarlyAmericanLife.com

$5.99 December 2014display until December 31

Early American

LifeEarly American

Life traditionsperiod style antiquesarchitecture history

traditionsperiod style antiquesarchitecture history

18th-Century PatChwork Quilts in ameriCa holiday

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Kentucky Cabin Comes to Texas 18th-Century Saltbox Survivor in VirginiaWoodstovesDistilling Peaches

Kentucky Cabin Comes to Texas 18th-Century Saltbox Survivor in VirginiaWoodstovesDistilling Peaches

© Copyright 2014 Firelands Media Group LLC

DECEMBER 2014 | EARLY AMERICAN LIFE 43

robably the most familiar and to some, quintessential, quilt is patchwork or pieced, sewn from patches of patterned cloth to make an all-

encompassing full-quilt pattern. early american purists know that this style of quilt—which, in fact, is only one of many types crafted by our ancestors—came into its heyday after the introduction of the sewing machine around 1840.

historical research and surviving examples show that pieced quilts date much earlier, to the beginnings of the 18th Century, and most were designed for the same purpose as they are today—to please the eye.

It is tempting to assume that pieced quilts were born out of neces-sity and made of fabric scraps cobbled together haphazardly for warmth. on the contrary, inventory and object research shows that for functional warmth most british and colonial householders used wool blankets or pile-woven bed “rugs,” not quilts. the earliest pieced quilts were actu-ally decorative and expensive, care-fully planned, and made more for show than function.

the origin of patchwork quilts can be documented in early written sources and literature. Scholars have found reference to patchwork as early as the 17th Century, and a 1703 play described a foppish man who helped ladies with their patchwork. by 1726, in Jonathan Swift’s “Voyage to lilli-put” from Gulliver’s Travels, the main character’s clothing was pieced together from the narrow strips woven

Patchwork quilts—usually regarded as an innovation that accomPanied the sewing machine—have a much longer history, as revealed in the collection at colonial williamsburg.

Early amErican Patchwork Quilts

on the lilliputians’ tiny looms. Gulliver described his pieced-up clothing as looking like the “Patch-Work made by the ladies in england, only that mine were all of a Colour.”

this portrayal suggests not only that patchwork was very familiar to the author and his readers by 1726, but

also that patchwork could be defined as consisting of multi-colored pieces.

americans followed british prec-edent and did patchwork at an early date. For example, an 18th-Century pieced silk hand-screen in the Dan-vers historical Society, Massachu-setts, has an american history.

Probate inventories confirm that early americans also owned patch-work quilts, probably made by the ladies of the family. In Virginia in 1731, James McKindo had “a patch work Quilt” on one of his curtained beds. In 1747, Colonel henry lee’s

P

OPPOSITE A member of the McCrary, Tilman, or Johnson family from Fluvanna County, Virginia, precisely cut and stitched thousands of cotton hexagons, each about 13⁄8 inches across, to construct this quilt c. 1835-50. She butted and stitched the edges of the hexagons together, a technique consistent with paper-template piecing, although no papers appear to have survived. By alternating dark and light printed cottons with white, the quilt maker created abstract “flowers” that appear to radiate from the center. The quilt measures 112 x 1101⁄2 inches.

The brilliantly colored hexagonal motifs of this unfinished silk quilt top, c. 1863, stand out in jewel-like fashion against the black background, which is also formed by hexagons. A typewritten tag stitched to the edge notes, “Silk Quilt top cut and pieced by Louis Phillippi/ and four sister in Philadelphia in 1863./ This was the cause of his running away from home and/ joining the Union army at the age of 14.” The makers pieced the silk around paper templates using silk thread. Only a few papers remain attached to the silks. The quilt measures 92 x 87 inches.

42 EARLY AMERICAN LIFE | DECEMBER 2014

BY LINDA BAUMGARTEN AND KIMBERLY SMITH IVEYPHOTOGRAPHS COURTESY OF THE COLONIAL WILLIAMSBURG FOUNDATION

© Copyright 2014 Firelands Media Group llC


three patchwork quilts were described as “callico,” a type of fine cotton. he also owned four “very old” quilts and one “old” quilt.

In 1757, Sarah Green owned “1 Silk Patch Work Quilt” valued the same as a round table in the hall. Green’s inventory also listed silk chair bottoms, suggesting that she had access to fine materials with which to make a pieced quilt.

by the last quarter of the 18th Century, many more references to patchwork quilts can be found in american estate inventories. Written sources must be read with caution, however. General thomas Nelson’s “4 patch callico quilts” might refer to an Indian or european printed cot-ton textile called patch, or patches, rather than to a piecing technique.

Paper Textile

31 2

WHAT IS A QUILT?Pieced or patchwork quilts are just one style of quilt, the range of which varies considerably in materials, tech-niques, and designs.

Most quilts are made as a sandwich of two textiles with a filling called the batting, or wadding. this thick layer provided insulation to add warmth but also adds a dimension to many quilts to give them a sculptural quality. today many quilters use synthetic battings, but historically quilts were usually filled with the unspun fibers of wool or cotton.

Quilting is the stitching that fastens the three layers together and creates checks, parallel lines, contours, or more decorative designs around the pattern on the quilt top.

Makers generally used running stitches moving up and down through all three layers to connect them, although a few historical quilts show backstitches that could either be touching to give a continuous solid line or spaced to resemble a dashed line, the latter known as half backstitches.

