Blanket Statements—June 30, 2020 | John Moran Auctioneers

Blanket Statements Amish and American quilts from the collection of Cindy Tietze-Hodosh and Stuart Hodosh

Tuesday, June 30, 2020—12pm Sale 168 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Maranda Moran Head of Sale, Specialist maranda@johnmoran.com Alexis Sutcliffe Furniture & Decorative Art Cataloguer alexis@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

Special thanks to Jardine Gates for essay contribution.

Quilts:

Harbingers of Modern Art The European quilting tradition was transported to America at the time of the earliest colonial settlements, evolving from English and Welsh designs. Surviving examples include whole cloth top quilts featuring elaborate embroidery. By the first half of the nineteenth century, this aesthetic expanded into more intricate block styles, adding variation and complexity.

As the century progressed and cotton and wool fabrics became more affordable, particularly with the advent of aniline dyes, quilting became more common among all classes. Another impetus that lead to the increase in quilt making in early America was the shift in family dynamics due to industrialization, where men left their homesteads to work in towns and women’s labor centered on domestic duties, chief among them needlework and quilt making.

Despite the newfound popularization of this artform, it was the exquisite craftsmanship and distinct aesthetic of Amish women in Lancaster, Pennsylvania who wholly revolutionized the genre, ushering in a Golden Age of quilting between the 1870s and 1940s. Originally of Swiss-German origin, the Pennsylvania Dutch, as they came to be known, were religiously devout and valued their rural existence, removed from the ills of modern society. This humility informed many of their design and color choices, resulting in some of the most stunning and visually modern textiles in American quilt making, rivaled only by the African American quilts for their influence and appeal.

During that period, the preeminent aesthetic had been developed by the “English” quilters. While the Amish drew some influence from that precedent, they also chose to deliberately depart from the latest trends in quilting, staying within the framework of their tried-and-true designs. For instance, the Amish typically did not use printed fabrics in their designs and prized pieced quilts over appliqué. The quilts tend to be square and are finished with “[a] wide outer border and a contrasting inner border [which] were used to define the major design field” Holstein (1996, 102). Most consequential was their preference for “traditional” designs over the latest trendy quilt block, employing a repertoire of tried and true designs sewn across generations. As early adopters of the treadle sewing machine, Lancaster Amish quilts were made of wool and designed to last. Jonathan Lot 29: An Amish Sunshine and Shadow quilt 1920-1930, Ohio

Holstein in his essay accompanying the exhibition A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze and Stuart Hodosh noted: “The wools were, aesthetically, a particularly fortuitous development in Amish quilt making. These unpatterned materials in the deep, saturated colors the Amish preferred— Colors with the same intensities that appear in nature unpatterned—give Lancaster Amish quilts their distinctive inner glow; they absorb and reflect light very differently from other materials, their surfaces are more diffuse, and, unlike cotton quilts, they can absorb a great deal of light without washing out visually; under heavy lighting, in fact, their colors become richer and deeper.” Holstein (1996, 86) Add to that a predilection for deeply saturated wools and cottons on dark grounds, and the Amish quilting aesthetic naturally takes on a graphic and modern quality, explaining their popularity with contemporary collectors. These timeless works are just as at home next to a Jasper Johns painting as on an Amish bed. In fact, beginning in the 1970s, the quilts were exhibited alongside works from contemporary artists like aforementioned Johns, Josef Albers, Sol LeWitt, Frank Stella, Andy Warhol, and other mid-century artists. Viewers at the time could trace the visual origin of important 20th century aesthetic movements in the colors and patterns of the Amish quilts, bringing them into the wider conversation of art. The comparatively inexpensive quilts became a walletfriendly option for art connoisseurs looking to add a large punch of graphic color to their walls.

In classic Amish quilt making, there were six influential patterns that were popularized in the second quarter of the 19th century: Center Square, Bars, Center Diamond, SawTooth, Irish Chain, and Sunshine and Shadow. Variations of these six designs, as interpreted in Amish communities across the country, are exemplified in this auction. Of those six patterns, collectors tend to gravitate toward the “Big Three”: Sunshine and Shadows, Bars, and Center in the Square.

Sunshine and Shadows also known as Trip Around the World, the quiltmaker can start the design from the center and work outward, rendering the design in complementary colors radiating from the center. Bars, which can be likened Doyle Lane (1925-2002 Los Angeles, CA) Clay Painting, 1969

to pop art in its color choices and linear aesthetics, has its roots in the columnar designs of “English” quilts from the first half of the 19th century. Center in the Square, among the most simple and graphic of the early Amish quilts, can be embellished with subtle but complicated embroidery, the perfect vehicle for highlighting the skills of the embroiderer. Few other patterns allow embroidery to become the focus quite the way this pattern can.

As satellite Amish communities were later established in the Midwest, this style of quilt making spread and evolved beyond the borders of Pennsylvania. From the early Center in Square patterns to the comparatively modern Double Wedding Ring block, each Amish community embraced regionally specific quilt designs. Midwestern Amish quilts differed from their Lancaster cousins in the materials and color schemes they chose. “Common characteristics among Midwestern quilts included the following: the use of unpatterned wool and cotton in early quilts, but cotton almost exclusively starting in the twentieth century; the use of a very broad palette; a rectangular shape; the commonly

Lot 75 An American Bullseye quilt Circa 1890

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Frank Stella Les Indes Galantes II, 1973

Vasa Velizar Mihich Four column tower, 1980

used inner border format…and an innovative refiguring of pieced block designs” Holstein (1996, 97). Ohio Amish quilts exhibit a preference for black backgrounds as one of their most important contributions to the quilt making canon. Black can enhance and emphasize the preferred jewel tones of the patchwork the way typical white grounds cannot, resulting in some of the most interesting and visibly pleasing quilts in the tradition.

The Amish quilts in this collection offer a wide lens on the evolution of the form and demonstrate the thoughtful connoisseurship of the Hodoshes in their careful acquisitions over a period of more than twenty years. They accumulated an unparalleled breadth of examples from the Classic period in Amish quilt making, varied in materials, techniques and color schemes. Simultaneously, they amassed a collection of Modern art, tramp art, Mexican silver, and American Indian art all of which speaks to their larger collecting ethos, one anchored in a clean, Modern aesthetic (even when the works of art predate the 20th century style).

Above all, their collections honored the quality and beauty of the craftsman’s indelible influence on the history of humanity and our innate need to create.

Lot 41 An Amish Contained Bars quilt 1920-1930

Lot 27 An Amish Sunshine and Shadow quilt 1925-1935

Blanket Statements—June 30, 2020

Julian Stanczak Accompanying Warm, 1979

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An Amish Roman Stripes quilt

1885-1895, Malcolm, Illinois Kate (Sunning) Fugate Wool and cotton triangular striped blocks on a black field with red binding edge, hand-pieced, red cotton backing with hand quilting in diagonal cross hatching 68” W x 78.5” H $2,000-3,000 Provenance: Sale, American Hurrah, New York, NY, November 22, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 218, 219, exhibited “The artist made the quilt ‘for my father-in-law, Charlie Kost, (because) when he was a boy he hauled my coal and helped me with my chores.’” (Kraybill, 218) Holstein writes “Granick (1989, 141) notes the use of unusual borders or piecing arrangements in Arthur, Illinois quilts” (Holstein, “The Aesthetics of Amish Quilts,” 102) as seen in the present example.

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An Amish Roman Stripes quilt

1920-1935, Indiana Wool, cotton, cotton sateen and velvet in autumn colors with brown wool field and maroon inner border, hand quilted in half-feather wreaths, crosshatching, ropes, cables, black cotton sateen backing 69” H x 79” W $1,000-1,500 Provenance: Sale, American Hurrah, New York, NY, Novemebr 22, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Patricia Coblentz and Robert Charles Bishop, “New Discoveries in American Quilts,” E.P. Dutton, Inc., 1975, pg. 63, fig. 92 Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 222, 223, exhibited

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An Amish Fans in Squares quilt

First-quarter 20th century, Ohio Cotton, velvet and wool pieced fans, each hand embroidered on black background, hand pieced, black cotton backing 68” H x 62” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Fans quilt

1910-1920, Ohio Wool and cotton, multicolored fan blocks with a black outer border, hand quilted in crosshatching with black cotton backing 69” H x 71” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 188, 189, exhibited “Ohio Amish quilt makers adopted a wide variety of pieced designs used by non-Amish quilt makers. These were often transmitted, however, through sashing, configuration, orientation and color invention, to novel and distinctive statements formed of ticks of intense color...the Fans quilt...which inherited an image captured in western decorative art during its intense later Victorian flirtation with things Japonaise, and which an Amish quilt maker flipped this way and that to make a jammed and extraordinary abstract surface.” (Holstein, “The Aesthetics of Amish Quilts,” 101)

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An Amish Fans quilt

1934, Shipshewana, Indiana Made by Lydia S. Whetstone, quilted: 1934 to one corner Wool and cotton sateen in multicolored fans with hand embroidered edging on a black field and pink inner border and binding edge, hand quilted in trailing tulips and feathers with black cotton sateen backing 84” W x 74.5” H $1,000-1,500 Provenance: Sale, Judith and James Milne, Inc., New York, NY, December 6, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Exhibitions: Quilts from the Indiana Amish: A Regional Collection in association with the Museum of Folk Art, 1983 Literature: Pottinger, David, Quilts from the Indiana Amish: A Regional Collection, Museum of American Folk Art: New York, pg. 39, ill. 37.

Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg, 220, 221, exhibited Made shortly before her marriage to Ammon E. Bontrager The Fan pattern first appeared in quiltmaking in the late 19th century inspired by Japanese design that was en vogue at the time. By the 1930s, fans became one of the most popular patterns for quiltmakers, both Amish and English. A popular motif for crazy quilts, this fan quilt has the same emphasis on embroidery one typically sees in crazy quilts, skillfully executed in a different color for each row.

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An Amish Fans in a Drunkard’s Path quilt

Circa 1915, Pennsylvania Wool, cotton, and cotton sateen multicolored fan motif on black field with pink inner border and green outer border, hand quilted in feathers and interlocking ovals with embroidery to fan outline, purple cotton backing 71” W x 76” H $1,500-2,000 Provenance: Mr. and Mrs. Peter Findlay The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 89 Robert Bishop and Elizabeth Safanda, A Gallery of Amish Quilts: Design Diversity from a Plain People, Dutton, 1979, pg. 89 “As the Lancaster Amish involvement with the quilt making progressed, the design repertoire matured. They left behind whole cloth quilts (which continued to be made, however, in conservative jurisdictions in the Midwest) and the Bars design, but added more designs adopted from their neighbors, a number of block-style work, Nine Patch and Baskets, the latter made only in one family, according to Herr (in this volume) Other adoptions from late Victorian decorative styles were Fans and the Log Cabin block. Always, forms they adopted were put within the overall design framework the Amish had developed, a consistent approach in consonance with their cultural character. (Holstein, The Aesthetics of Amish Quilts,102)

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A Mennonite Friendship Patchwork quilt

1870-1929, Iowa Sixty-three hand embroidered blocks with names, dates, and inscriptions, blue wool border with purple sateen binding edge, hand quilted in cables, with a printed cotton backing 77’’ H x 83.5’’ W $1,000-1,500 Provenance: Walter and Mary Beachy, Married in 1928, Iowa Sale, Kelter-Malce Antiques, New York, NY, October 20, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 124, 125, exhibited.

A note from the Menonite Historical Society of Iowa accompanies this lot detailing the correct provenance. Additional information regarding the identity of each embroiderer is available.

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A double-sided Amish Contained Crazy/Pieced Bar quilt

1892, American Embroidered: FAP / 1892 to center of one edge First side: Wool, crazy log cabin with central cross motif set in a red, brown, tan, and blue with quatro striped border of the same colors; Second side: Wool, bars in red, brown, tan, and blue 74.5” H x 82.5” W $1,000-1,500 Provenance: Sale, Kate and Joep Kopp, America Hurrah, New York, NY, May 11, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: R. Bisshop, W. Secord and J. Reiter Weissman, “Quilts, Coverlets, Rugs and Samplers.”; A. Knopf, “The Knopf Collector’s Guide to American Antiques,” New York, pg. 196.

