Inspired by Karen Stone

I'm on cloud nine. I just bought a quilt made using a well-known Karen Stone pattern called "Lady Liberty Goes to Hawaii" from the 2004 Electric Quilt Company book Karen K. Stone Quilts (ISBN 1-893824-27-6). Marita Wallace, long-arm quilter and owner of Rather-Bee Quilting Service in San Diego, California, made the quilt and had it for sale on Etsy. Wallace taught herself to quilt reading books by Eleanor Burns. She has pieced tops for 25 years and worked as a long-arm quilter for the last ten years.

Marita Wallace's version of Karen Stone's "Lady Liberty Goes to Hawaii"

Using Stone's book as a guide, Wallace put her own spin on things. Her version is slightly larger and less symmetrical than the 1996 quilt pictured in Stone's influential book. Wallace's quilt has eight blocks in one direction and seven in the other. Stone's quilt is six blocks in either direction. The border and corners are done the same way, but the overall organization of the blocks is somewhat shuffled in Wallace's quilt. The other immediately evident difference is the color scheme, which in Wallace's quilt seems more like the wonderfully exuberant palette in Stone's 2004 Cinco de Mayo quilt.

Wallace's quilt is the second modern-day New York Beauty quilt in my collection. I also have a quilt made by Nancy Tanguay, purchased through Etsy.

New York Beauty, 2010, by Nancy Tanguay, Warren, Connecticut

The quilts made by Tanguay and Wallace, plus other ephemera including a small unfinished batik kit quilt top will represent the modern evolution of this pattern in my upcoming exhibit, Beauty Secrets: 150 Years of History in One Quilt Pattern. With more than 30 quilts in the group and space to show maybe 20 quilts at the Benton County Historical Museum, I'm still deciding what will go in the show. Having a quilt made with one of Karen Stone's patterns will definitely boost the show's history narrative.

Stone is a key figure in the recent wave of the New York Beauty quilts, and her contributions are multifaceted. Her quilts involve foundation piecing, vibrant colors, new ways of setting the blocks, and a dazzling mix of variations on the basic spiked wedge. The blocks, traditionally set as spiked quarter circles wedged in the corner of a parallelogram, are now turned inward and pushed together to form stacked and swirling circles.

Border detail of quilt made by Marita Wallace using Karen Stone's pattern.

The sawtooth sashing seen in the mid to late 19th century and early 20th century is no longer present between blocks, but often present as evolved elements in the borders. In "Lady Liberty Goes to Hawaii" the border plays with two alternating versions of one spike block by shifting the position of the narrow strip from the base of the points to the tips. Stone's quilts are revelations, and influential to Oregon artists  Valori and Jean Wells of the Stitchin' Post in Sisters, Oregon. Both artists used the spiked, circular shapes as pictorial elements in their quilts, and Valori wrote a book called Radiant New York Beauties. She acknowledged Stone as a source in the credits of the book.

Detail of quilt made by Marita Wallace using Karen Stone's pattern.

When asked about her experience making a quilt using a Karen Stone pattern, Marita Wallace had very good things to say. "I really loved Karen's book, and her patterns, as well, "said Wallace. "Yes, they are quite challenging, but she explains everything so clearly and her templates are just amazingly accurate and well constructed.  I used the freezer paper method to cut the arc pieces. I can't say enough about how impressed I am overall with her ability to explain things in such a way that just inspired me to do my best and take the plunge, knowing I can trust her methods."

As a preview for my show at the Benton County Historical Museum which opens on August 5th, I will be doing a talk at the Northwest Quilters Show on Friday, March 11th at noon. The show runs from March 10th through the 12th at the Portland Metropolitan Exposition Center at 2060 North Marine Drive, Portland. The Oregon Quilt Project will also be at the show documenting quilts on Saturday, March 12th. For information on volunteering or making appointments to get your quilts documented, check out the Oregon Quilt Project Calendar.