Sometimes, quilters simply tied layers together with threads knotted at regular intervals. although tied bedcovers are usually called com-forters or comforts rather than quilts, there is historical precedent for considering tying as part of the quilting repertoire. In the 18th Cen-tury writers often referred to tied upholstery tufting as quilting. In addition, early mattresses were sometimes called quilts, probably because they were layered with stuffing and tufted, much like quilted upholstery.

although handmade quilts and woven coverlets occasionally shared certain design features, they were very different in their construction. Male professional weavers usually loomed coverlets. except for hem-ming the raw edges, joining the woven pieces at a center seam, or attaching separate fringe, coverlets had no hand stitching as part of their construction.

the top of a quilt—often more decorative than the backing—also helps categorize it. the top might be lengths of uncut fabric, usually called wholecloth; embroidered; pieced; appliquéd; or a combination of sev-eral techniques.

the filling also affects the fin-ished appearance of the quilt. bat-tings are usually evenly applied fibers, but some quilters inserted extra fibers to raise specific areas above the surface, with or without an all-over batting.

after quilting, the maker usu-ally finished the raw edges of the bedcover using one of three tech-niques: applying a separate binding or woven tape, turning the edges in toward each other and stitching, or extending one side (usually the back-ing) around to the other side to form an edge finish.

Makers sometimes signed their quilts using cross-stitches, embroidery stitches, or ink. This c. 1850 pieced quilt block, in a variation of the Mariner’s Compass pattern, records names of one New Hampshire family—the dates of Ebenezer Rollins’s birth on March 22, 1781, and his marriage to Betsey Rollins in 1807 in the center, and 16 points inscribed with the names of their children and grandchildren. The block might have been intended as a central medallion for a signature quilt. It measures nearly 17 inches square.

The article “Fancy Needle-Work” in the January 1835 issue of Godey’s Lady’s Book noted that the hexagonal pattern, often called “honey-comb patch-work,” was one of the prettiest forms of patchwork. The article suggested using old books or letters for the paper templates.

This detail from the back of a rare English paper pattern patchwork quilt shows several paper pieces over which various fabric pieces were folded, butted edge to edge, and stitched.

In the paper-template piecing technique, the textile is cut to shape slightly larger than the paper template, folded over the template, and basted in position. Then the prepared shapes are stitched together at the edges. The basting stitches and paper can be removed prior to quilting.

heXaGoN PatterN

drawing



PIECED PAPER PATTERN QUILTSMost quilts from before 1800 that have survived are wholecloth or embroidered, but some british and american quilters used the technique of piecing, or patchwork. those american quilts known only from estate inventories probably resembled surviving british examples of the same period. these early patchwork quilts differ from modern quilts chiefly in how the makers constructed them.

the british examples show quil-ters made elaborately pieced patterns using fine textiles folded over paper templates. they basted the edges to hold the fabric in place to the pre-cut shapes then stitched the pieces together at the very edges using an overcast technique. Sometimes the quilter left the paper templates in place, but often she pulled out the basting stitches and papers prior to quilting. the technique is often referred to as mosaic patchwork or honeycomb, the latter referring to the popular hexagonal shapes.

In contrast, later piecing involved placing the right sides together and stitching the pieces from the back, leaving a narrow seam allowance.

the survival of several rare dated quilts proves that women in england were piecing over paper templates at least by the early 18th Century. a silk patchwork quilt with paper templates at the McCord Museum of Montreal dates to 1726. a silk quilt top or cov-erlet in the collection of the british Quilters’ Guild is even earlier, made with the date 1718 pieced into it, along with geometric shapes, hearts,

and human figures, all folded over paper templates prior to stitching them together edge to edge.

In the collection at Colonial Williamsburg, there is a fragment of a bedcover that must have had black borders on at least three sides, possi-bly all four, although now only one

black border remains in place, and a small fragment of removed border survives. although the silk pieces are too small to date with precision, they appear to originate between 1690 and 1730. along with the variety of pat-terned and plain silk pieces, the quilt is embroidered and appliquéd with

FPo

This English quilt, c. 1700-30, offers extremely important evidence of early piecing and appliqué, techniques that became much more common 100 years later. Although the silk pieces are too small to precisely date, they appear to originate between 1690 and 1730. Along with the variety of patterned and plain silk pieces, the quilt is embroidered and appliquéd with silk and metallic threads. It measures 711⁄2 x 63 inches.

The outer border, inner bands, and some of the blocks of the English quilt feature appliquéd and embroidered animals, flowers, and people in clothing styles of the late 17th and early 18th Centuries, probably drawn from published sources.

The back of the border shows more remnants of paper pattern pieces.