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An Amish Contained Crazy quilt

1912, Lancaster County, Pennsylvania Made by Rebecca Stolzfuss for her son, Sylvan Wool and cotton, with crazy quilt blocks on green field with pink band, blue borders and green corners, hand quilted in feather wreaths, crosshatching, grapevines, and feather plumes, with a patterned orange backing 76” H x 67” W $3,000-5,000 Provenance: Sale, Marilyn Kowaleski, Wernersville, PA, September 21, 1989 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 126, 127, exhibited “As the Lancaster Amish involvement with the 1920s quilt making progressed, the design repertoire matured...They began late to make the Paramount Victorian busywork style, the Crazy Quilt, but tamed it to their liking by incorporating it in a block form which was perhaps the most beautiful manifestation of the design idea in American quilt making. (Holstein, “The Aesthetics of Amish Quilts,” 92). As in the present example, the crazy quilt could be characterized as a vehicle for displaying the quilter’s embroidery skills. Each strip is joined together by a dizzying array of embroidery stitches that makes the square come to life.

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An Amish Floating Diamond quilt

1910-1920, Lancaster County, Pennsylvania Wool and cotton, floating red diamond and square on a grey field with a navy blue border, hand quilted in feather wreaths, eight-point stars, double quilted roses, trailing grapevines and feather garlands with a printed navy blue and white cotton backing 75.25” W x 77” H $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 134, 135, exhibited “The center diamond design, the third and perhaps most common of the six standard early formats, may have appeared about the same time, or perhaps a little later than the Bars...This pattern seems to me clearly a retention in schematic form of the late eighteenth to early nineteenth century quilt design called in the literature a Framed Center or Center Medallion. This design has a Central Square design field or a diamond on point within a square, with wide outer borders, and usually square corner blocks. The framed center design was made in both England and the U.S., here usually has a high style quilt, using fine chintzes and calicoes and often with broderie perse or other embellishments.” (Holstein, “The Aesthetics of Amish Quilts,” 88)

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An Amish Floating Diamond quilt

Circa 1935, Lancaster County, Pennsylvania Hand quilted cotton and rayon with a pink diamond and square and a blueborder, hand quilted in feather garlands, pinwheels, and tulip centering an eight-point star and feather wreath quilting, hand stitched, brown cotton backing 77� H x 77� W $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Diamond in a Square quilt

Circa 1920, Lancaster County, Pennsylvania Embroidered to one corner: LB Rayon, wool crepe, and cotton with a lavender diamond in red diamond, green outer border and lavender binding edge, hand quilted in roses, rose wreaths, scallops, and bows, speckle-printed cotton backing 79” H x 80” W $1,500-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 81 “Rayon had been introduced to the American public in the 1920s and Lancaster Amish began to use it in the quilts in small amounts before that decade ended. (Strangely, other quilt makers were less keen on it, perhaps because it was first marketed as a silk substitute, it's not as easy to cut and control in sewing as cotton or wool, and does not clean as easily as cotton. In this case the ‘English’ were more conservative than the Amish. Perhaps because the Amish were using it as a wool substitute in a ‘best quilt,’ they did not anticipate subjecting it to heavy use.) Rayon has significantly different surface and reflective qualities from wool, it is visually livelier and where it was used in an Amish quilt in combination with the latter material, it often adds vivid highlights. Sometimes, as in the Diamond Quilt...it is experienced as a glossier or silkier surface. Few other American quilt makers made quilts entirely of rayon; where they did, it was usually as a substitute for silk in the parlor or bed throw. (Holstein, “The Aesthetics of Amish Quilts,” 86)

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An Amish Diamond in a Square quilt

1920-1930, Lancaster County, Pennsylvania Embroidered to opposing backside corners: DF Wool and cotton sateen with a red diamond on purple field, turquoise and green border and square, hand quilted in diamond crosshatching, open rose, feathers, feather wreaths and eight-point stars with blue cotton backing 78” H x 78” W $2,000-3,000 Provenance: Sale, Miller/Brown Gallery, San Francisco, CA, November 1, 1985 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 137, exhibited One of the “Big Three” of Amish quilt design, Diamond in a Square with it’s shockingly modern color scheme and arrangement, could be at home in a museum of Modern art as easily as on the bed of an Amish family. As Jonathan Holstein“The Amish chose to use [the patchwork] method in a unique matter, building waves of color expanding from a single central square in alternating files of light and dark or hot and cool colors, the whole contained a strong frame, like a fusion chamber. These basic designs were rendered and overall format that was varied by using elements from a standard design kit that have these parts and particulars: The quilts were almost invariably more square than rectangular; there was always a central square field framed by wide borders, and often a thinner inner border in a contrasting color. The outer borders could be a continuous end of one color, or large square corner blocks in a contrasting color were added. A further optional refinement, when an inner border was used, was the placement of smaller blocks at its corners. All of the features noted here can be seen in the Diamond Quilt. (Holstein, “The Aesthetics of Amish Quilts,” 90)

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An Amish Diamond in the Square quilt

1935, Pennsylvania Quilted to center: AP / July 6, 1935 Cotton with a grey center diamond set on blue with green bars, two grey corner blocks, burgundy borders, and black binding edge, hand quilted in double concentric feather wreaths, crosshatching, feather garlands with a blue cotton backing 83” H x 72” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 136, exhibited One of the “Big Three” design patterns for Amish quilters, Diamond in the Square can be customized and interpreted in an infinite number of color combinations. The star becomes the quilting itself, with no better stage to shine than the large color fields inherent in the Diamond in the Square pattern. “The use of large, unpatterned pieces created color fields; striking design variations could be wrought through contrasting color juxtapositions. This remarkable design device allowed them to create finished quilts of the highest individuality within ‘acceptable’ standard formats, thus satisfying both the community’s desire for conformity and individual creative desires.” (Holstein, “The Aesthetics of Amish Quilts,” 91)

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An Amish Sawtooth Floating Diamond dowry quilt

1920-1930, Lancaster County, Pennsylvania Made by the King sisters Cotton and rayon in lavender and light grey, hand quilted in feather garlands, grapevine wreaths, and roses, with a floral printed cotton backing 82” W x 83” H $1,500-2,000 Provenance: Sale, Peach and Plenty: A Gallery for Quilts, Coverlets and Folk Art, Venice, CA, November 14, 1981 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 138, 139, exhibited “The fourth design, which I believe had a contemporaneous origin with the first Diamonds, it's called Sawtooth and it's just that: a bold diamond in the center of the quilt made with a sawtooth edge...The sawtooth, built from triangles in a clever strip form, was a basic design device in American quilts. It appeared first in borders, then (as were other pieced border elements from early quilts) was later used in larger scale as a design element on a central field. It exists in a non-Amish quilt both in a ‘bars’ or columnar form, vertical bars with sawtooth edges standing in a contrasting color on a single color field, and in the large central diamond form scene in Lancaster Amish quilts.” (Holstein, “The Aesthetics of Amish Quilts,” 88)

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An Amish Sawtooth Floating Diamond dowry quilt

1920-1930, Lancaster County, Pennsylvania Made by the King sisters, painted initials to one corner of binding: EF Rayon and cotton with a pale blue diamond and square and binding edge on grey field, hand quilted in sawtooth, roses, grapevines and feather garlands with printed lavender floral backing 82� H x 8� W $1,500-2,000 Provenance: Sale, The Blue Quail: 18th & 19th Century Country Antiques, Solana Beach, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 138, exhibited

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An Amish Diamond Sawtooth in Square quilt

Circa 1910, Lancaster County, Pennsylvania Cotton with salmon sawtooth diamond and square on an okra field, hand quilted in cables, crosshatching, and chevrons with a printed red cotton backing 84” L x 83.5” H $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Window Pane/Plain quilt

Circa 1930, Ohio Cotton and cotton sateen with a green square on lavender field, hand quilted with feathered wreath, crosshatching, cables, and diagonal parallel lines with a cotton backing in green and lavender 75.5� W x 77� H $700-900 Provenance: Sale, Judith and James Milne, Inc., New York, NY, Decemebr 6th, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 196, 197, exhibited

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An Amish Window Pane/ Plain quilt

Circa 1920, Ohio Cotton and cotton sateen with bright pink on a black field with an appliqued pink triangle edging, hand quilted in rose wreaths, cross hatching, diagonal lines, and tulips on a white cotton backing 79” H x 78” W $700-900 Provenance: Sale, Peace and Plenty: A Gallery for Quilts, Coverlets, and Folk Art, October 23, 1982 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 194, 195

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An Amish Bars crib quilt

1920-1930, Ohio Cotton and cotton flannel with blue bars on black with a lavender border and blue binding edge, hand quilted in crosshatching and diamonds, with a blue cotton flannel backing 49” H x 44” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 211, exhibited

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A double-sided Amish Window Pane/Bars crib quilt

1890, Holmes County, Ohio First side: Cotton with a dark blue field, black inner border and binding edge, hand quilted in feather wreaths, crosshatching, parallel lines and concentric circles, Second side: Cotton with bars in tan and blue, hand quilted in feather wreaths, crosshatching, parallel lines and concentric circles 38.75” H x 28.5” W $300-500 Provenance: Kelter-Malce Antiques, New York, NY, April 26, 1986 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Rachel T. Pellman and Kenneth Pellman, Amish Crib Quilts, Good Books, 1985, pg. 90 Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 213, exhibited “From the whole cloth quilt and an idea from the Lancaster kit, there developed-most likely in Ohio-an elegant design unique to the Midwestern Amish: a whole cloth quilt with a thin single or double inner border in a contrasting color [as seen in the present example]...

While the basic design appears to be an early Lancaster Center Square quilt pulled into a rectangle, it differs from most of those in that the wide outer border, defined in these quilts by the narrow inner border, is of the same color as the inner field; in the Lancaster quilt, the wide outer border would normally be of a different color.” (Holstein, “The Aesthetics of Amish Quilts,” 98-99)

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An Amish Double Nine Patch quilt

Circa 1930, Lancaster County, Pennsylvania Wool and cotton in eggplant, purple, lavender, forest green, and Kelly green blocks on forest green field bordered by purple and eggplant with dark green corners, hand quilted in feather wreaths, crosshatching, pinwheels and chevrons with a black and navy blue cotton backing 84.25” W x 83” H $1,000-1,500 Provenance: Sale, Wilfred Higgins, Los Angeles, CA, July 19, 1980 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 144, 145, exhibited

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An Amish Nine Patch in Bars quilt

1900-1910, Lancaster County, Pennsylvania Wool and cotton with pink, white, and brown nine patches on green bars, alternating with light blue, bordered by coral and grey with a darker grey binding edge, hand quilted in cables, pinwheels, chevrons, baskets, “open-floating” hearts, flowers, and scallops with a printed purple backing 77” H x 75.5” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Exhibitions: “American Quilts: a Handmade Legacy,” The Oakland Museum, Great Hall, 1/13/1981-4/1/1981, Oakland, CA Literature: L. Thomas Frye, “American Quilts: a Handmade Legacy,” Oakland, Cal.: The Museum, 1981, pg. 82 Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 142, 143, exhibited “In this collection is a very early and unusual Lancaster Amish quilt using Nine Patch Blocks in a Bars format...which may point to Lancaster County as the progenitor of the earliest block pattern options; the prototypes for such designs, as for all Lancaster Amish patterns, exist in earlier non-Amish quilts...It must also be remembered that, while they may differ widely in the details of their lives, the basic Amish tenants of belief and practice are consistent group to group, Pennsylvania to the Midwest and beyond. The Application of this constancy to quilt making over a long period thus produced aesthetically integrated bodies of work remarkable for their consistency and quality.” (Holstein, “The Aesthetics of Amish Quilts,” 106)

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An Amish Nine Patch Variation quilt

First-quarter 20th century, Lancaster County, Pennsylvania Wool and cotton, small blocks of nine patch alternating with blue and coral blocks with bands of blue to two ends, all within a rust red border and green binding edge, hand quilted with in feather wreaths, crisscrossing, crosshatching, grapevines, and baskets with hearts, with a blue/grey cotton backing 81.75” H x 73” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 140, 141, exhibited

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An Amish Double-Nine Patch Variation quilt

1925-1935, Lancaster County, Pennsylvania Wool and cotton with multicolored nine patches set on green field and blue divisions, all within an orange inner border and purple outer border with green binding edge, hand quilted in eight-point stars, cables, baskets of fruit, hearts, and scallops with a black cotton backing 69.75” H x 72” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 87 “A wide outer border and contrasting in a bar were used to define the major design field, as can be seen in the Lancaster County Double Nine Patch quilt...Wools were used in the Midwest only in the earlier quilts, whereas the quilt makers of Lancaster used them until they were no longer available.