Signs of Age

The quilt has a tiny cross-stitched inscription (click to enlarge)

How do you know when a quilt is old - really old? There are always signs of age. Sometimes these signs are apparent in the condition - fading, bleeding, foxing, fraying, discoloration, deterioration, stains, and the overall patina of the quilt. Other times, age is evident in the details of the construction.

Wool Economy Patch, c. 1810, New England

I've wanted more information about this old wool Economy Patch quilt ever since I first acquired it. The dealer was rather secretive about where it had come from, with the exception of a few details. It was supposed to be from New England, made in the early 19th century, and possibly included late 18th century fabrics. The quilt had some signs of age related to condition - frayed binding, a couple small holes, and minor bleeding.

The quilt is bound with loosely woven, hand-loomed wool twill tape

When offered the option of restoring the quilt, particularly the binding, I said no without even hesitating. One of the things I really loved about the quilt was its original, untouched condition. Even though the binding is frayed and unraveling in spots, there is no way any other binding would've looked right to me. I'd never seen this type of tape binding. It looked old - really old.

Twill binding from an 1810 coverlet recently viewed on eBay

Over the years, there have been one or two doubters who didn't believe my quilt was from 1810. One person suggested it could be from 1840, but that idea just didn't make sense to me. The quilt resembled nothing I'd ever seen from the mid 19th century. As I've continued to look for clues, something popped up on eBay this week. A listing for a Pennsylvania double weave coverlet, c. 1810, had a detail photo with the same type of hand-loomed twill binding.

I've always believed the twill binding on my quilt was a sign of age, and it's caused me to look closely at other details. The back of the quilt is woven coverlet fabric. I've heard it called a "colonial overshot" coverlet, but haven't consulted with enough weaving experts to verify it.

One other detail that's recently piqued my curiosity is a tiny cross-stitch inscription (pictured at top). I'd had the quilt for a year or two before I realized there was an inscription. It's difficult to read, and I'm not sure if I'm looking at it right side up or upside down, but I believe it says JPA with a 6 underneath. The style of lettering is very much like what I've seen in mid to late 18th century and early 19th century samplers.

Letting from a cross-stitch sampler, c. 1760

Of course, now I'm wondering if the style of lettering in the inscription is another sign of the quilt's age. I have a feeling it may be.

Missing Links to Mystery Pattern

Two North Carolina quilts on the Quilt Index

I've blogged about the quilt I am donating to the International Quilt Study Center and Museum (IQSC), and how it will join the only other quilt I'd seen with the same pattern. Well, yesterday the number of quilts I've seen with this pattern doubled. It was one of those revelations that keeps research going, and the exciting thing about the discovery is maker's names associated with both quilts. I will pass this research along to IQSC when the quilt goes to them in the near future.

The discovery came when I was researching the elongated diamond sashing among North Carolina made Rocky Mountain Road / Crown of Thorns (New York Beauty) quilts. I was looking for something to support the idea that quilts with brown and teal (or blue) were made in North Carolina, and searched through all North Carolina quilts made between 1850 and 1900. Although I couldn't find enough information to identify the teal green/blue and brown as a strong tendency among North Carolina quilts, I found these two quilts.

The first of the two North Carolina quilts (pictured, top left) is the closest match in terms of color scheme and applique design. This quilt was made by Julia Pearce of North Carolina between 1876 and 1900 and the pattern is not identified. The second quilt (pictured, top right) was made by Molly France Phillips of Yadkinville, Yadkin County, North Carolina, also between 1876 and 1900, and the pattern is called Palm Leaf.

My quilt (pictured, above right), had been loosely attributed as Kentucky, 1845. However, some have thought it was made later, in the 1870's. The quilt at IQSC (pictured, above left) is called "Kentucky Tobacco Leaf" and is dated 1860-1880. According to the notes, it is "possibly made in Kentucky" but not verified as such. The same IQSC quilt, when published in Robert Shaw's "Quilts: A Living Tradition" is dated 1850.