48 EARLY AMERICAN LIFE | DECEMBER 2014 DECEMBER 2014 | EARLY AMERICAN LIFE 49

silk and metallic threads.the maker folded and basted the

piecing silks over carefully cut geo-metric recycled-paper templates and achieved great precision. Still remain-ing in place inside the quilt top, the papers include accounts; newspapers or pages from books, one referring to a date of 1652 in the text; and hand-written letters from as early as 1672. the fact that all the papers are written in english corroborates the english origin of the quilt, although the dates on the papers are not indicative of the date of the piecing. the papers proba-bly originated many years before they were cut up for the purpose.

on the reverse, various linen and

silk-wool mixed fabrics form individ-ual linings behind each large square, suggesting that the quilter worked on each pieced unit independently, backed them separately, and joined them together last. the quilter used linen and silk threads for both the basting and piecing. because this bed-cover does not have any batting and is not quilted, this example arguably is a counterpane or coverlet rather than a quilt, but there are three layers: pieced top, papers, and backings.

the outer border, inner bands, and some of the blocks feature appli-quéd and embroidered animals, flow-ers, and people in clothing styles of the late 17th and early 18th Centu-

ries, probably drawn from published sources. the rider on horseback, for example, might have been inspired by an illustration published in england in the 17th Century by John Nieuhoff, former ambassador of the Dutch east India Company to China.

the use of hexagons in pieced quilts occurred relatively early in america. In Frederick County, Vir-ginia, in 1808, two quilts sold as part of personal property were described as “two quilts Made with patchwork one a Sexagon (or so denominated) the other of Squares of Callico and Muslin.” the person describing the quilt apparently did not know that the proper term for a six-sided figure is not a “sexagon.”

the Williamsburg collection holds several examples of hexagon pieced quilts. one features one-inch hexagons forming the main part of a cotton quilt top, bordered by trian-gles and dagger shapes. the maker stitched all of the pieces with linen thread and backed them by plain white paper templates, without any printing or writing apparent. the border was especially well designed in its use of carefully cut striped tex-tiles positioned to give the suggestion of a fringed border all around. at the center, bird and flower appliqués were stitched down over their cut edges using wool embroidery threads; the raw edges were not folded under.

another quilt in the collection is constructed from thousands of pre-cisely cut and stitched cotton hexa-gons, each measuring about 13⁄8 inches across. the edges of the hexa-gons were butted and stitched, a tech-nique consistent with paper-template piecing, although no papers appear to have survived. by carefully selecting dark and light printed cottons and alternating them with white, the quilt maker created hexagonal abstract “flowers” that appear to radiate from the center against a white ground. the pieced top is quilted to thin cot-ton batting and white cotton backing with linen running stitches.

although piecing by stitching right sides together eventually became the norm, some quilters con-tinued to use the paper-template

technique well into the 19th Century. by the 20th Century, some quilters were using papers inside quilts for another purpose. the widespread availability of inexpensive newspa-pers and magazines meant that paper could be used as a cheap substitute for things like insulation in crudely con-structed cabins or even as a substitute for quilt batting rather than as a method for achieving elegant accu-racy with expensive textiles.

LATER PIECED QUILTSQuilt making thrived between 1840 and 1910 due in part to the Industrial revolution’s enormous impact on the textile industry. by the 1840s, many if not most households could afford commercially produced fabrics. thanks to new manufacturing pro-cesses and synthetic dyes, they could choose from a huge selection of printed cottons.

a special dye process that resulted in bright-red colorfast fabrics gave quilters a more stable vibrant red, called turkey red, that would not bleed or fade. More expensive than the red fabrics produced by synthetic dyes that faded, it was a favorite of quilt makers, who purchased it whenever they could afford it. the popularity of the color duo of red and green between 1840 and 1870 was probably influenced by the availability of turkey red fabrics.

the invention of the sewing machine and its availability in the 1840s meant women could spend less time on sewing clothing and everyday house-hold textiles, leaving them more time to spend on quilt making. an 1860 edi-tion of Godey’s Lady’s Book and Magazine applauded the sewing machine as “the queen of inventions” and extolled its benefits, stating, “by this invention the needlewoman is enabled to perform her labors in comfort.”

because sewing machines were expensive and highly desirable, women occasionally showed off their new possessions and their skill in using them by machine stitching visi-ble areas on their quilts.

Makers in this period employed an assortment of construction, embel-lishment, and finishing techniques in creating their quilts. they created the

Varied printed and glazed cottons in geometric patchwork borders frame a copperplate-printed handkerchief eulogizing George Washington in this rare patchwork quilt, c. 1810. Although nothing is known of the maker, likely from the Mid-Atlantic states, much is known of the quilt’s subject. Titled “The Death of General Washington,” the center handkerchief depicts the nation’s first president on his deathbed, attended by his doctors. It is one of the earliest and rarest images of Washington’s final hours, vividly capturing the realistic details of the bed textiles, fringed dressing table cover, and clothing accessories such as the miniature portrait hanging around Martha Washington’s neck.

One-inch hexagons form the main part of this cotton quilt top, made in New England by an ancestor of Tasha Tudor between 1800 and 1840. The maker used plain white paper templates and stitched the pieces with linen thread. Her border of triangles and dagger shapes is especially well designed—the carefully cut striped textiles suggest fringe. She stitched the center bird and flower appliqués over their cut edges using wool embroidery threads. The quilt measures 83 x 72 inches.

familiar patchwork quilts by stitching together small shapes of fabric to make one larger design, often using repeating patterns, especially geomet-ric ones such as circles, squares, dia-monds, triangles, and rectangles.