Quilt makers tended to use favored designs, in some cases over several generations, rather than adopt new ones.” (Holstein, “The Aesthetics of Amish Quilts,” 87)

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An Amish Sunshine and Shadow quilt

1920-1930, Lancaster County, Pennsylvania Wool and cotton with multicolored diamonds, an eggplant border, and grey binding edge, hand quilted in crosshatching and floral garlands, with a printed grey cotton backing 79” H x 82” W $1,000-1,500 Provenance: Sale, The Blue Quail: 18th & 19th Century Country Americana, San Juan Capistrano, Ca, April 25, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 150, 151, exhibited

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An Amish Sunshine and Shadow quilt

1925-1935, Lancaster County, Pennsylvania Wool, wool crepe, rayon, and cotton with a multicolor center diamond and berry and lavender border, hand quilted in crosshatching, flowers, fruit baskets, and fleur-de-lis with a black speckled cotton backing 81” W x 82” H $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 152-153, exhibited One of the quintessential Amish patterns alongside Bar and Diamond in the Square is Sunshine and Shadow. Jonathan Holstein notes in his essay for the “Quiet Spirit” exhibition: “I would not want to leave my discussion of Lancaster quilts without pointing out one from this collection I have not mentioned but which I find particularly moving: the serene and perfectly realized Sunshine and Shadow quilt...which is the epitome of the classic Lancaster county creation.” (Holstein, “The Aesthetics of Amish Quilts,” 94). Also refered to as Grandmother’s Dream, Sunshine and Shadow often features radiating diamonds in concentric color bands set into a square with inset squares on all four corners. The present example with its nuanced blend of deeply saturated blues, reds, oranges, and purples is a masterwork.

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An Amish Sunshine and Shadow quilt

1920-1930, Lancaster, Pennsylvania Cotton with radiating multicolored diamonds, a purple border, and blue corners, hand-quilted in cross hatching, interlocking ovals, scallops, and eightpointed stars with a navy blue backing 76.25� L x 78.5� H $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 152, exhibited

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An Amish Sunshine and Shadow quilt

1920-1930, Ohio Wool, cotton, and cotton sateen in radiating multicolored blocks with a double border of brown and black, hand quilted in leaves, parallel lines, feather wreaths and crosshatching with a brown cotton backing 76.5” H x 78” W $800-1,200 Provenance: Sale, The Blue Quail: 18th & 19th Century Country Americana, Solana Beach, Ca June 19, 1981 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 200, exhibited

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A Mennonite Sunshine and Shadows quilt

Circa 1900, Lancaster County, Pennsylvania Cotton with multicolored radiating diamonds and six-color rainbow-banded border, hand quilted in cables and spades with a printed red cotton backing 73.25� H x 71.5� W $600-800 Provenance: Sale, American Hurrah, New York, NY, April 25, 1986 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Single Irish Chain quilt

Circa 1895, Lancaster County, Pennsylvania Embroidered for Elizabeth Fisher to backside corner: EF Cotton with a red chain on faded green field, red binding edge, hand quilted in crosshatching, leaf wreaths, and trailing tulips with a printed brown and tan cotton backing 98” H x 76” W $800-1,200 Provenance: Elizabth Fisher, approximately 1895 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 146, 147, exhibited Provenance listed in a copy of a letter from Daniel McCauley, King of Prussia, PA

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An Amish Triple Irish Chain quilt

First-quarter 20th century, Lancaster County Pennsylvania Made by Sadie Stolzfus and embroidered to one corner: SS Wool and cotton with an Irish chain in red and purple on a lavender field, hand quilted in diamonds, crosshatching, feather wreaths, and feather garlands with printed green cotton backing 81� H x 81� W $800-1,200 Provenance: Sale, Ludy Strauss, The Quilt Gallery, Santa Monica, CA, January 22, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 148, exhibited

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An Amish Triple Irish Chain quilt

1920-1930, Lancaster County, Pennsylvania Wool and cotton with purple and red chains on tan field with red corner blocks, hand quilted in feather plumes, flowers, waffles, crosshatching, and feather wreaths with a printed green cotton backing 81” H x 81” W $800-1,200 Provenance: Sale, Julie Silber Quilts, Berkeley, CA, April 13, 1989 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 104

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An Amish Single Irish Chain quilt

First-quarter 20th century, Holmes County, Ohio Cotton and cotton sateen with a purple Irish chain on black field, hand quilted in parallel lines, baskets of fruit, interlocking ovals, and ropes with mauve cotton backing 88.5” W x 75” H $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 106 “In general, the [Lancaster Amish] stayed more aloof from mainstream American quilting traditions; their attitudes remain more ‘traditional.’ Lancaster quilts were rarely busy; Midwestern quilts range from the restrained control of simple linked squares on solid color backgrounds, as in the Single Irish Chain quilt.” (Holstein, “The Aesthetics of Amish Quilts,” 105)

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An Amish Double Chain quilt

1915-1925, Holmes County, Ohio Cotton and cotton sateen with a purple and green Irish Chain on a black field, hand quilted in cables, crosshatching, and chevrons with light pink cotton backing 73” H x 88” W $1,000-1,500 Provenance: Sale, American Country Antiques, Blvidere, NJ, October 19, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 192-193, exhibited One of the earliest quilt patterns, the earliest known examples date to 1814, Irish Chain quilts grew in popularity with nonAmish and Amish quilters alike into the 19th century. “A stronger pieced-block tradition existed in the Midwest, with the consequence of smaller design elements. Midwestern quilters used considerably narrower binding and adopted a much wider range of designs and colors than those accepted and used by the Lancaster Amish.” (Holstein, “The Aesthetics of Amish Quilts,” 104)

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An Amish Nine Patch quilt

First-quarter 20th century, Ohio Wool and cotton with multicolored nine patch and purple blocks surrounded by black triangles within a red inner border and black and dark olive outer border with tan binding edge, hand quilted in cables, concentric squares, double parallel lines, and diagonal lines with a tan cotton backing 62.25� H x 82.75� W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 190, exhibited

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An Amish Nine Patch quilt

1920-1930, Ohio Cotton with various blue and purple nine patches set on a black field with a blue inner border and binding edge, hand quilted in flowers and oval leaves with a blue cotton backing 75.5” H x 62.75” W $600-800 Provenance: Sale: Parrish & Sons Antiques, Santa Barbara, CA, The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 190, 191, exhibited

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An Amish Floating Bars quilt

First-quarter 20th century, Lancaster County Pennsylvania Wool and cotton with blue bars on dark purple field, hand quilted in feather wreaths, baskets with tulips, crosshatching, and scallops with a printed grey cotton backing 68” W x 79.25” H $3,000-5,000 Provenance: Sale, Judith and James Milne, Inc., New York, NY, 1993 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 128, 129

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An Amish Floating Bars quilt

Circa 1880, Lancaster County, Pennsylvania Henrietta wool and cotton with brown bars floating on green field, quilted in crosshatching, diamonds, feathered wreaths, and feathered garlands with a grey cotton backing 71” H x 81” W $2,000-3,000 Provenance: Sale, Quilts of America, New York, NY, October 19th The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 130, 131, exhibited “It is not known which of the six most common early Lancaster Amish pieced quilt designs followed the Center Square or if, in fact, they did not arrive at the same time...I suspect, however that the next of the common designs to appear was the one we call Bars...which, like the other Amish format, was most likely an adoption of a basic quilt type, the strip, 'strippy' or 'columnar' quilt. This was a traditional quilt which could be quickly produced. In the first half of the nineteenth century, some were made

by American and English quilt makers to take design advantage of the vertically oriented 'floral strip' and architectural 'pillar' (column) designs in English chintzes.” (Holstein, “The Aesthetics of Amish Quilts,” 81-88)

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An Amish Contained Bars quilt

1939, Lancaster County, Pennsylvania Wool and cotton with royal blue bars contained in navy blue, all within a grey-blue border and a navy blue binding edge, hand quilted in crosshatching, cables, baskets, stars, and scallops with backing in pieced printed cotton paisley in orange/green and floral in yellow/lavender 86” H x 84” W $2,000-3,000 Provenance: Sale, Daniel McCauley, King of Prussia, PA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 132, exhibited

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An Amish Contained Bars quilt

1920-1930, Lancaster Country, Pennsylvania Wool and cotton with alternating green and lavender bars, contained in a red inner border and blue outer border with a navy binding edge, hand quilted in crosshatching, and winding roses with backing in a printed blue rayon 84” H x 79” W $2,000-3,000 Provenance: Sale, The Blue Quail: 18th & 19th Century Country Americana, April 2, 1989 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 132-133, exhibited “In one essay ‘An Amish Meeting,’ Gibbons reported, ‘The women whom I have sometimes seen with a bright-purple apron, and orange neckerchief, or some other striking bit of color, were now more soberly arrayed in plain white caps without ruffle or a border, and white neckerchiefs, though occasionally a cap or neckerchief was black.’ She describes the striking and vibrant colors we associate with classic Lancaster Amish quilts; [as seen in the present example] A truly ravishing creation and as close as one can get in proportion and color harmony to a balanced perfection.” (Holstein, “The Aesthetics of Amish Quilts,” 87)

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An Amish Bars quilt

1920-1930, Ohio Cotton and cotton sateen with black bars on a lavender field and black outer border, hand quilted in diagonal crosshatching, cables, and fans with a purple cotton binding edge and backing 59.75” W x 75” H $600-800 Provenance: Sale, Judith and James Milne, Inc, New York, NY, October 18, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 109 This Lancaster-inspired quilt from Ohio shows the dialog of design interpreted in cotton by the Midwest Amish. One of the most restrained designs in the Amish design canon, the bar quilt is typically designed with four or fewer colors. The present example, with it’s interwoven cable stitching, emphasize the restrained color palette and add an intriguing depth.