To summarize what I now know, at least four quilts with this pattern exist. The two quilts with the most specific family and maker's information were made in North Carolina between 1876 and 1900. The two quilts with approximated information had been attributed as Kentucky made between 1845 and 1880. Three of the four quilts are four block quilts, roughly square. One has two extra half-sized panels. There are variations in the colors, sashing construction, cornerstones, and mostly subtle variations in the applique design. Of the four quilts, the applique design in Molly France Phillips' quilt is most dissimilar.

If anyone else has seen other quilts with this applique pattern, please comment below.

Elongated Diamond Sashing - A Regional Trait?

I've been curious about the location origins of a quilt I bought in the last year, and found some interesting information on the Quilt Index. The quilt is a Rocky Mountain Road / Crown of Thorns from the 1860's, a pattern that was later called New York Beauty, and one of its distinguishing characteristics is elongated diamond sashing.

The quilt once belonged to Susie Tompkins of Esprit, who purchased it from America Hurrah in New York in the early 1990's. I bought it from Tompkins, through Julie Silber of The Quilt Complex. Whenever I see an early quilt of this pattern, I usually think it could be from Tennessee or Kentucky. It's a southern pattern, and many of the great early examples on the Quilt Index were documented in Kentucky or Tennessee. However, the information I found on the Quilt Index suggests this quilt could be from North Carolina.

Six North Carolina quilts with diamond sashing made from 1850-1900

There are just six quilts on the Quilt Index made between 1850 and 1900 with elongated diamond sashing done in rows. All six were documented in North Carolina. Shared characteristics include the white background, red spiked quarter circles, borders, and blue or green elongated diamond sashing. These six quilts share two primary characteristics that are not present in my quilt. They are all square, and all have sunburst-in-square cornerstones. My quilt is rectangular and has no cornerstones.

Block and sash detail of damaged quilt from an eBay seller in Indiana

I have one other quilt in my collection with this type of sashing. It is the damaged quilt featured in my film, Beauty Secrets. It came from an eBay seller in Indiana and dates from the 1870's, but the location origin is unknown. The quilt is rectangular, it has three colors with a white background, two-color sunburst cornerstones, and border.

Quilt pictured from Cindy Rennels' web site

Where else have I seen this sashing? Just one place: quilt dealer Cindy Rennels has one for sale. The quilt is attributed as being from Georgia, although it could have been collected there and made elsewhere. This quilt is also rectangular, with three colors on white, two-color sunburst cornerstones and border.

If you're counting, that's nine Rocky Mountain Road / Crown of Thorn quilts I've seen with the elongated diamond sashing. Several other examples exist with sashing that looks like elongated diamonds but is actually pieced points on a central strip. Those quilts were not included in this search result. Six of the quilts with true elongated diamond sashing come from North Carolina, and the other three are either unattributed or loosely attributed to other places.

So, what are the implications for the unidentified quilt from America Hurrah and Esprit? I believe I should say it is "location unknown, possibly from North Carolina" in my notes. From here, attributing this quilt to a location will depend on other characteristics. The color scheme, for example, is a rusty brown and Prussian blue on beige or cream. The quilting is dense, decorative and masterfully executed. These traits could point to North Carolina, as well as Kentucky, Tennessee, and other southern states. It is unclear whether or not any of these characteristics will ultimately lead to a more specific place of origin, or if the lack of cornerstones and rectangular shape of the quilt will support the idea about North Carolina.

What do you think? Have you seen the elongated diamonds in other quilts of this pattern? If you have, please comment.

Coming Soon: Northwest Quilters Show at Expo Center!

A pair of Rocky Mountain Road / Crown of Thorn quilts will be displayed.

The Northwest Quilters annual quilt show will take place at the Expo Center in Portland on March 10-12, and I'll be there. I am showing two antique quilts, possibly a few others, and will speak on Friday, March 11th around noon. I will also be at the show on Saturday documenting quilts with the Oregon Quilt Project.