Quilt makers used several meth-ods of piecing, including the template method described above and the foundation method, which became popular in the last quarter of the 19th Century. In the foundation method, the quilter begins with a piece of fab-ric, usually of cotton or linen in the shape of a block, and stitches decora-tive fabric pieces to the ground fabric, eventually covering it up. this type of piecing is most often found in crazy quilts and log Cabin quilts.

a third piecing technique joins the right sides of the fabric together,

leaving a narrow seam allowance. the quilter then presses the joined pieces open.

the more familiar style of patch-work quilts that evolved between 1840 and 1910 are what we most often find today at flea markets and tag sales or in great-grandmother’s trunk. but an older example of a pieced paper-pat-tern patchwork quilt can be a real find—and testament that pieced quilts of great intricacy and color brightened american homes as early as the 1720s. This article has been adapted from Four Centuries of Quilts, by Linda Baumgarten and Kimberly Smith Ivey, to be published October 28 by The Colonial Williamsburg Foundation in association with Yale University Press. See information about the related exhibition in the Calendar of Events, page 74.

Photographs courtesy of The Colonial Williamsburg Foundation.


ALABAMAAlabama Frontier DaysNovember 5-9, WetumpkaRe-enactors and artisans demon-

strate trades and crafts during the early years of European and American explora-tion and settlement, 1700-1820. At Fort Toulouse/Fort Jackson Park. 334.567.3002. www.fttoulousejackson.org

Holiday Home Tour and Progressive DinnerDecember 13, Historic MooresvilleVisitors can walk through the decorated village to visit homes and shops similarly decorated and enjoy a progressive dinner. Registration required: 256.355.2683.www.mooresvilleal.com

CONNECTICUTAnnual Brookfield Festival of CraftsNovember 1, Brookfield

More than 60 juried vendors sell jewelry, pottery, folk art, furniture, wood crafts, and more. At Whisconier Middle School. 203.270.9461. www.brookfieldcthistory.org

The American Craftsmen ShowNovember 8-9, RidgefieldTwenty-five artisans sell furni-

ture, pottery, leather, and more. At Ridgefield Community Center.theamericancraftsmenshow.blogspot.com

Ridgefield Craft FairNovember 22, RidgefieldMore than 100 juried artisans

sell their work at the 44th annual show. At East Ridge Middle School. rwc-craftfair.com

DELAWAREDelaware Antiques ShowNovember 7-9, WilmingtonMore than 50 dealers sell American antiques and decorative arts. At Chase Center on the Riverfront. 800.448.3883.www.winterthur.org/das

ILLINOISChristmas On The Fox Art and Craft ShowNovember 29-30, St. CharlesArtists sell holiday folk art, handmade soap, wooden signs, and more. At Kane County Fairgrounds. 815.772.3279. www.artoftheheartlandinc.com

Julmiddag - Traditional Swedish Christmas Family DinnerDecember 21, ChicagoThe Swedish American Museum hosts a Christmas Smörgåsbord, and Tomten will be on hand to give julklappar (presents) to all the children. Pre-paid reservations required: 773.728.8111.www.swedishamericanmuseum.org

INDIANAChristmas Candlelight ToursDecember 5-6, 12-13, CharlestownCandles and fireplaces light the decorated home of John Work, where interpreters portray life in 1811. Live music and demonstrations are ongoing. At Historic Tunnel Mill. 812.606.1264.www.historictunnelmill.org

KENTUCKYChristmastide at Locust GroveDecember 5-6, LouisvilleLive music, dancing, and lively conversa-tions await guests in the great parlor. Re-cently harvested foods are prepared over an open fire. At Locust Grove. 502.897.9845. www.locustgrove.org

LOUISIANAForgotten LivesNovember 8, St. FrancisvilleLearn about the African American enslaved persons who worked at Oakley Plantation harvesting crops. Bake hoecakes in the hearth, dip a candle, and fashion a cornhusk doll. At Audubon State Historic Site. 225.635.3739.audubonstatehistoricsite.wordpress.com

MAINEHome for the Holidays Craft ShowNovember 28-29, Scarborough

The juried show features more than 90 artists and craftspeople. At Scarborough High School.www.societyofsouthernmainecraftsmen.org

MARYLANDAmerican Indian Heritage DayNovember 1, St. LeonardCelebrate Native American culture and history through crafts, storytelling, and music. At Jefferson Patterson Park and Museum. 410.586.8501. jefpat.org

Winterfest at SchifferstadtNovember 22, FrederickArtisans and crafters display their finest traditional handmade work. At Schifferstadt Architectural Museum. 301.668.6088.www.frederickcountylandmarksfoundation.org

MASSACHUSETTSIntroduction to New England FurnitureNovember 15, HaverhillThe workshop on 17th- to mid-19th-Century New England furniture focuses on regional styles, changing shop prac-tices, consumer patterns, craftsmanship,

MicrocosM of QuiltsTwelve quilts representing the diversity of styles made by American women from the 18th through 20th Centuries comprise a small but visually striking exhibition at the DeWitt Wallace Decorative Arts Museum at Colonial Williamsburg.

Several of the examples in A Celebration of American Quilts are new to the collection and have never been seen by the public. They showcase various techniques—from wholecloth to appliqué and piecing—and represent makers from many regions and ethnic groups, including Anglo-Americans, African Americans, Amish, and Hawaiians.

The exhibition offers a preview of the nearly 180 intricately stitched and patterned quilts featured in Four Centuries of Quilts: The Colonial Williamsburg Collection, written by museum textile curators Linda Baumgarten and Kimberly Smith Ivey. The book will be co-published October 28 by The Colonial Williamsburg Foundation and Yale University Press.