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An Amish Bars crib quilt

Circa 1930, Ohio Wool and cotton sateen with bars of dark brown and red with a green binding edge, hand quilted in diamonds, scallops, and flower stalks with a black cotton sateen backing 41� H x 41� W $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Bars quilt

1910-1920, Pennsylvania Cotton with alternating bars of red and green, hand quilted in chevrons and fans with printed black cotton backing 65” H x 69” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Chinese Coins quilt

1930, Oklahoma Made by Mrs. John A. (Barbara) Yoder Wool, cotton, and rayon with multicolor bars resting on a dark purple background all within an inner border of pink, hand quilted in cables and fans with an orange binding and backing 74” H x 94” W $700-900 Provenance: David Pottinger Collection of Amish Quilts, Honeyville, IN The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 98, 99 “’For the most part, traditions were brought from other communities and no truly indigenous style developed.’ Nevertheless, some striking quilts were produced [in the Midwest]. The Oklahoma-made Chinese coins quilt...is an example of a pattern and format used also in other Midwestern states, rendered here with an end-bar device that strengthens the columns of the color bars.” (Holstein, “The Aesthetics of Amish Quilts,” 102)

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An American Log Cabin quilt

Fourth-quarter 19th century Embroidered to center of backside: RRS 1887 Cotton in a patterned fabric, multicolored log cabin design, with a red border and backing and contrasting yellow quilting in waffled squares and a central yellow sunburst, the center backing with initials and date 91” H x 101” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Sawtooth and Triangles quilt

First-quarter 20th century, Iowa Wool with red and dark olive triangles within a sawtooth border of orange and green/browns, all on natural light brown wool, hand quilted in large fans with a printed cotton plaid backing 72� H x 70� W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 217 and cover, exhibited

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An Amish Log Cabin Straight Furrow quilt

1910-1920, Ohio Wool and cotton with alternating black, tan, and blue lines with each cabin centered on the red flame and a heavy teal outer border, hand quilted in cables with a printed cotton backing in red, black, and cream stripes 80” H x 80” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh, acquired August 10, 1985 Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 168, 169, exhibited

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An Amish Log Cabin Straight Furrow quilt

Circa 1910, Holmes County, Ohio Wool and cotton with multicolored straight furrows in log cabin design, cabins with yellow centers, with a Joseph’s Coat border in grey, burgundy, and blue, hand stitched with quilted yellow backing and rounded corners 69.5” W x 78.5” H $500-700 Provenance: Judith and James Milne, Inc., New York, NY, December 6, 1989 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Log Cabin Barn Raising quilt

Circa 1940, Canada Wool, cotton, and rayon with purple, blue, red, green, brown, and black border and binding edge, hand stitched in fans to border areas with a grey and salmon printed cotton fabric backing 74” H x 74” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Log Cabin-Barn Raising quilt

1910-1920, Midwestern United States Wool with red and brown hand quilted square and zig-zag design with a faded red cotton backing 71.25� H x 73.75� W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 174, exhibited This variation on the popular Log Cabin quilt is distinguished by its placement of light and dark pieces, resulting in an almost hypnotic affect.

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A double-sided Amish Log Cabin Barn Raising/Bars quilt

First-quarter 20th century, Holmes County, Ohio First side: Cotton sateen with coral and black hand quilted chevrons; Second side: Cotton sateen with bars in coral and black hand quilted chevrons 78.25” H x 77.75” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 174, 175, exhibited

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An Amish Log Cabin Light and Dark quilt

First-quarter 20th century, Western Pennsylvania Wool and cotton sateen with alternating black/green, blue/ purple with red centers, hand quilted in concentric squares with a navy blue cotton sateen backing 75” W x 72.25” H $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 156, exhibited

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An Amish Log Cabin Straight Furrows quilt

Second-quarter 20th century, Mifflin County, Pennsylvania Wool and cotton sateen in fuschia, olive green and turquoise fabric, bordered by a similarly colored striped border, and a navy blue binding edge with an olive green backing 81” H x 69.75” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 156, 157, exhibited “As the Lancaster Amish involvement with the quilt making progressed, the design repertoire matured. They left behind whole cloth quilts (which continued to be made, however, in conservative jurisdictions in the Midwest) and the Bars design, but added more designs adopted from their neighbors...They began late to make the Paramount Victorian busywork style, the Crazy Quilt,...and the Log Cabin block, a design form the Amish practiced with consummate artistry...that radiates light and energy like a supernova. Always, forms they adopted were put within the overall design framework the Amish had developed, a consistent approach in consonance with their cultural character.” (Holstein, “The Aesthetics of Amish Quilts,” 92)

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An Amish Log Cabin Barn Raising variant quilt

Late-19th/early-20th century Wool and velvet with red, light and dark blue, grey print, and black fabric, hand stitched with blue cotton sateen backing 73.5” H x 89” W $600-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Log Cabin Barn Raising quilt

Circa 1910, Lancaster County, Pennsylvania Wool with red, cream/grey, blue and green/black cotton fabric, hand stitched with blue cotton backing 68” W x 70” L $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Log Cabin crib quilt

Late-19th/early-20th century Wool and cotton with Log Cabin squares, green border, hand pieced and quilted with geometric motif to border, blue cotton sateen backing 38� H x 37� W $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A Mennonite Courthouse Steps quilt

Circa 1915, Lancaster County, Pennsylvania Wool, cotton and silk with multicolored courthouse diamond blocks on a blue field with red inner border and thin red binding edge, hand quilted in crosshatching, feather wreaths with a brown and tan printed cotton backing 71.5” W x 75” H $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A double-sided Amish Abstract Logs/Window Pane quilt

1920-1930, Ohio Cotton with multicolored strips and a blue exterior border, hand quilted in chevrons and concentric diamonds, with a dark grey and blue Plain quilt/ Window Pane backing 68” H x 75.5” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg, 170, 171, 68.

“In general, the [Lancaster Amish] stayed more aloof from mainstream American quilting traditions; their attitudes remain more ‘traditional.’

Lancaster quilts were rarely busy; Midwestern quilts range from the restrained control of simple linked squares on solid color backgrounds, as in the Single Irish Chain quilt...to very active and intricate surfaces, as in the strange Strip Patch quilt...that took either two years or 10 minutes to arrange.”

(Holstein, “The Aesthetics of Amish Quilts,” 105)

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An Amish Philadelphia Pavement quilt

Circa 1940, Canada In wool, rayon, and cotton with four stepped cross motifs in yellow, light blue, red, and black center panels, with a purple, black, yellow, and brown border, hand quilted in fans to border, blue binding edge with a grey and salmon printed cotton backing 72” W x 80” H $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Nine Patch Variation quilt

1920-1930, Ohio Cotton with blue, black, and purple blocks all within a blue inner border and larger black outer border, hand quilted in diamonds and oval leaves with a royal blue cotton backing 74” H x 65” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 96 “Ohio Amish quilt makers adopted a wide variety of pieced designs used by non-Amish quilt makers. These were often transmitted, however, through sashing, configuration, orientation and color invention, to novel and distinctive statements...A defining inner border formed of ticks of intense color, and light and dark blocks that look like a flock of displaying exotic birds. I am compelled to mention a few others: The Nine Patch variations...which have to a remarkable degree the aesthetic of Japanese indigo-dyed folk textiles.”

(Holstein, “The Aesthetics of Amish Quilts,” 101)

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An Amish Nine Patch quilt

Circa 1925, Holmes County, Ohio Made by Mrs. (Mary) Levid Raber, born 1883 Cotton and cotton sateen with multicolored nine patches and a light blue inner border all on a black field and a royal blue binding edge, hand quilted in parallel lines, crosshatching, trailing leaves and cables, with a white cotton backing 79.5” H x 69.25” W $800-1,200 Provenance: David Pottinger Collection The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 97, exhibited A longer note of history pinned to reverse.

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An Amish Double Nine Patch quilt

1910-1920, Ohio Cotton with multicolored nine patches set to diamonds on a black field and green inner border and navy blue binding edge, hand quilted in parallel lines, cables, flowers, leaves, and zigzags with a navy blue cotton backing 65� H x 79.5� W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pgs. 102, 103.

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An Amish Puss in the Corner quilt

Circa 1888, Iowa Embroidered: E.S.; Quilted to inner border: Aug 1888 Wool and cotton with multicolored four column diamonds set on a green field with tan inner border, hand quilted in cables, parallel lines, hearts, and floral wreaths with a cotton brown floral printed backing 63” L x 75.5” W $400-600 Provenance: Sale, Julie Silber Quilts, Berkely, CA, November 11, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 216, exhibited One of the older styles popular in the later-half of the 19th century with non-Amish quiltmakers, this “Puss in the Corner” quilt is unusual for it’s diagonally placed squares and incorporation of a print.

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An Amish Nine Patch and Flying Geese quilt

Circa 1905, Iowa Wool and cotton with red and mustard nine patch blocks on a brown field, a brown and red flying geese border, and a black velvet binding edge with a red wool backing 65� H x 68� W $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Two Amish crib quilts

1920-1930, Ohio First: Amish crib quilt in cotton with green and grey pinwheels on a purple field and binding edge, with a black border, hand quilted in leaves, diamonds, and cables with a cream cotton backing (34” H x 28.5” W); Second: A blue Nine Patch quilt within a blue inner border on a black field and light blue binding edge, hand quilted in leaves, diamonds, cables, parallel lines, and tulips with a light blue cotton backing (46” H x 34” W), 2 pieces $300-500 Provenance: Sale, The Quilt Gallery, Santa Monica, CA, January 29, 1986 (the first) The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 214, 215

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An Amish One Patch quilt

1920-1930, Ohio Cotton and rayon multicolored squares with turkey foot embroidery outlines and pink cotton binding edge, hand quilted in concentric circles with navy blue cotton backing 72� H x 76� W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 200, 201, exhibited

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An Amish Tumbling Blocks quilt

1910-1915, Lancaster County, Pennsylvania Made by Mrs. Enos King Wool and cotton with multicolored blocks and a red border, hand quilted in cables and crosshatching with a green and black floral printed cotton backing 72” H x 74” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 154, 155, 44, exhibited

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An Amish Tumbling Blocks quilt

1890-1900, Geiger County, Ohio Made by The Smucker Family Cotton with tumbling blocks in light and dark blue and red, all set within a red inner border , dark blue outer border, and red binding edge, hand quilted in parallel lines, diamonds, double zig-zag lines and cables with a tan cotton backing 88.5” H x 81.75” W $800-1,200 Provenance: Sale, Wheatcroft Antiques & Quilts, Lewisburg, PA, January 24, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 166, 167, exhibited With roots in mosaic floor design from Ancient Greece and Rome, Tumbling Blocks entered into the quilting repertoire around 1851 when the first known pattern was published in “Godey’s Lady’s Book.” The graphic pattern can be acheived with a few contrasting colors and has a startlingly modern appearance, especially when interrpreted in the dark and saturated color palette preferred by the Ohio Amish.

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An Amish Tumbling Block quilt

1920-1930, Ohio Cotton with a navy border with royal, navy and light blue center motif, hand quilted in cables and leaves with a forest green backing 77” H x 88” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 100 “Quilt makers tended to use favored designs, in some cases over several generations, rather than adopt new ones; see for instance the Tumbling Block quilts from Pennsylvania...and Ohio. (Holstein, “The Aesthetics of Amish Quilts,” 102)

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An Amish Streaks of Lightning/Bricks quilt

Second-quarter 20th century, Ohio Cotton with purple lightening on a blue field, hand quilted in cables, oval leaves, and waffle with a pale pink sawtooth border and matching backing 79.5” H x 70” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 194 “Ohio Amish quilts exhibit some specific characteristics. Early examples used a fairly conservative color range in ‘old fashioned’ tonalities.” (Holstein, “The Aesthetics of Amish Quilts,” 100)

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An Amish Square within Square quilt

1920-1930, Lancaster County, Pennsylvania Cotton with red and turquoise alternating squares and nine-patch center blocks, hand quilted in cables and crosshatching with printed floral cotton backing 76� H x 76� W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A Lone Star quilt

Second-quarter 20th century Cotton in red, white, and blue, with alternating red and blue borders, hand quilted in fan motif with white cotton backing 75.5” W x 68.5” H $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Two American red, white, and blue quilts

Second-quarter 20th century First: A cotton crib quilt in red, white, and blue with a White Satin Sugar sack panel to one corner, quilted in diagonal crosshatching, white cotton backing, (44’’ H x 36’’ W); Second: A cotton Tumbling Blocks quilt in red, white, and blue, hand quilted outlining to each piece, with a pink cotton backing, (74’’ H x 65’’ W), 2 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An American Bullseye quilt

Circa 1890, Michigan Cotton in alternating red, white, and blue squares, with a blue cotton backing, hand pieced and quilted in fans 74’’ H x 73’’ W $500-700 Provenance: Sale, Judith and James Milne, Inc., New yYork, NY, c. 1990 The Collection of Cindy-Tietze Hodosh and Stuart Hodosh

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An Amish North Carolina Lily quilt

Circa 1920, Ohio Cotton and cotton sateen with green/yellow and beige/green baskets of lillies on a black field and green inner border, hand quilted in feather wreaths, crosshatching, and ropes with a pieced green and blue cotton backing 68.5” H x 84.5” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 180 One of the earliest known printings of the pattern dates it to about 1890. Often created with leaves and stems, the artist simplified the design and reduced it to blossoms and a container. “The artist emphasized the Carolina Lily pattern by double quilting the outline of the baskets and the lillies.” (Holstein, “The Aesthetics of Amish Quilts,” 180).