The antique quilt display will include a pair of late 19th century Rocky Mountain Road / Crown of Thorn quilts. This pattern is more commonly known as New York Beauty, a name coined by the Stearns and Foster Mountain Mist company in 1930. But both of these quilts were made when many names were associated with the pattern.

These two quilts are part of a collection of 30 quilts made with the pattern or a variation. They directly relate to my Friday talk "Beauty Secrets: 150 Years of History in One Quilt Pattern", and serve as a preview for my "Beauty Secrets" quilt exhibit at the Benton County Historical Museum from August 5 - October 1, 2011. There will be about 20 quilts in that show, and there will be a catalog.

The antique quilt display at the Northwest Quilters show will be the backdrop for the Oregon Quilt Project documentation day on Saturday, March 12 from 10AM to 4PM. Quilt owners are invited to bring as many as two quilts, which will be documented at appointed times. To make an appointment to have your quilt documented, please contact Martha Spark at: mspark@frii.com. We are also looking for volunteers interested in quilt history. If you're interested in volunteering, contact Jackie Nance at: jnjnance@comcast.net.

Rare Example of a Popular Pattern

My collection doesn't contain a lot of Depression era quilts. In general, I've had a tendency to think of these quilts as rather common. Most examples are not old enough to be considered bona fide antiques, and the colors are usually a little soft for my taste. Over the years I've seen thousands of Double Wedding Rings, Grandmother's Flower Gardens, Dresden Plates and Sunbonnet Sues, all very popular Depression era patterns, for sale on eBay. But since I look for unusual quilts with bold colors, I usually scroll past all the Depression quilts. "Seen one, seen 'em all," I thought.

I'm happy to admit I was wrong about that. To rely on the old idiom, no matter how big the barrel of milk, the cream always rises to the top. There may be a gazillion Depression era quilts in America, but the massive popularity also produced rare, elevated, masterpiece examples. Among Depression era quilts, the pattern I've always enjoyed most is the Double Wedding Ring. The popularity of the pattern intrigues me, considering the difficulty involved with piecing curved seams.

Most of the time, Double Wedding Rings are made with scrappy, pastel colored print fabrics on white. Every so often, though, I'll see one with made with a solid color background. Usually, I see butter yellow, Nile green, or lavender. Very rarely, I've seen a few with a blue background.

This wonderful Double Wedding Ring quilt was offered to me by a lovely lady named Ann Krueger, who had been present for my December talk at the Northwest Quilters meeting. Ann e-mailed me because she had two quilts a friend had asked her to sell, and she wanted to know if I was interested. I asked her to bring them to the next meeting, and when I arrived late, she'd already found someone who was interested in one of the quilts. The quilt that was still available was this Double Wedding Ring with a light cornflower or periwinkle blue background. It had immediate and great appeal to me.

So there it was, staring me in the face, the cream of the crop. I mentioned to Ann that I don't often buy Depression era quilts, but the quilt was a nice one and I'd consider buying it. She said she'd sell it for $100, and I agreed to buy it. We both felt it was worth more than $100, but her friend really just wanted it to have a new home. Last night, at the Northwest Quilters meeting I gave her the money, she gave me the quilt, and I returned home with a superb addition to my very small selection of Depression era quilts.

Late last night, I was curious about the rarity of the blue background, so I took a spin through the Quilt Index. There were dozens of Double Wedding Rings, mostly on white backgrounds. I saw a few of the yellow, green, and lavender background quilts, and just a handful with blue backgrounds. Of that group, it was interesting to note that most had the same type of scalloped edges, and a couple had the same Nile green and lavender four-patch on point cornerstones. One was an unfinished top. The one I'd just bought seemed to stand out among that group, too.