The exhibition opens on October 24 and remains on view through May 31, 2016. For information call 757-229-1000 or visit www.history.org

A detail from a cotton Honeysuckle quilt stitched by Ellen Ann Raywalt in 1857, Steuben County, New York, graces the book’s cover.

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Vol. XV No. 8 October 2014 www.journalofantiques.com

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Vol. XV No. 8 October 2014 www.journalofantiques.com

About the AuthorsLinda Baumgarten is curator of textiles and costumes at the ColonialWilliamsburg Foundation. She is the author of Eighteenth-Century Clothingat Williamsburg and What Clothes Reveal: The Language of Clothing inColonial and Federal America and coauthor of Costume Close-Up: ClothingConstruction and Pattern, 1750-1790. A graduate of the University ofWisconsin in textile related arts and the University of Delaware’s WinterthurProgram in early American culture, Linda has spent her museum careerresearching and publishing American costumes, textiles, and quilts as well asthe imported goods that influenced their designs.

Kimberly Smith Ivey is Colonial Williamsburg’s curator of textiles and historicinteriors and is the author of In the Neatest Manner: The Making of the VirginiaSampler Tradition. A native of Virginia, Kim began her museum career atColonial Williamsburg after graduating from the College of Williams andMary. In addition to collecting, cataloguing and exhibiting the textiles, quiltsand needlework in Colonial Williamsburg’s collection, she oversees the instal-lations and furnishing plans for the historic buildings.

Forward byRonald L. Hurst is the Carlisle H. Humelsine chief curator and vice presi-dent for collections, conservation, and museums at the ColonialWilliamsburg Foundation. The Art Museums of Colonial Williamsburginclude the Abby Aldrich Rockefeller Folk Art Museum and the DeWittWallace Decorative Arts Museum. The Abby Aldrich Rockefeller Folk ArtMuseum is home to the nation’s premier collection of American folk art,with more than 5,000 folk art objects made during the 18th, 19th and 20thcenturies. The DeWitt Wallace Decorative Arts Museum exhibits the best inBritish and American decorative arts from 1670–1830.

Page 34 The Journal of Antiques and Collectibles October 2014

FOURCENTURIES

of QUILTSThe Splendor and Craft of Quilts Spanning More Than 400 Years

More than 150 quilts from the world-renowned Colonial Williamsburg Foundation collection to be featured.

An accompanying exhibition to open in October 2014 at the Art Museums of Colonial Williamsburg.

Destined to be one of themost useful and visuallystunning references onquilts and quilting with

more than 300 color images, FourCenturies of Quilts: The ColonialWilliamsburg Collection by notedscholars Linda Baumgarten andKimberly Smith Ivey with a forewordby Ronald L. Hurst, will be pub-lished by the Colonial WilliamsburgFoundation in association with YaleUniversity Press on October 28,2014. As the authors comment in thebook about the significance of quiltsand why it is important to studythem today, “Quilt making tran-scends time. In addition to theirwarmth and beauty, quilts symbolizethe unique experiences and contribu-tions of women—both past and pres-ent. As…direct highways to the past,other cultures, and other peoples,quilts are important historical docu-ments. They are a wealth of informa-tion, as informative as a history class,and certainly more beautiful andenjoyable to study.”

Each quilt in the book is both awork of art as well as a historic doc-ument offering revealing clues to ourpast. The quilts in the ColonialWilliamsburg collection featured inFour Centuries of Quilts range fromlate 16th century works made inIndia and the Mediterranean forexport to the west to quilts made bywidely varying religious and culturalgroups in eighteenth- and nine-teenth-century continental Europe,the United Kingdom, colonialAmerica and, later, the UnitedStates. These latter examples fromthe 18th- to 20th-century America,reflect the multicultural nature ofAmerican society and were made byAnglo-American, Amish,Mennonite, Pennsylvania German,African American and Hawaiianquilt makers; they include boldlycolored and patterned worsteds andbrilliant pieced and appliquéd worksof art and pristine white bedcovers.

Exploring such topics as “What isa Quilt?”, “Quilt Names,” and “Quilt-ing and Society,” Four Centuries ofQuilts showcases exquisite examplesof not only works from the variousgeographic regions but also of popu-lar designs, including the Mariner’scompass and Star, as well as pieces inpure white and those in the classicred-and-white motif. Album quilts,“make do” utilitarian styles andquilts made for “show and admira-tion” (rather than for practical use)are all examined. The book alsooffers fascinating information aboutsome of the people who createdthese hand-made cloth master-pieces. Through 368 pages with 320color and 54 black-and-white illus-trations, this book is destined to bean instant classic. The publication ofFour Centuries of Quilts was madepossible by a generous grant fromMary and Clinton Gilliland and the Turner-Gilliland Family Fund of the Silicon Valley CommunityFoundation.

The authors, in their closingremarks to the book, comment:“Through the study of quilts, welearn about the evolution of stylesand fashion; social, political andeconomic issues of particular timesand places; and the importance offamily and community ties.”Perhaps their quote from MensieLee Pettway, a twentieth-centuryAfrican American quilt maker fromAlabama, best describes why quiltsremain so significant throughoutthe centuries: “A lot of people makequilts just for your bed, for to keepyou warm. But a quilt is more. Itrepresents safekeeping, it representsbeauty, and you could say it repre-sents family history.” For anyonewho has ever admired a quilt, cher-ished one that has been passed downthrough their family, studied quiltsand historic textiles or personallycreated one, Four Centuries of Quiltsis a must-have addition to theirlibrary.