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An Amish Basket of Chips quilt

1931, Ohio Quilted to half diamond at border: Jan 31 Cotton with multicolored baskets and chips on red backgrounds, all on a blue field with a light pink inner border, hand quilted in flower heads, ropes, and cables with a brown binding edge and blue cotton backing 56� H x 77� W $800-1,200 Provenance: Sale, Judith and James Milne, Inc., New York, NY, The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 180, 181, exhibited

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An Amish Baskets quilt

1915, Middlebury, Indiana Quilted to inner border: Anna Miller, February 24th, 1915 Cotton and cotton sateen with multicolored baskets on a black field and pale yellow inner border, hand quilted in tulips, parallel lines, and fans with purple cotton backing 87.5” H x 69.25” W $800-1,200 Provenance: Sale, David Pottinger, Topeka, IN The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: David Pottinger, Quilts from the Indiana Amish: A Regional Collection, New York: E.P. Dutton, Inc, Museum of American Folk Art, 1983, pg 44, ill. 45.

Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 226, 227, exhibited Anna Miller was born June 15th, 1897 making her 17 years old when she sewed this quilt. See note affixed verso for additional details.

“In color choices Indiana quilt makers followed the general Ohio pattern, a limited range of old-fashioned colors in early quilts, and a brighter pallet as time went on and choices increased.” (Holstein, “The Aesthetics of Amish Quilts,” 101). One of the older quilt patterns, the first known pieced quilt in the Baskets pattern dates to about 1855, the triangular version has been popular with quilters for almost two centuries. This arrangement, in blocks of color arranged to resemble a central cross, is a prime example of order and devotion of the Indiana Amish.

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An Amish Basket quilt

1929, Ohio Quilted to inner corners: L/ M/19/ 29 Cotton with green baskets in black diamonds on purple field with a lavender inner border, hand quilted in parallel lines, flowers, ropes, and double cables with a black cotton backing 73” H x 73” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 178, 179 “The Baskets Quilt made the year of the Stock Market Crash with a design like Assyrian grape clusters and an inner border that solves the pink problem.

[The] Ohio Baskets quilt, which, though made of cotton, uses 'traditional' tonalities associated with early wool quilts.” (Holstein, “The Aesthetics of Amish Quilts,” 101)

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An Amish Baskets wedding quilt

Circa 1930, New Wilmington, Pennsylvania Cotton with multicolored baskets on a grey field with a lavender inner border and binding edge, hand quilted in leaf, parallel lines, zigzag lines, cables, and hearts with a red cotton backing 74.5” H x 82” W $800-1,200 Provenance: Sale, David Wheatcroft, Lewisburg, PA, January 6, 1992 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 164, 165, exhibited

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Two Amish Baskets/Bricks crib quilts

1930-1940, Ohio First: A cotton crib quilt with black baskets on alternating light pink and green blocks with a cream binding edge, hand quilted in large chevrons with a lavender cotton backing (34.5” H x 44” W); Second: A cotton and wool crib quilt with multicolored bricks, a green inner border and binding edge and tan border, hand quilted in cables and crosshatching and a black and pink cotton backing in a geometric stripes pattern (38” H x 28.5” W), 2 pieces $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, the first: pg. 211, the second: pg. 212.

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An Amish Ocean Wave quilt

Circa 1930, Holmes County, Ohio Cotton with multicolored ocean waves on a lavender field with blue and yellow banding, hand quilted in chevrons, diagonal parallel lines, and cables with a cotton lavender backing 80.75” W x 90.5” H $600-800 Provenance: Sale, Peace and Plenty, Los Angeles, CA, March 26, 1985 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 94, 951 “Ohio Amish quilt makers adopted a wide variety of pieced designs used by non-Amish quilt makers. These were often transmitted, however, through sashing, configuration, orientation and color invention, to novel and distinctive statements...the great Ocean Waves quilt...with its luscious color invention.” (Holstein, “The Aesthetics of Amish Quilts,” 101). The pattern first emegered around 1855 and was particularly popular in the late 19th through early 20th century. Pieced of triangles arranged in a latticework pattern, the bright colors arranged in crosses make this an unusual interpretation of the design.

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An Amish Lady of the Lake quilt

1936, Holmes County, Ohio Cotton with multicolored blocks and a multicolored inner border all on a pale green field and pink binding edge, hand quilted in cables, chevrons, and tulips with a cream cotton backing 82� H x 68.5� W $600-800 Provenance: Sale, Made in America, New York, NY The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 182, 183, exhibited The name of this quilt is taken from a Sir Walter Scott poem published in 1810 and could be found one quilts throughout the Northeast in the 19th century. The triangles in complementary colors pop against the pale green field, giving it a naturalistic quality.

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An Amish Bear Paw quilt

1935, Ohio Embroidered to one end: 1935 Cotton and cotton sateen with red and turquoise bear paws on a black field with red inner border, hand quilted in crosshatching, feather wreaths, cables, and diagonal parallel lines with yellow cotton backing 65” H x 79” W $800-1,200 Provenance: Sale, The Wild Geese Farm, Morgan Hill, CA, August 13, 1989 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 184, 185, exhibited “These often extraordinary black quilts...should be seen as the confluence of three factors: the Ohio Amishís preferred use a fine cotton sateens, which gave an appealing luminosity to the quilts in which they were used, the availability of these materials in a wide range of colors in both strong and recessive tonalities, and the decision to set pieced blocks using these often jewel-like tones against a black background. It was a brilliant design concept, and from it came some of the most powerful manifestations of the Midwestern style.” (Holstein, “The Aesthetics of Amish Quilts,” 100)

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An Amish Ohio Stars quilt

Circa 1920, Ohio Cotton and cotton flannel with multicolored Ohio Stars on a black field with a black and green striped border and black binding edge, hand quilted in intersecting ovals and diamonds with grey cotton flannel backing 77.5” H x 70” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 90.

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An Amish Shoo-Fly quilt

1920-1930, Ohio Cotton and cotton sateen with navy and black blocks on a black field with blue binding edge, hand quilted in flowers, triple parallel lines, and fiddlehead ferns with a grey cotton backing 65.5” W x 76.25” H $500-700 Provenance: Sale, Judith and James Milne, Inc., New York, NY, October 18, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 186, 187, exhibited With its nocturnal color palette “which would not have seemed out of place in a painting of the seventeenth-century court” (Holstein, “The Aesthetics of Amish Quilts,” 100), the Ohio Amish preference for few but deeply saturated colors are on full display in this example. Shoo-Fly came onto the scene as an early nine-block variation in the 1850s and was a popular choice with quilters in the latter part of the 19th century.

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An Amish Hole in the Barn Door quilt

1915-1920, Holmes County, Ohio Wool, cotton, and cotton sateen with multicolored bard doors set on a sienna field with a black border, hand quilted in fans, parallel lines, feather wreaths, and crosshatching with a brown cotton backing 81” H x 68.5” W $600-800 Provenance: Sale, Darwin D. Bearley, Quilts and Country, Akron, OH, October 7, 1985 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Rachel T. Pellman and Kenneth Pellman, The World of Amish Quilts, Good Books, 1984 Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 176, 177, exhibited

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An Amish Hole in the Barn Door quilt

1925-1935, Ohio Cotton and cotton sateen with four columns of multicolored barn door diamonds on a faded green field, hand quilted in cables, parallel lines, eight-point stars, and crosshatching with dark green cotton backing 63” H x 79” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 176, exhibited “The format of an inner border enclosing a pieced block field became the most important in the Midwest...and it is reasonable to speculate that Mifflin County was the place where Lancaster styles were modified and from which the new form was sent on.” (Holstein, “The Aesthetics of Amish Quilts,” 97). Also known as “Churn Dash,” “Hole in the Barn Door” was one of the earlier nine-patch quilt patterns dating between 1800-1849. A favorite of both new and experienced sewers, it can be adapted to show off more advanced quiltmaking skills.

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An Amish Hole in the Barn Door quilt

1920-1930, Ohio Cotton with twelve blocks of blue/turquoise on black all set on a dark purple field with a burgundy inner band and light blue binding edge, hand quilted in pumpkin seeds, diagonal parallel lines, and flowers, with a blue cotton backing 72.5” H x 89” W $600-900 Provenance: Sale, Mary McEntee Antiques, Whittier, CA, December 2, 1980 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 94

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An Amish Bow Tie quilt

Circa 1930, Ohio Cotton and cotton sateen with black sateen bows and inner border on a blue field, hand quilted in interlocking ovals, diamonds, and cables with a patched blue cotton backing 70.5” H x 91” W $600-800 Provenance: Sale, Mary Mc Entee, Antiques, Whittier, CA, c. 1980 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 198, exhibited With the rise in popularity of men’s bow ties in the 1880s, the Bow Tie pattern first emerged as a popular pattern in quiltmaking around 1895. Suitable for both beginners and advanced sewers, the Bow Tie quilt can be pieced in different ways. The present example, with its limited palette, creates and intriguing and hypnotic effect, emphasized with the diagonal placement of the blocks.

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An Amish Bow Tie quilt

1915-1920, Ohio Wool and cotton, rows of red bow ties and innr border on a black field with an olive green binding edge, hand quilted in crosshatching, navy blue cotton backing 74.75” L x 75.5” $600-800 Provenance: Sale, Made in America, New York, NY The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 198, 199 One of the Ohio Amish’s most important artistic contribution to quilting was their use of black as a background color. Borrowing from the parlor quilts of the Victorian era, the black ground is a hallmark of this later era in quiltmaking and is employed with stunning affect by the Ohio Amish. “Another characteristic and effective device was the use of a limited palette. The simplest manifestation of this was the two-color quilt, typically a block pattern in one color set against a background of another. In the Bow Tie quilt...the maker had the brio to turn one block and change the mid-strip in the block above it, touches that turn a pleasant, ordered surface into an enigmatic and arresting statement. Who knows why she did it? Some will no doubt invoke the quiltmakers’ occasional custom of intentionally building an imperfection into an otherwise flawless quilt so as not to rival God’s perfection.” (Holstein, “The Aesthetics of Amish Quilts,” 100-101)

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Two Amish Bows crib quilts

Circa 1930, Ohio and Pennsylvania First: An Ohio-made crib quilt in cotton with multicolored bow ties on a light lavender field with light blue inner border and binding edge, hand quilted in straight stitching, parallel lines, lazy diamonds, and connected circles with a pieced blue cotton backing (36” H x 28.5” W); Second: A Nebraska group, Mifflin County, Pennsylvania Bows crib quilt in cotton and cotton sateen with black bows in lavender squares on a purple field with a grey inner border and black binding edge, hand quilted in double pumpkin seed, vines, and leaves with a black cotton sateen backing (41” H x 36” W), 2 pieces $300-500 Provenance: Sale, William P. and Connie H. Hayes Antiques, Bellville, PA, April 26, 1986 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, The first: pg. 210; The second pg. 163, exhibited

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An Amish Double Wedding Ring/Chinese Coins quilt

1940-1950, Lancaster County, Pennsylvania Cotton with multicolored rings on a navy blue field with a lighter blue binding edge, hand quilted in zig-zags, diamonds, flower stalks, and waffles with light blue cotton backing 93” H x 81” W $800-1,200 Provenance: Sale, Beacon Hill Attic, Toluca Lake, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 160, 161, exhibited One of the most recent quilting patterns, the Double Wedding ring was introduced in 1935 but has roots in other interlocking ring design motifs going back centuries. Though the Amish do not wear wedding rings themselves, the symbolism of the quilt found appeal among them in the 1940s. Tricky to piece together, it wasn’t a pattern a novice quilter would have undertaken. this example, with its allover navy ground, makes the multicolored patches sing and evoke a sort of Mary Blair aesthetic.