During a recent visit with Mary Bywater Cross, I asked Mary if she had any idea why such great quilts always seem to find me. We chuckled about it and called ourselves quilt magnets.

Speaking of magnetic forces, Mary Mashuta spoke at last night's Northwest Quilters meeting. Her presentation was wonderful! Later, during show and tell, I showed the MacMillan family quilt from the Kentucky Quilts book and plugged the Oregon Quilt Project documentation day at the upcoming Northwest Quilters show in March. I offered to stick around at the end of the meeting if anyone wanted to see the quilt up close. As soon as the meeting adjourned, Mary Mashuta jumped out of her seat and made a beeline to me. She seemed intrigued, having mentioned that she draws inspiration from old quilts. We talked briefly, and she asked if I would be interested in doing a presentation to her guild in the Bay Area. I said, "Sign me up!"

Ding-ding-ding-ding - Bargain!

It's Valentine's Day, and I love eBay! Last week, I bid on this quilt and won it for just $62. Ding-ding-ding-ding - bargain! I bought my first wool utility quilt around 2001, and since then I've found a few really wonderful wool quilts. This one was being sold as a "Victorian Wool Patchwork Crazy" but it looks like nothing you might expect from the Victorian era. To my eye, it looks more like a southern utility quilt in the same freeform, improvisational style as a Gee's Bend quilt.

The quilt came from a seller in Baltimore. It is made of irregular patches, with mostly dark blues, greens, grays, and purples, and a touch of pumpkin/mustard. It is backed and bound with plaid flannel. There are three small holes on the front side, a few other small repaired holes, and a red stitched inscription in the center. The inscription appears to be a "96" and I'm not sure if it's meant to represent the year 1896, but if so, it would be a very early example of a wool utility quilt. Regardless of its true age, the quilt sings and dances. What a wonderful Valentine's Day treat!

Small Wonders Open House Tomorrow!

Carolina (Carolyn Platt), April, 2003

Small Wonders: Doll Quilts by Andrea Balosky is now showing at the Latimer Quilt and Textile Center in Tillamook, Oregon, and tomorrow there is an open house from 112 noon to 4pm. The show includes 86 of the more than 100 quilts in Balosky's joyful body of work, created between 1999 and 2003. Also on display are selected dolls and doll beds from the collection of Merrily Ripley of Port Angeles, Wash., owner of the doll quilts.

Latimer Quilt and Textile Center - formerly the Maple Leaf School, where generations of Tillamook children grew up - is an ideal setting for the show of doll quilts. The show is bursting with color, pattern, and youthful exuberance. And just like the individual school children, the quilts all have individual names. 

Walt Whitman, July, 2002

Some quilts are named for friends and family. "Carolina" is named for one of Balosky's dearest friends, Carolyn Platt. "Dewey" is named for neighbor Dewey Carpenter, and "Miala" is the artist's mother. Other quilts are named for well-known and well-loved individuals ranging from poet Walt Whitman to animated cartoon heroine Marge Simpson. 

The gallery is in the space that once functioned as the Maple Leaf School's auditorium, and the stage is draped with two clotheslines full of quilts. This display is reminiscent of the method Balosky once used to show quilts to her local group, the Pine Needlers of Camp Sherman, Oregon.

The Latimer Quilt and Textile Center is located in Tillamook at 2105 Wilson River Loop Road. The center offers a wide variety of gifts and consignment items from local artists. Admission is $3.00, free for members and children under six, and $2.00 for groups of ten or more. If you cannot attend the show, the show can come to you. Small Wonders is accompanied by a full-color, softcover 120-page catalog for $26.95, available online through Blurb. To order a catalog, click here. 

The Mystery Deepens

Plate #25 from the 1988 Quilt Engagement Calendar

Mary Bywater Cross sent me a picture of Plate #25 in the 1988 Quilt Engagement Calendar, and although the quilt is not one of the two Couchman/Small album quilts, it raises more questions.