Four Centuries of Quilts: The Colonial Williamsburg Collection

By Linda Baumgarten and Kimberly Smith IveyForeword by Ronald L. Hurst. Published by the

Colonial Williamsburg Foundation in association with Yale University Press.

368 pages, 320 color and 54 black-and-white illustrations. ISBN: 9780300207361

Photo courtesy of The Colonial Williamsburg Foundation

October 2014 The Journal of Antiques and Collectibles Page 35

To commemorate the beauty anddiversity of American quilt mak-ing over the span of three cen-turies, an exhibition featuring

twelve superb examples from the ColonialWilliamsburg Foundation collection willofficially open on October 24, 2014, at theDeWitt Wallace Decorative Arts Museum,one of the Art Museums of ColonialWilliamsburg. A Celebration of AmericanQuilts accompanies Four Centuries ofQuilts, a landmark book to be co-publishedby the Colonial Williamsburg Foundationand Yale University Press. Curated by thebook’s authors and ColonialWilliamsburg’s noted scholars, LindaBaumgarten and Kimberly Smith Ivey, theexhibition will represent the breadth of theAmerican quilts in this collection.

“The Colonial Williamsburg Founda-tion has built an outstanding collectionof early textiles over the last eighty years,but quilts are among the great strengthsof the assemblage,” said Ronald L.Hurst, the foundation’s Carlisle H.Humelsine Chief Curator and vice presi-dent for collections, conservation, andmuseums. “Our holdings representeverything from formal eighteenth cen-tury whole-cloth quilts to more abstractfolk art quilts of the twentieth century.

Curators Linda Baumgarten and KimIvey have wrung a remarkable body ofinsight from these objects during the lastthree decades.”

Americans made quilts in variousstyles and techniques, which ranged fromsubtle white or solid-colored wholeclothexamples to lively pieced and appliquédworks of art. Some quilt makers madetheir elegant works with new textiles.Others “made do” and recycled old cloth-ing and household furnishings for theirquilts. Quilt makers produced theirpieces for different reason: for some, itwas their artistic outlet; for others, theymade gifts for their loved ones. Still otherquilt makers made their quilts simply tokeep their families warm using whatevermaterials were available. A Celebration ofAmerican Quilts explores the rich varietyof quilt making in this country and drawsexamples from across the land with exam-ples from Virginia to Hawaii, NewHampshire to Alabama and Maryland toIndiana.

As Linda Baumgarten, the ColonialWilliamsburg Foundation’s curator oftextiles and costumes, states, “Americanquilts symbolize in a beautiful way thediversity of Americans, because each

Continued on page 36

Maine Crazy Quilt, Lena Coffin (Later Mrs. Emery Farnsworth) (1876–1951) and Irene Baumgarten, 2011.,609.3

Baltimore Album Quilt, Maker(s) unknown, Baltimore, Maryland, Region, ca 1850Cottons; ink inscriptions; cotton tape; silk embroidery threads, 10–12 running stitches per inch

90 1⁄2 x 91 1⁄2 in. (230 x 232 cm). Gift of Foster and Muriel McCarl, 1976.609.6

Tulip Cross Crib Quilt, Member of the Richter Family, possibly Anna RichterSunman, Ripley Country, Indiana, 1850–1860

Cottons; cotton embroidery threads, 8–11 running stitches per inch45 1⁄8 x 35 1⁄8 in. (115 x 89 cm) Museum Purchase, 1985.609.1

A Celebration of American Quilts Opens October 24, at the Art Museums of Colonial Williamsburg

All photos courtesy of The Colonial Williamsburg Foundation

The Journal of Antiques and Collectibles October 2014

maker brought her own history andculture to the process of making herquilt. Viewers today share in thoselives when they view and appreciatethese works of textile artistry.”

Among the highlights of ACelebration of American Quilts is awholecloth quilt, probably made inNew Hampshire between 1750 and1800 by an unknown quilt maker.Many women of the time createdwarm and attractive wholeclothbedcovers using fine worsted wooltextiles for the tops. They stitchedlengths of woven fabric together tomake a single piece large enoughfor the entire top. This textile waspressed after weaving by the textilemanufacturer to give a glaze thatrivaled silk in sheen. The glazingprocess made the textiles perma-nently shiny and crisp andenhanced the visibility of the quilt-ing. With wholecloth quilts, thesubtle decoration came entirelyfrom the stitches that held the layerstogether. Although the oversizeleaves and flowers of this designappear to be stuffed or raised withextra filling, no additional battingwas added beyond a layer of wool fiber spreadevenly throughout the quilt. The stuffed appear-ance occurs because the background diagonallyquilted lines pull the textile in, causing the non-quilted areas to puff up. Bright colors were typicalin the eighteenth century.