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An Amish Star of Bethlehem quilt

First-quarter 20th century, Holmes County, Ohio Cotton and cotton sateen with stars on a black field with yellow border, hand pieced and quilted in crosshatching, outer border quilted with rope motif with a green cotton backing 73” H x 72” W $2,000-3,000 Provenance: Sale, Judith and James Milne, Inc., New York, NY, October 18, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 208-209, exhibited

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An Amish Broken Star quilt

1920-1930, Ohio Cotton with a multicolored central star and star points on a light blue field all contained in a double red inner border, nine patch corners, and binding edge, hand quilted in feathers, feather garlands, parallel lines, and fiddlehead ferns with a white cotton backing 84’’ H x 83.5’’ W $600-800 Provenance: Sale, Judi Boisson Antique American Quilts The Collection of Cindy-Tietze Hodosh and Stuart Hodosh Literature: Rachel T. Pellman and Kenneth Pellman, The World of Amish Quilts, Good Books: Pennsylvania, 1984, pg. 52, Ill. 99.

Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 204, 205 exhibited

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An Amish Star of Bethlehem quilt

1925-1935, Ohio Cotton with a multicolored starburst on a blue field with pink border, hand quilted feathers, and feather wreaths with a pink cotton backing 91.25” W x 92” H $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 92, 93, exhibited One of the oldest pieced quilt patterns, and one of the fews that can be traced back to the roots of quiltmaking in England and Wales, the Star of Bethlehem has remained one of the most popular patterns since the 18th century. The Amish adapted the pattern and interpreted it in their prefered color palette. “Additionally, the wide range of colors used by groups of different conservatism in the Big Valley mirrors developments in the Midwest. The most conservative group favored a ‘limited palette of traditional “natural” colors: browns, blues, darker purples, black, darker greens, yellow, ochre, tan and some darker reds’ while other groups favored ‘brighter, “synthetic” colors’...[as in] the Star of Bethlehem quilt.” (Holstein, “The Aesthetics of Amish Quilts,” 97)

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An Amish Star of the East quilt

Second-quarter 20th century, Holmes County, Ohio Cotton with a royal and light blue pinwheel quilted with parallel lines and crosshatching on a black field quilted with diagonal croasshatching, parallel lines, and feather wreaths, the royal blue border quilted with oval leaf motif with a blue backing 75” L x 65.75” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 206, 207

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An Amish Strip Star quilt

Circa 1930, Ohio Cotton with nine-star motif and lavender and blue trim, hand quilted in parallel lines, interlocking diamonds, ovals, and ropes with a blue backing 73” H x 74.5” W $600-800 Provenance: Sale, Judith and James Milne, Inc., New York, NY, December 6, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 202, exhibited “Quilts using small pieced patterns and black backgrounds often produce the sparkling visual effects of modern stained-glass.” (Holstein, “The Aesthetics of Amish Quilts,” 100)

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An Amish Strip Star quilt

Circa 1935, Iowa Cotton with multicolored eight-point stars on white field, each within a blue border, hand quilted in double diamonds, flowers, ropes, and cables with a printed yellow cotton backing 61.5” H x 85” W $500-700 Provenance: Sale, Judith and James Milne, Inc., New York, NY, December 6, 1990 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 98 “In other Midwestern states the pattern was generally the same as in Ohio and Indiana. Each, however, had some practices which were more particular to it, an indication of the diversity of taste and philosophy among different Amish groups. In Iowa, for example, white was used as a background in association with pastel colors, as in the Star quilt...Granik notes the use of unusual borders or piercing arrangements in Arthur, Illinois quilts (see the early Illinois quilt with an atypical and very effective arrangement of Roman stripes.” (Holstein, “The Aesthetics of Amish Quilts,” 102)

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An Amish River Brethren quilt

Circa 1920, Lancaster County, Pennsylvania Cotton with yellow, green, and brown eight-point Eastern stars on a purple field with green and yellow inner border, hand quilted in cables with an orange binding edge and a printed plaid cotton backing 81” H x 80” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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An Amish Ohio Stars Bursting quilt

1885, Mifflin County, Pennsylvania Embroidered: C.Y. 1885 Cotton with maroon stars and inner border on a blue field, hand quilted in feathers and parallel lines with a brown cotton backing 87� H x 71� W $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 158, 159, exhibited

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A Mennonite Flying Geese quilt

Second-quarter 20th century, Pennsylvania Cotton with light olive green flying geese and eight-point stars on a red background and border, hand quilted in feathered garlands, feathered wreaths, and crosshatching with a black and red gingham printed backing 86” H x 86” W $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Jonathan Holstein, “The Pieced Quilt: An American Design tradition,” Greenwich, New York, graphic Society

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Two Amish crib quilts

Circa 1920, Indiana and Pennsylvania First: A Nappanee, Indiana Hole in the Barn Door crib quilt, sewn by Fannie Miller for her son in 1922, in cotton with lavender barn doors in black diamonds on teal field, a lavender inner border and binding edge, hand quilted in diagonal parallel lines and crosshatching, with a grey-blue cotton backing, provenance letter affixed verso (39” H x 44” W); Second: A Lancaster County, Pennsylvania Star crib quilt in cotton with peach stars blue diamonds on blue field with a peach inner border and grey binding edge, hand quilted in diagonal lines, crosshatching, and double parallel lines, with a dark grey cotton backing (37” H x 44” W), 2 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, the first: pg. 224, 225, the second: pg 162.

The first with a note of Provenance affixed verso.

“In color choices Indiana quilt makers followed the general Ohio pattern, a limited range of old-fashioned colors in early quilts, and a brighter pallet as time went on and choices increased., though made of cotton, uses 'traditional' tonalities associated with early wool quilts, and the quilt of the same pattern from Indiana...The two also make a quick study of the visual variety different quilt makers achieved using the same basic designs. Just as black became a favored background color in Ohio, blue was much liked in Indiana, especially in indigo tonalities, a link with the past.” (Holstein, “The Aesthetics of Amish Quilts,” 102)

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An Amish Courthouse Steps crib quilt

1880-1890, Lancaster County, Pennsylvania Cotton and wool with teal and brown steps, a green and brown wool binding edge and brown cotton backing 38.5” H x 20” W $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 162

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105

Three Amish doll quilts

Second-quarter 20th century, Ohio, Pennsylvania First: Cotton with multicolored bars, a purple inner border and black outer border, hand quilted in parallel lines with a black cotton backing (16.5” H x13.5” W); Second: An eight-point star doll quilt with multicolored stars in a black square on blue fields and faded purple binding edge, hand quilted in ovals with brown cotton backing (20.5” H x 18” W); Third: A Hole in the Barn Door doll quilt with light pink doors and inner border on a light blue field, hand quilted in parallel lines and crosshatching with a light blue backing (22.5” H x 18” W), 3 pieces $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Donald B. Kraybill et al., A Quiet Spirit: Amish Quilts from the Collection of Cindy Tietze & Stuart Hodosh, UCLA Fowler Museum of Cultural History, 1996, pg. 215

118

106

An early applique quilt

Late-19th/early-20th century Cotton sateen with red berry and leaf applique to a cream field with red border, hand pieced and quilted with a green cotton sateen backing 92.5” W x 81.5” H $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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107

Two early pieced quilts

First-quarter 20th century, American First: A pineapple patchwork quilt in multicolored printed silks and taffeta with pulple silk borders and banding and a purple cotton sateen backing (58” H x 60” W); Second: a pieced crazy quilt with various multicolored fabrics, hand embroidery throughout, and a purple silk exterior band with pink cotton sateen backing, embroidered to one corner: “I only take this little spot to write the words ‘Forget Me Not’.” (66.5” H x 63.5” W), 2 pieces $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

120

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121

108

Four Courthouse Steps quilts

Second-quarter 20th century Four seperate hand pieced crib-sized quilts with bound edges in silk, multicolored blocks, black edging and unfinished backing, 4 pieces Each: 37� H x 37� W $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

122

109

A Jefferson High School quilt topper

First-quarter 20th century, Lafayette, Indiana In alternating red and yellow blocks of cotton, each embroidered with names of students and faculty with date ranges from class of 1913, 1914, 1916, 1920, 1923 68” H x 80” W $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Embroidered with the names of graduates and coaches of Jefferson High School in Lafayette, Indiana. Opened in 1912, the basketball team won the basketball state championship in 1916, to this day a revered year for fans of the team.

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110

An American Tobacco Flag quilt

First-quarter 20th century Cotton flannel and cotton with pieced flannel flags of assorted counties, butterflies, and universities, with a plaid border and pieced cotton backing 71” H x 83.5” W $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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111

A handmade quilt topper in mini blocks

First-quarter 20th century Mini blocks all hand stitched in browns, tans, greens and pinks 88.5” W x 80” H; Each block: 4.5” square $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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112

A pieced quilt topper

Mid-20th century, American Cotton, silk taffeta, and rayon multicolored printed fabrics, center blocks with embroidered circles 104” H x 85.5” W $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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113

Three American pieced quilts

Second-quarter 20th century First: Cotton with multicolored four-point stars alternating with printed circle blocks, tan and blue binding edges with tan cotton backing (64.5” H x 75” W); Second: A contained fan variation quilt in cotton on black background with red intersections, plaid cotton backing wraps over forming binding edge, hand quilted in fans (59” H x 71” W); Third: An eighty-one block quilt in cotton on red field, hand quilted in crosshatching and “X” motif, with a tan printed cotton backing (75” H x 83” W), 3 pieces $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

130

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114

Three American quilts

First-half 20th century First: a velvet and corduroy crazy quilt in multicolored pieces and colored embroidery, with a dark blue corduroy border, hand tied printed cotton backing (104” H x 92.5” W); Second: Cotton nine patch in multicolor, hand quilted in cross-hatching with a cotton blue plaid backing. Embroidered in one corner: LMK (63.75” L x 62.5” W); Third: Wool and cotton flannel pineapple pattern in multicolor red and blue, with striped cotton flannel backing, 3 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

132

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115

Three quilts

Third-quarter 20th century, American First: A Tree of Life quilt with printed cotton bars and borders, machine quilted, with a pink printed floral cotton backing (86” H x 93” W); Second: In printed mid-century fabric pieces in the Baskets pattern on cream field and yellow, green, and blue border, hand quilted in parallel lines, wreaths, and diamond blacks (79” H x 94” W); Third: A mid-century Log Cabin Barn Raising pieced quilt in printed multicolored cottons, with a paisley binding edge and geometric printed backing in cotton (69.5” H x 84” W), 3 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

134

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116

An English crazy quilt

Late-19th century Embroidered: May-June 1st 1886, M.J. W. In various velvets, silks and other fabrics with hand embroidery, one photographic transfer, and scattered hand applique with an alternating red and white pendent edging and a silk backing 77” H x 62” W $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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117

A double sided crazy quilt

First-quarter 20th century, America Embroidered: March 1st 1907 Side A: Wool fabrics with colored embroidered panels of a farm, tree, schoolhouse, star, and cross; Side B: A geometric grid, with decorative hand stitching 52� H x 73� W $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

138

118

A crazy quilt

First-quarter 20th century Embroidered Nov 28 / 1918 In a variety of fabrics pieced in multicolor crazy quilting, embroidered yarn in feather stitching with green cotton floral print backing 76” W x 65” H $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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119

A crazy quilt

Mid-20th century In velvet, cotton, satin, and taffeta with hand embroidery throughout, “John J. Ingalls” embroidered to one piece, a fabric piece printed with “The Barbeque Committee”, “CVR” to another, with an unfinished cotton backing and unbound edges 44.5” W x 69” H $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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120

A crazy quilt

First-quarter 20th century Velvet, wool, and cotton with multicolored pieces hand embroidered throughout, hand tied with cream binding edge and a cream cotton backing 92” H x 71.5” W $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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121