Detail from Mary Couchman Small album, c. 1850, Martinsbutg, WV

Both Couchman/Small album quilts descended through the family of one of Mary's other daughters, Harriett's sister, Elizabeth Jane Small Sperow. So, now I'm wondering if Elizabeth lived in Parkersburg, West Virginia at any time. If so, I wonder if she copied the design from Mary and Harriett's quilts. I've only ever seen this variation on the coxcomb pattern on these three quilts, and all three are from West Virginia.

The mystery deepens...

Revisiting the Coxcomb

On Saturday, the Oregon Quilt Project held a documentation day at the Willamette Heritage Center / Mission Mill Museum in Salem, and there was a coxcomb quilt that had been identified as "The Olive Branch" - a pattern published by the Ladies Home Journal, which appears in Barbara Brackman's Encyclopedia of Applique as pattern #43.74. 

When I saw the quilt, I couldn't believe anyone would call the pattern an olive branch, because olive branches and coxcombs bear no botanical resemblance to each other. So, I looked it up.

OQP # 2011.02.041 was called "The Olive Branch" BB#43.74

I had, and still have, a lot of doubts about calling the pattern "The Olive Branch". In my mind, it's clearly a coxcomb. When I was searching through the Encyclopedia of Applique, I came across another pattern, #43.78, an unnamed pattern from plate #25 in the 1988 Quilt Engagement Calendar, which was almost identical to the pattern seen on the Mary Couchman Small album quilt in my collection (pictured at top).

Interesting!

So, I'm wondering if anyone out there has a 1988 Quilt Engagement Calendar they could check for me. If the quilt pictures in plate #25 is one of the two Couchman/Small family quilts, it could help me in my research. If it happens to be the quilt I own, it would be particularly enlightening. I know my quilt was part of Sandra Mitchell's collection around 1995, when it was published in Shelly Zegart's book American Quilt Collections: Antique Quilt Masterpieces, but one of the biggest mysteries I've yet to solve is when Mitchell acquired it from the family. 

Any leads appreciated!

Small Wonders at Latimer Quilt and Textile Center, Tillamook

Small Wonders: Doll Quilts by Andrea Balosky is now hanging at the Latimer Quilt and Textile Center in Tillamook, Oregon. The show officially opens on Monday, February 7th, but anyone who visits over the weekend will be able to see more than 80 quilts on display.

Between 1999 and 2003, visionary artist Andrea Balosky of Camp Sherman, Oregon made more than 100 doll size quilts. The official body of work was meant to contain 108 quilts, a number meaningful in Buddhism, but there are more like 116 total, and about 85 will be on display through the month of February.

The quilts were purchased by doll collector and international adoption advocate Merrily Ripley to help fund the artist's journey to Darjeeling, India, in the Himalayas, where she now lives and studies Buddhism. Ripley and Balosky bonded during an adoption mission when the two were stranded in Ethiopia during 9/11. The show includes an ethnically diverse selection of dolls, as well as cradle beds spanning the generations - all from Ripley's incredble collection.

Two of the dolls in the show are dolls the artist played with as a child in Hawaii. These dolls were given to the artist by her father when she was maybe four years old.

For those who can't make it to the show, a catalog is available. Full of inspiration and spilling over with colorful pictures of quilts, this 120-page softcover catalog is available at Latimer and online. To purchase the catalog online, click here.

American Legion Auxiliary Quilt - Names

Today, Mary Bywater Cross and I teamed up to transcribe the names appearing on the American Legion Auxiliary quilt from Post No. 9 in Salem, Oregon, 1931. It took us a little less than two hours. Mary read the names, and I typed them in to the computer.

If you're from Salem or know anyone from Salem who may know any of the families whose names appear on the quilt, please post a reply. Here's the list:

Inner Circle

Capital Unit of Post No. 9

Salem Oregon 1931

Pearl Vincent, 2nd Vice Pres.

Mae Waters, Jr. Past Pres.