By contrast to the worsted wholecloth quilt, aKentucky quilt maker working between 1930 and1950 created her work-clothes quilt out of denimcottons. As thrifty housewives knew, textiles and

quilt-making materials could be expensive so theyoften recycled old clothing and home furnishings.Few quilts exemplify this concept of “making do”better than this practical, sturdy and warm quilt.Using old denim overalls and jeans, removing thepockets to reveal less-faded colors underneath andreassembling the flattened pieces to make a quilttop, this practical maker tied the quilt throughheavy cotton batting and backed it with fertilizersacks and barely legible words turned to the inside

of the quilt. When timeswere tough, it was commonfor women to use sturdy feedsacks for quilt backings, dishtowels and even children’sclothing. While the maker ofthis quilt has not been iden-tified, it was common forfarm women to make utili-tarian quilts using old denimwork clothes.

Another featured quilt inA Celebration of AmericanQuilts is the Log CabinVariation Crib Quilt madebetween 1890 and 1910 byan unknown quilter, proba-bly a Mennonite womanfrom the Shartlesville vicini-ty in Berks County,Pennsylvania, using wools,cotton-wool mixtures andcotton. This visually dynam-ic pieced quilt features radi-ating strips of fabric thatcombine to form a patternusually known as WindmillBlades, a variant of the LogCabin pattern. It combineswoven plaids, printed dotsand solid wool, cotton andmixed textiles, all of which

were pieced by hand. The hand-quilting stitches,which follow the pattern design, are not readilyvisible on the front. Most of the Mennonites inPennsylvania were originally German-speakingpeople from Europe. Like their Amish neighbors,Mennonites have retained their strong Christianfaith, wore relatively plain clothing and held to beliefs in nonviolence and service to their-community. However, from the beginning,Mennonites tended to assimilate into the broadercultural group. This tendency is reflected in theirquilts that use printed textiles and patterns thatwere current among more mainstream quiltmakers.

“Each quilt has a unique story,” said KimberlySmith Ivey, Colonial Williamsburg’s curator of tex-tiles and historic interiors. “For example, spinstersisters Christiann and Ann Margaret Rauch ofFranklin County, Pennsylvania, marked twoappliquéd quilts with their initials and the date1849 for their two young nephews, the sons oftheir widowed younger sister. The bond of sister-hood is an intertwining theme throughout the col-lection and is further highlighted in Four Centuriesof Quilts.”

The twelve quilts shown in A Celebration ofAmerican Quilts are but a few of the nearly 180quilts featured in Four Centuries of Quilts. TheColonial Williamsburg Collection.

The Art Museums of Colonial Williamsburginclude the Abby Aldrich Rockefeller Folk ArtMuseum and the DeWitt Wallace Decorative ArtsMuseum. The Abby Aldrich Rockefeller Folk ArtMuseum is home to the nation’s premier collectionof American folk art, with more than 5,000 folkart objects made during the 18th, 19th and 20thcenturies. The DeWitt Wallace Decorative ArtsMuseum exhibits the best in British andAmerican decorative arts from 1670-1830. Formuseum program information, telephone 757-220-7724.

Continued from page 35

Hexagon-Pieced Cotton Quilt Top, Ancestor of Tasha Tudor (Born Starling Burgess), New England, 1800–1840Cottons; papers, linen; Wool embroidery threads, 83 x 72 in. (211 x 183 cm) Gift of Tasha Tudor, 2000–131

Log Cabin Quilt TopRelative of Helen Edmonia McWorter Simpson

(Mrs. Gordon Henry Simpson), Possibly Anna Jane Parker (Mrs. Charles E. Parker) (b. ca. 1841),

Missouri or Illinois, 1875–1900, Silks, Cottons 781/2 x 74 in. (199 x 188 cm)Gift of Jean and Jerry Jackson, 2012.609.1

Lone Star QuiltIndiana Bendolph Pettway (1913–1996)

Gee’s Bend, Alabama, ca 1970Cotton, polyester, 3–4 running stitches per inch

80 x 79 1⁄2 in. (203 x 202 cm)Museum Purchase, Dr. and Mrs. T. Marshall Hahn Jr. Fund,

2008.609.8

Don’t Miss the Boat!Advertise in our

November 2014 IssueDeadline October 7

Call 888- 698- 0734 to reserve your

space today!

Page 6 The Journal of Antiques and Collectibles October 2014

This Month’s CoverOne of twelve quilts featured atthe Art Museums of ColonialWilliamsburg and accompaniedby a landmark book, this beauti-ful Star Quilt is by an unknownMennonite or Amish makerfrom Pennsylvania or Ohiobetween 1920-1960. Museumpurchase funded by the AntiqueCollector’s Guild, 1979.609.2.

See page 34 for more informa-tion on the book and exhibit.

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http://www.vagazette.com/news/va-vg-retired-gen-anthony-zinni-tough-on-white-house-in-colonial-williamsburg-talk-about-new-book-20140926,0,1206390.story?page=2

Retired Gen. Anthony Zinni tough on White House in Colonial Williamsburg talk about new book

September 26, 2014

WILLIAMSBURG – The book retired Marine Gen. Anthony Zinni intended to write is a far cry from “Before the First Shots are Fired,” his just-released examination of the impact of decisions made by U.S. military leaders long before conflict erupts.

Many appreciate Zinni for his change of heart.

“I started to write about the soldiers,” Zinni told a crowd of about 200 people Monday at the Williamsburg Lodge. The recent addition to Colonial Williamsburg’s Board of Trustees was the featured guest as part of the foundation’s annual speakers series. “The decisions happen on a higher level – by the suits and skirts.”

He has little patience for the last two administrations in Washington, those of George W. Bush and Barack Obama. He called them “sorely wanting on how we used our military.”