Front

A double-sided jewel-toned patchwork quilt

Late-19th/early-20th century Mainly wool in purples, reds, browns, and turquoise with a cotton pink binding edge, hand tied, can be used on either side 87� W x 67� H $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Back

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122

A double-sided patchwork quilt

Mid-19th century Side A: A variety of colorful cotton and wool fabrics to one side in a Crazy Quilt motif, hand stitching with applique, all hand pieced; Side B: In silk and satin printed fabrics, hand pieced in a central cross motif 51.5� W x 66� W $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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123

A double-sided geometric patchwork quilt

Second-quarter 20th century Both sides in wool, velvet, and cotton fabrics in a red, orange, blue, and brown pallet, fan variant motif 33.5� W x 68.5� H $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

124

A patchwork quilt

Second-quarter 20th century In a mix of fabrics, one section with a brown corduroy circle applique, and a cream muslin backing, hand tied 77� H x 75� W $150-250 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

146

125

A geometric patchwork quilt

Second-quarter 20th century Wool blocks with multicolored hand emboidery to each block, with grey cotton flannel backing, hand tied in red yarn 76” W x 64” H $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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126

A double-sided geometric patchwork quilt

Mid-20th century Side A: Mixed wool and synthetic suit fabric with a central mustard frame, machine stitched; Side B: With abstract patchwork motif 69.5� W x 54� H $150-250 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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127

Two patchwork quilts

Second-quarter 20th century First: A geometric wool pin-stripe quilt with cream central checkerboard with printed striped cotton backing, hand tied (76” H x 81” W); Second: a patchwork quilt in a variety of fabrics, hand tied with striped flannel sheet backing (77” H x 67” W), 2 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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128

A geometric patchwork quilt

Second-quarter 20th century Primarily wool fabrics in alternating light and darks, each square hand tied with turquoise yarn with a hand stitched grey cotton backing 82” W x 68” H $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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129

A geometric patchwork quilt

Mid-20th century Embroidered: Rocky from Mama / May 1949 Wool gabardine and herringbone suit fabrics from turquoise to black, hand tied with plaid cotton backing 63� W x 65� H $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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130

A Log Cabin variant quilt

Late 19th/early 20th century In dark wool materials, with a border to two sides and a cotton backing 79” W x 69” H $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Condition Reports

1 Overall good condition commensurate with age and use. Black fabric pieces with sewing separations. Older repairs scattered throughout. Backing fabric with area of thinning. Velcro tacking strip to one edge.

2 Overall good condition with light soiling commensurate with age and use. Backside with Velcro tacking sewn to all four sides of backing.

3 Overall good condition with scattered holes throughout. Several fabric pieces with stitch loss.

4 The topside in overall good condition with approximately a dozen dime sized holes. Minor soiling and wear to some fabrics. Possible evidence of some period restoration. Backside with Velcro tacking sewn to one edge.

5 Overall good condition commensurate with age and use. Surface soiling scattered throughout, some staining to pink border, a patch appliqued to one area on backing.

6 Overall good condition commensurate with age and use.

Scattered staining to fans, slight fading to green border. Backside with even fading throughout, blue stains and discoloration, largest: 6.5” x 8”. Velcro strips sewn to all edges.

7 Overall good condition with staining to several quilt blocks, minor holes to wool border.

8 Overall good condition commensurate with age and use. Thinning to brown border fabric, red edge with wear from bed post to one corner. Brown backing strips thinning and worn. Velcro tacking strip sewn to one edge.

Condition Reports

9 Overall good condition commensurate with age and use. A Velcro tacking strip sewn to one edge.

156

10 Overall good condition with light soiling commensurate with age and use. An older dime-sized repair to the red square. Scattered small holes to blue border. One small hole to the taupe field and with hanging strip to one edge. Backside with one area of soiling: approximately 4” x 2”. Some other small discolorations throughout.

11 Overall good condition commensurate with age and use.

12 Overall good condition commensurate with age and use.

Scattered minor soiling throughout, staining visible to lavender areas, see photographs for additional details. Backside with fold-fading and light staining. A cotton dowel sleeve sewn to one edge.

13 Overall good condition commensurate with age and use. An area of scattered staining to one edge, 7.5’’ L x 2.5’’ W. Backside with area of fade to one corner. Velcro tacking strip sewn to one edge.

14 Overall good condition commensurate with age and use. Color fading to burgundy on one side, scattered staining to grey diamond. Backside with minor dye migration and staining.

15 Overall good condition. One border with discoloration. Scattered light staining throughout: largest 1”. A tacking strip sewn to edges.

16 Overall good condition commensurate with age and use. Pulled fabric tears to corners from use. One stain to binding edge on one side, slight soiling and minor scattered stains.

17 Overall good condition with even fading throughout. Light soiling and wear commensurate with age and use. Even fading to one end of backing.

18 Overall good condition commensurate with age and use. An offcentered stain 4.5” x 4.5” mirrored in the opposite quarter from folding, with other smaller staining scattered to one edge.

Backside with even fading and lighter stains from other side showing through. A Velcro tacking strip sewn to one edge.

19 Overall good condition with scattered surface soiling throughout.

One corner with staining to the pink windowpane. Backing with scattered staining. Sewn Velcro tacking strip sewn to one edge.

20 Overall good condition commensurate with age and use. General fading throughout and light staining to lavender border, surface soiling to one backside edge and other areas lightly scattered throughout. A Velcro tacking strip sewn to one edge.

21 Overall good condition commensurate with age and use. Light scattered staining and a small area of wear to front side, backside with dye migration, slight staining throughout. Broken stitching to one corner. A Velcro tacking strip sewn to one edge.

22 Overall good condition with minor moth damage to purple border and minor soiling commensurate with age and use. Discoloration to half of one purple border. A Velcro tacking strip sewn one edge.

23 Overall good condition with fading, discolorations and staining throughout. Backside with evidence of dye migration scattered throughout. See photographs for further details. Velcro tacking strip sewn to one edge.

25 Overall good condition commensurate with age and use. Slight color variance to purple border from age, one dime-sized repair.

Green tacking edge slightly discolored. An “L”-shaped tear 1” x 1” to backside.

26 Overall good condition commensurate with age and use.

Discoloration to one blue corner box and a very slight discoloration to one purple seemed border panel. A Velcro tacking strip sewn to one edge.

27 Overall good condition with a tacking edge to one side. One square with a small hole: approximately .125”. A 1” stain to one border. Backside with a fold discoloration to one side.

28 Overall good condition with even discoloration to border. One side with discoloration. Fabric sleeve sewn to one edge.

29 Overall good condition commensurate with age and use. Older moth damage to one edge, discoloration to one purple square and thinning to another. A large water stain to backing and fold discolorations. A Velcro tacking strip sewn to one edge.

30 Overall good condition, wear commensurate with age and use.

31 Overall good condition commensurate with age and use. Even fading to green fabric leaving it an overall lighter color.

Discolorations around edges with scattered areas of light spots. A Velcro tacking strip sewn to one edge.

32 Overall good condition with wear and soiling commensurate with age and use. Center of one edge with bruising from hanging, a larger area of water damage to one corner, see images for details.

Scattered minor holes to binding and several to field. Backside with discolorations corresponding to damage on front side. Velcro tacking strip sewn to one edge.

33 Overall good condition with scattered moth holes, minor wear and light staining throughout. Backing with one hole and fold fading.

Cotton fabric dowel sleeve sewn to one edge.

34 Overall good condition commensurate with age and use.

Scattered white surface soiling throughout. Backing with a fold discoloration.

35 Overall good condition. A .25’’ stain to purple piece. Backside with minor fold discolorations. A Velcro tacking strip sewn to one edge.

36 Overall good condition commensurate with age and use. Area of slight lightening to one border side from liquid, one end with uneven coloring, small holes and spots scattered throughout, backside with scattered staining and discoloration throughout.

37 Overall good condition commensurate with age and use. Very slight color unevenness to one black edge. A Velcro tacking strip sewn to one edge.

38 Overall good condition with wear commensurate with age and use. Scattered small holes to edge and one to field. Several discolorations/stains to center. Velcro tacking strip sewn to one edge.

39 Overall good condition two wear holes to one corner, a 3” H x .5” triangular stitched repair, 2.5” overstitch repair to same area, with sewn Velcro strips to one end. Scattered holes to all edges from previous hanging. Scattered staining to backside.

40 Overall good condition commensurate with age and use.

Scattered light staining throughout, difficult to see. Backing with staining scattered throughout.

41 Overall good condition with scattered staining to one corner 1.25” x 2.5” and to opposite side scattered smaller stains, largest 1”. Backside with scattered staining and fold discoloration. Velcro tacking edge to one side.

42 Overall good condition with significant fading throughout. Some areas of use. A 1” area along border unbound dating to time of creation.

43 Overall good condition commensurate with age and use. Signs of wear scattered throughout. Stains visible to red bars. Backside with discoloration from staining. One tear to binding edge and white adhesive residue to one corner.

44 Overall good condition commensurate with age and use. Fold and general discoloration to green fabric, scattered small stains to one side.

45 Overall good condition commensurate with age and use. Some older repairs to some colored pieces, one with embroidery.

Scattered discoloration and areas of staining concentrated to light colors of color band. Several drops of colored paint scattered throughout. See photographs for additional details. Backing with stains to one area.

Condition Reports

24 Both blue bands with thinning and tears to original fabric. Each mitigated with restorative mesh sewn over the length of them.

Scattered thinning to blue/grey small squares from age. An area of discoloration to one large blue block and other small stains scattered throughout. Backside with minor staining. A Velcro tacking strip sewn to one edge.

157

46 Overall good condition commensurate with age and use. The red border with two 2� round patches and one 2� stain adjacent. The backside with wear to initials and date embroidery, several dark stains scattered throughout.

59 Overall good condition with slight fading to borders, heavy dark stains to one edge bleeding to backside, smaller stains scattered throughout, backside with fold discolorations. A Velcro tacking strip sewn to one edge.

47 Overall good condition commensurate with age and use. Thinning and tears to dark brown central square and another square of the same material. Backing with fold discolorations and some staining.

Both a Velcro tacking strip and a cotton dowel bar sleeve sewn to backside.

60 Overall good condition commensurate with age and use. Black fabric border material disintegrating.

48 Overall good condition commensurate with age and use. Minor wear scattered to folded edges, minor stains to outer border. A Velcro tacking strip sewn to one edge.

49 Overall good condition with holes scattered throughout center.

Backing with scattered staining, see photograph for additional detail.

50 Minor fabric deterioration to black border material, scattered deterioration to panels primarily to one corner. Backside with white fabric hanging cloth stitched to length.

51 Overall good condition with scattered wear to all edges and soiling to one corner. Scattered fading and discoloration to backside.

52 Overall good condition commensurate with age and use.

53 Overall good condition with minor moth holes to one corner and some wear and discoloration to blue fabric commensurate with age.

Condition Reports

54 Overall good condition with scattered moth holes throughout fuschia bordered fabric. Scattered wear to border fabric. Scattered soiling throughout. A .75� stain to center decoration.

158

55 Overall condition commensurate with age and use. Minor holes scattered throughout. Some velvet cabin centers lacking pile.

Backing with fold discolorations and one water ring to corner.

56 Overall good condition commensurate with age and use.

57 Overall good condition. Minor scattered holes throughout with a stain to one corner. Backing with fold discolorations.

58 Overall good condition commensurate with age and use. Minor staining to blue with slight fading. Backside with two larger stains to backside. Red tacking edge with wear throughout.

61 Overall good condition commensurate with age and use. Dye variations to purple fabric. Minor scattered soiling and small stains throughout.

62 Overall good condition commensurate with age and use.

Scattered soiling throughout, dye fade to light blue inner border.

Several areas of staining, discoloration to backside.

63 Overall good condition commensurate with age and use. Uneven fading to green inner border, light soiling scattered throughout.

Backside with heavy staining to one corner, light wear and smaller stains scattered throughout.