Mabel Butte, S’gt. At Arms

Callie B. Heider, Dept. Pres.

Bess Watkins, Pres.

Fay Lieuallen, Se. Treas.

Harriet Wechter, Chaplain

Zola Melchior, 1st Vice Pres.

Helen Gragg, Pres. 1926

Ann Rattlem Pres. 1924

Gladys Mason, Ex. Com.

Claire Seeley, Ex. Com. & Col. Br.

Velma Bradford, Col. Br.

Aira White, Hist. - - Pres. 1929

Max Page, Commander

Jennie Bartlett, Ex. Com. – Pres. 1928

Lenora George, Pres. 1927

Laura Cleveland, Pres. 1925

Column 1 – Capital Unit Post No. 9

M. Clifford Moynihan – Mary Moynihan

June W. Moynihan – William Moynihan

Ruth Moynihan – June Moynihan

Mrs. Mary Moynihan

Reed Rowland – Edna Rowland

Oscar Cutler – Iva B. Cutler

Thomas Viracola – Jennie Viracola

C.V. Richardson – Yvonne Richardson

L.B. Detweiler – Alice E. Detweiler

Frank Cain – Ruth Cain

Goerge E. Chapman – John Coleman

Bill Bliven – Angie Bliven

Clark M. Will – J. P. Stirniman

Column 2A – Salem Oregon 1931

Frances Palmateer

Oral E. Palmateer

Walter Goughnour

Hannah Goughnour

Wesley Hastings

June Hastings

Ida Hastings

Madeline Binegar

Ray Binegar

Darval Binegar

T.E. Detennencourt

Marian Detennencourt

Ralph S. Harper

Austin Wilson, Sr.

Elma Wilson

Column 2B – Salem Oregon 1931

Thelma Andersen

Earl Andersen

Miller Hayden

Mrs. Miller Hayden

H. C. Algood – Waldo Mills

Oliver B. Huston

George Feller

L.A. Lucas

Frank C. Fitts

John H. Will

August Wilson, Jr.

Bert Stevens

Column 3A – Pearl Vincent

Ralph Mason

Harry Mason

Dorothy Mason

Clinton Mason

Vena Dodge

Margaret Alden

Ada Mills

Florence Tank

Anita Paxson

Lillian Cadwell

Bessie Martin

J. B. Brown

Edna Harvey – O.H. Harvey

Column 3B – Pearl Vincent

Willis Vincent, Sr.

Jean Vincent

Willis Vincent, Jr.

Mildred Bowersox

J.W. Bowersox

John Brady – Martha Brady

Marion Delaney – Tom Delaney

Charles Duval – Pearl Duval

Gertrude Shade – Dave Shade

W. H. Mc Rae – Vida Mc Rae

Earl Jennings – L. E. Stewart

Column 4A – Mae Waters

Glen Seeley

Blanche Fournier

Henry Fournier

Donald Seeley

Mealy Lee – Archie R. Lee

Doris Enos – Donald Baker

Wilfred Baker – Lawrence Baker

Samantha Baker – Edward Baker

Everett W. Baker

Curtis H. Johnson – Helen B. Johnson

Loyal W. Henderson  - Doc Hockett

Column 4B – Mae Waters

Frank N. Waters

Patricia Waters

Donald Waters

Frank W. Waters

Huldah Waters

Wm. T. Myers

Ella Wood – Frances Myers

J.S. Urschel (gold star)