Zinni quickly qualified that his remarks had no political undertones.

“I tried both parties,” he said. “A pox on both their houses.”

In the book Zinni recalls joining the Marine Corps in 1961 as an 18-year-old. “I would have told you that wars are entirely decided on the battlefield.” By the time he retired four decades later, his assessment had changed.

“I had come to realize that there’s more to it than that. Political decisions, intelligence estimates, strategies and many other non-battlefield components influenced outcomes to a far greater degree.”

Zinni noted that the causes of wars and conflicts are less clear cut than in America’s past.

“What takes us to war?” he asked. “On 9-11 and at Pearl Harbor it was clear. Sometimes it’s fuzzier. There’s the WMD that wasn’t there, or the Gulf of Tonkin” in August 1964.

http://www.vagazette.com/topic/unrest-conflicts-war/defense/u.s.-military-ORGOV000021106.topic

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http://www.vagazette.com/news/va-vg-retired-gen-anthony-zinni-tough-on-white-house-in-colonial-williamsburg-talk-about-new-book-20140926,0,1206390.story?page=2

Two days after the USS Maddox returned fire against three North Vietnamese torpedo boats in the gulf, the ship claimed another attack. It led to a resolution passed by Congress that allowed President LyndonJohnson to openly attack North Vietnam. In 2005 aNational Security Agency study was declassified, revealing no North Vietnamese vessels were present during the second alleged engagement.

Zinni methodically recounts missteps and misuse of the military in conflict after conflict.

During a mission to Iraq, “I wrote down 56 things the military was doing that had nothing to do with the military,” Zinni recalled.

He also cautioned against a blind reliance on technology to fight wars.

“We’re beginning to think there’s an easy war,” he said, a reference to unmanned drones as a way of conducting military operations. “We have to be careful about the kind of force we build. We are dangerously unbalanced; too much reliance on technology.”

Leadership in the White House can have a distinct effect on the country’s military strength. Zinni referred to it as the “Battle of the Narative,” saying “the message is critical. Both FDR and Ronald Reagan were fatherly figures. "Do we have our ‘father’ in the White House?" he asked rhetorically.

“What bothers me,” Zinni concluded, “is when a president licks his finger, sticks it up, then tests the political wind” before making a decision.

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http://www.vagazette.com/topic/politics/government/presidents-of-the-united-states/lyndon-b.-johnson-PEHST000117.topic

http://www.vagazette.com/topic/politics/defense/security-measures/national-security-agency-ORGOV0000104.topic

http://www.vagazette.com/topic/politics/government/executive-branch/white-house-PLCUL000110.topic

http://wydaily.com/2014/09/25/cw-to-mark-star-spangled-banner-200th-anniversary?cat=hometown/

CW to Mark Star-Spangled Banner’s 200th Anniversary

By WYDaily Staff

September 25, 2014

Celebrate the 200th anniversary of the text of national anthem in Colonial Williamsburg this Saturday.

The Art Museums of Colonial Williamsburg will commemorate the bicentennial of “The Star-Spangled

Banner” with new educational programs and entertainment for all ages.

Events will be held in Hennage Auditorium, and museum admission is required in addition to individual

program fees.

Star-Spangled Banner activities:

See a director’s cut screening of the new documentary film “ANTHEM,” which deals with the

relationship between music and patriotism in the War of 1812 and examines the work of Francis Scott

Key, who penned the lyrics to the anthem. The film will be followed by a question-and-answer session

with the executive director, Mark Hildebrand. 10:30 a.m. and 4:30 p.m. $5.

Costumed musical interpreters David and Ginger Hildebrand will present “The Story of our National

Anthem,” a group songwriting activity for families. They will showcase music and instruments of the

early 19th century and how they played into the creation of “The Star-Spangled Banner.” 12:30 p.m. $2.

Steve Vogel will speak on the pivotal period of 1814 that culminated with the Battle of Baltimore. Vogel

is a former Washington Post national reporter, veteran war correspondent and author of “Through the

Perilous Fight: Six Weeks that Saved the Nation.” The book will be for sale and Vogel will sign copies

after his talk. 2:30 p.m. $5.

Programs conclude with David and Ginger Hildebrand in an adult review of the songs that bolstered

American spirits during the war and led to the setting of Key’s poem to music. 7 p.m. $15.

http://wydaily.com/2014/09/25/cw-to-mark-star-spangled-banner-200th-anniversary?cat=hometown/

Tickets to the museum and to events are available at the Visitors Center, the ticket office opposite

Merchants Square, the Lumber House and the Art Museums’ gift shop, as well as online or by calling

855-296-6627.

Museum admission is $12.95 for those ages 13 and older, $6.50 for children ages 6-12, and free for

children younger than 6.

Good Neighbor pass members, ticket holders for the Early Music Festival this week, and active duty

military members and their dependents can purchase a $20 event bundle ticket good for Vogel’s talk,

the 4:30 p.m. documentary showing and the musical review, with no museum admission required. The

bundle ticket must be purchased in person at a Colonial Williamsburg ticketing location.

Join Colonial Williamsburg’s Edward

Joyner every Friday at 4:15 pm for

Career Corner

Tune in to WMBG AM 740

http://www.wmbgradio.com/

http://www.wmbgradio.com/

the colonial williamsburg foundation earned media coverage - october 2, 2014

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