64 Overall good condition commensurate with age and use.

Scattered holes to green wool throughout, staining to one end, slight discoloration to top with a fold line down center.

65 Overall good condition with scattered holes and wear throughout.

Red backing with even fading. Velvet binding edge with loss of pile throughout.

66 First: Overall good condition commensurate with age and use.

Minor staining to grey fabric, backing with dye migration from green top fabric, minor whole to binding edge. A Velcro tacking strip sewn to one edge. Second: Overall good condition commensurate with age and use. Minor soiling to front and minor staining throughout.

67 Overall good condition commensurate with age and use.

Scattered soiling and water marks throughout. A Velcro tacking strip sewn to one edge.

68 Overall good condition commensurate with age and use.

Scattered holes, some with repairs throughout, minor soiling, and a darker stain to one edge. Larger staining and minor wear to backside. A Velcro tacking strip sewn to one edge.

69 Overall good condition commensurate with age and use. Light soiling to edges and some staining visible to lighter blue fabric scattered throughout. A Velcro tacking strip sewn to one edge.

70 Overall good condition with discoloration to light blue fabric throughout. Further areas of discoloration to the dark blue border and some dark blue squares.

82 Overall good condition with some staining to two borders. Minor staining throughout. Backing with minor staining throughout.

72 Overall good condition commensurate with age and use, slight discoloration to binding edges.

83 Overall good condition commensurate with a age and use. Slight stain/soil to a small area of border and one area to backside. A Velcro tacking strip sewn to one corner.

73 Overall good condition commensurate with age and use. One small hole to star arm. Scattered staining to white binding edge. Backing with staining scattered throughout.

84 Overall good condition commensurate with age and use. Scattered older repairs to thinning red fabric. Backing with staining and dye migration throughout.

74 Each: Overall good condition with signs of wear and use commensurate with age. The first: Older hand repairs to fabric and staining scattered throughout. The second: Scattered staining and fading throughout. Backing with uneven fading, dye migration and staining scattered throughout.

85 Overall good condition commensurate with age and use. Light scattered stains throughout.

75 Overall good condition with scattered discoloration to the binding edge. Even fading to the center; approximately 27" x 27".

Scattered spots of soiling and fading throughout.

76 Overall good condition with soiling and minor staining commensurate with age and use. Areas of discoloration to backing and one minor stain. Fabric sleeve sewn to one edge.

77 Overall good condition commensurate with age and use. Light scattered staining, minor fold fading and soiling to backside. A Velcro tacking strip sewn to one edge.

78 Overall good condition commensurate with age and use. Stains to yellow inner border and smaller areas of staining scattered throughout lighter colors. Two larger areas of surface soiling to one edge and scattered throughout. Backing with fold discolorations and Velcro tacking strip sewn to one edge.

79 Overall good condition with fading throughout. Blue staining to center, see photographs for additional detail. Backing with Velcro tacking strip to one edge.

80 Overall good condition commensurate with age and use. Scattered light spots throughout, two areas of darker spots to pink baskets. A Velcro tacking strip sewn to one edge.

81 First: overall fading and heavy wear with two blue stains, possible repairs to center, backside with scattered minor stains. A Velcro tacking strip sewn to one edge. Second: With overall fading and discoloration from age and use with a central repair to center.

Backside with heavy wear and thinning to black fabric. Binding edge worn throughout. A Velcro tacking strip and cotton dowel rod sleeve to edges.

86 Overall good condition commensurate with age and use.

87 Overall good condition commensurate with age and use. Scattered minor soiling, wear and staining throughout. Minor areas of dye migration and fold fading to backing. A Velcro tacking strip sewn to one edge.

88 Overall good condition commensurate with age and use.

Significant fading to field fabric with water stains concentrated to edges and smaller ones to center. Backside with an area of discoloration, green fabric seems to have a degree of variation.

89 Overall good condition commensurate with age and use. Scattered surface soiling to the center of one edge and discolorations to reverse of one quarter.

90 Overall good condition commensurate with age and use.

91 Overall good condition with scatttered minor moth holes throughout. Soiling and wear commesurate with age. A Velcro tacking strip sewn to one edge.

92 The first: Scattered staining throughout, backing with light staining scattered throughout, fold discolorations. The second: Overall good condition commensurate with age and use, one dark spot to front, one 4� area of slight lightening, backside with pilling fabric from use. A Velcro tacking strip sewn to the backside of both.

93 Overall good condition commensurate with age and use. Minor soiling and staining scattered throughout. Backing with fold discolorations and staining throughout. A Velcro tacking edge sewn to one edge.

Condition Reports

71 Overall good condition with light soiling and discoloration throughout. Scattered stains throughout the front. Backside with larger areas of soiling. Sewn hanging sleeve to one end.

159

94 Overall good condition with fading and wear commensurate with age and use. Some colors with dye migration and fading. Minor staining scattered to edge and several older repairs, one to center.

Backing with even discoloration and fugitive red migration. Velcro tacking strip sewn to one edge.

95 Overall good condition commensurate with age and use with scattered light stains.

96 Overall good condition with two larger areas of soiling to the center star: largest 4.5” x 3”. Smaller areas of soiling scattered throughout with another area of soiling to one blue border band.

Backside with evidence of some staining and minor scattered staining.

97 Overall good condition with wear and soiling commensurate with age. Tacking strip sewn to one edge.

98 Overall good condition. Two dime sized stains to one side. Blue cotton backing in good condition.

99 Overall good condition commensurate with age and use. Scattered stains to one corner with slight discoloration to border and one small hole to white field. A dark stain and several smaller ones to backside.

100 Overall good condition commensurate with age and use. Visible fold discolorations to front with scattered dark stains to one edge.

101 Overall good condition commensurate with age and use. Minor soiling scattered throughout. A Velcro tacking strip sewn to one edge.

Condition Reports

102 Overall good condition commensurate with age and use. Minor fading to one edge with scattered light staining. A Velcro tacking strip sewn to all edges.

160

103 Both overall good condition commensurate with age and use. Two small stains to front, a small amount of wear and two dark stains. A Velcro tacking strip sewn to one edge. The second: Overall good condition commensurate with age and use. Thread dye migration throughout and one dark stain. Backside with fold discolorations, one .5” repaired hole.

104 Overall good condition with heavy wear and scattered staining and holes commensurate with age and use. Backing with larger stain to center and smaller scattered stains throughout. Uneven pigmentation to backing material.

105 First: Overall good condition with two small wholes and a .25” tear, backside with light scattered soiling and a small stain, binding edge torn and repaired. Second: Overall good condition with light discoloration throughout, an old repaired tear, 1.5” L, one small stain, the backing scattered discoloration and Velcro tacking edge sewn to one edge. Third: Overall good condition with minor stains from use and age migrating to back, fold discolorations.

106 Overall good condition commensurate with area and use. A 3” stain to one corner and another to the border of a similar size.

Backing with fold discoloration.

107 First: with extensive losses to purple silk bars and bands. Thinning and fraying to a lesser extent on blocks, appliqued patched to borders. Backing with fold discoloration and staining. Second: with a deteriorating silk edge throughout. Fold discolorations to backing.

108 Overall good condition commensurate with age and use.

Turquoise silk and some blues discolored throughout. Unfinished backing, Minor wear with lost stitching. Backsides discolored.

109 Overall good condition with unfinished backing and blanket stitched edges fraying. Some scattered discoloration mainly to exterior borders with some 2’’ tears.

110 Overall good condition commensurate with age and use. General fading throughout, slight dye migration to some flags, stray threads. Backside with even wear and discoloration throughout.

111 Overall good condition commensurate with age and use.

Scattered staining throughout. Unfinished with no backing 112 Overall good condition commensurate with age. Unfinished topper with scattered fabrics loose from stitching, others lacking and white muslin backing showing.

113 First: overall wear, staining and discoloration throughout. Backside with discoloration and staining throughout, one 4” patch to binding and border of backside. Second: overall good condition with wear to binding edge throughout, discoloration to lighter colors from age. Backside with even fading and discoloration with areas of paper adhesive residue scattered to a 1” square area.

Third: Overall good condition with scattered staining throughout, discoloration to lighter fabrics and around binding edge. Backside with fold discolorations and scattered staining.

114 First: Overall good condition. Scattered soiling throughout with scattered loose threads. Second: Overall good condition.

Discoloration and fading throughout with scattered stains. Backing with fold and edge discoloration. Third: Overall good condition.

Small scattered holes and soiling throughout. Backing with scattered stains.

115 First: Overall good condition commensurate with age and use.

Scattered staining throughout., some light age discoloration, back side with stain evidence from front. Second: with scattered light staining. Third: Overall good condition commensurate with age and use with scattered light stains.

116 Overall good condition with stitch loss, scattered staining and wear commensurate with age. Red backing and pendent backing with deterioration to silk and some discoloration. Tears and fraying concentrated to edges.

117 Side A: soiling and staining throughout,1.5” x 1.5” “V”-shaped loss, a cut next to it 1.5” L, tear to plaid middle section .5”. Side B: “V”-shaped panel with tear, one border panel with loss 3” x 2”, a dozen or more scattered loses/ holes throughout, one hole that goes to other side .5”.

127 First: Significant deterioration to backing, and cream-colored panels to top, some stitching loose, otherwise good condition commensurate with age and use. Second: Wear and unevenness to fabrics, discoloration to backside from sun folds.

128 Overall good condition with minor staining throughout, significant stains to backside.

129 Overall good condition commensurate with age and use.

130 Backing with discoloration, deterioration and staining throughout, deterioration, losses and sun-bleached backing,

118 Silk panels in brown, patterned grey and black deteriorating, minor moth damage to one small panel.

119 Overall good condition with unfinished edges and backing. One edge piece with tear.

120 Overall good condition commensurate with age and use. Light wear and discoloration to binding edge and lighter fabrics.

Scattered small areas of staining throughout.

121 Binding edge deteriorating, .75” hole to one corner. Side B: with scattered moth damage, staining throughout, areas of surface soiling.

122 Scattered small moth holes to patchwork side throughout. Staining, wear to border, a .25” repair to one corner, and a .5” hole, otherwise good condition commensurate with age and use.

124 Overall good condition commensurate with age and use.

Scattered soiling, light staining and wear throuhout.

125 Minor staining to edges and backing, cotton flannel backing worn, otherwise good condition commensurate with age and use.

126 Side A: Discoloration, staining and small holes scattered throughout. Side B: Damage to purple border panel, .75” hole running through both sides in one corner, scattered staining and soiling, scattered smaller holes to top material.

Condition Reports

123 Overall good condition with wear commensurate with age and use, moth loss throughout, largest .5”.

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Consign Today Made In Mexico August 2020

Felipe Castañeda (b.1933, Mexican) Seated woman, Carved black marble $2,000-3,000

Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Consign Today

Fine Jewelry, Timepieces & Luxury September 2020

An Art Deco Tiffany & Co. diamond and emerald bracelet $30,000-50,000 Consignment and Auction Inquiries: mollie@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Head of Sale, Specialist Maranda Moran Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Senior Vice President, Fine Art Director Morgana Blackwelder Furniture & Decorative Arts Cataloguer Alexis Sutcliffe Jewelry Director Junior Specialist / Senior Cataloguer: Luxury, Furniture, Decorative Arts

Mollie Burns Keith, G.J.G. Jardine Gates, GIA G.G.

Post War & Contemporary Fine Art Junior Specialist / Senior Fine Art Cataloguer Fine Art Cataloguer

Bree Hughes Bobby Cullen Mike Hook

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Property Manager

Emmett Clements Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

ADVERTISING, MARKETING, DIGITAL DESIGN

Advertising & Marketing Director, Art Design Graphic Designer Photographer

TRUSTS & ESTATES

Department Manager

FOUNDERS

Founder Co-Founder

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Nathan Martinez Brian Olivas Madison Torres

Noelle Valentino

John H. Moran (1942-2017) Madeleine Moran

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

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Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

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169

Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

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