S. May Urschel

Ava Bradord – E. L. Urschel

Allan John Olson

Column 5A – Mabel Butte

Hulda Bradford

Elbert M. Bradfort

Miles J. Bradford

Willie A. Foster

Lolabelle Foster

Pauline Foster

Felix Foster

Roy Foster

J. W. Urschel

Oscar Urschel

D. F. Urschel

W. Carlton Smith

John A. Olson – Mrs. John A. Olson

5B – Mabel Butte

Chris. Butte

Billy Butte

Jimmy Butte

Dr. C. W. Davis

Mrs. C. W. Davis

A.S. Johnson

Grace H. Johnson

William E. Graham

Elsie Graham

Jane Graham

Bill Kletger – W. A. Blake

I. H. Klinger – Fred Mangis

Myrtle Johnson

6A – Callie B. Heider

Rufe White

Elsie Barnhart

Helen White

Jim White

Etta White

Emma Pearce – Mom (?) Pearce

Irl Mc Sherry, Post. Com. ’32 – Lula D. Ogden

Nell Brandt

Charles T. Jones

Anne Jones – Dist. Pres. ‘32

Alexander McGee – Mabel McGee

W. J. Reid – H. J. Neiger – Leo Sutter

Jerry Owen – Mrs. Jerry Owen

Bill Brazeau – Eleanor Brazeau

H. S. Keefer – Ms. H.S. Keefer

F. Howard Zinser – Van Seller Weider

Walter Oldenburg – Alice Oldenburg

7A – Bess Watkins

Sid George, P. D. C.

Alice George, Dept. V.P. ‘32

LaDocia Cobb, Dept. P. ‘32

Mabel McInturff, Dept. Sec.

Bill McInturff

J.W. McInturff

William Levin

Rosaline Poe – Oscar L. Poe

M. Bortz – Mrs. M. Bortz

H.H. Johnson – Frank Simon

Katherine Brown

7B – Bess Watkins

Bill Watkins

Marjorie Watkins

Wilfred Watkins, Jr.

James Gardner (gold star)

P. V. Edwards

Gladys Edwards

Nota Henderson

Jack Henderson

Hana Hofstetter

Della Hofstetter

Rodney Hofstetter

Beverly Hofstetter

Gordon Hofstetter

Grover Hofstetter

Floyd Hamilton

Jim Flood

8A – Fay Lieuallen

King Bartlett

Jean Bartlett

Beryl Porter

Glenn Porter

Marjorie Johnson

Gordon Johnson

Arthur Johnson

Dennis Stevenson

Jeanette Stevenson

Bud Stevenson

Ray Bassett

A. L Adolphson

8B – Fay Lieuallen

Byron Lieuallen

Delbert Anderson

Belle Nadon

Cyril Nadon

Tengiene Nadon

Matilda Nadon

Adrian C. Nadon

Goldie Nadon

Vivian Nadon

Tom Hill – Pearl Hill

Maude Hand – Paul Hand

Fred Gahlsdorf – William Einzig

9A – Harriet Wechter

Pearl Victor

Jean Lois Victor

Minnie Jirak

Frank Jirak, Sr.

Frank Jirak, Jr.

Frances Jirak

Elizabeth Kindred

Oscar Kindred – Joel Kindred

Ida Kindred

Dick Barton – Louisa Barton

Grace Gustafson – Harry Gustafson

Don Wiggins – Roy M. Smith

E. Deoring – L. Demarest

Carroll Jean Gragg

9B – Harriet Wechter

Harry Wechter

Eugene Wechter

Kent Wechter

Joe Marcroft, Sr.

Dorothy Marcroft

Vara G. Marcroft

Joe Marcroft, Jr.

M. E. Reeves

Lee McAllister

Clayton W. Jones

L.A. Klecker

June Lockridge

10A – Zola Melchior

Beryl De Guire

Ray De Guire

Ida Wooten

Elmer Wooten

Newell Williams

Marian Williams

Marie Blundell

J. G. French

Earl Lane – C. K. Logan

Grant Farris

10B – Zola Melchior

Mike Melchior

Joseph Ringwald

Raymond Ringwald

Richard Ringwald

Mary Ringwald

Donald Ringwald

Hubert C. Davis

Doris Davis

Sharon Davis

Barbara Davis

Helen Olsen – Onas Olsen

John F. Curtis – Deborah Curtis

R. S. King