Granny's 1930 Sampler
aka
The Lizzy Albright Quilt
The Great Depression that began in October 1929 brought about
severe financial instability throughout the world. Lincoln McHale
(of the famed McHale Oil Company) did not escape hardship but
ultimately managed to survive the ordeal. During those uncertain
times, his daughter, Esther McHale-Winters, passed time and
eased her worries by making forty-two quilt blocks. Her 1930s
sampler quilt is filled with classic examples of timeless traditional
patchwork and appliqué designs. The fabrics used in the quilt are a
snapshot that captures the design aesthetic common during the late
20s and early 30s.
​
In 1964, ten-year-old Lizzy Albright discovered her Granny’s quilt in
the secret drawer of a cedar chest located in the attic of the McHale
family mansion in Cordelia, Kansas. Granny explained the history
behind the quilt and taught Lizzy the names of the blocks. Whimsical
and peculiar monikers like Bear Paw and Snail’s Trail took Lizzy
on a fantastic fantasy filled with surprise, wonderment, betrayal,
bravery, mystery, and intrigue. Lizzy Albright and the Attic Window,
by Ricky Tims and Kat Bowser, is a favorite with readers and story
enthusiasts of all ages.
​
By bringing Granny’s quilt to the world at large, quilters and nonquilters
alike can discover the traditional roots of quilting and the
history behind the blocks. Lizzy Albright’s story—and Granny’s
quilt—promote multi-generational interaction. Both young and
old can work together to recreate this legendary and historic quilt.
TWO COLORWAYS
“So you see, Lizzy, in many ways, this quilt tells that story.”
​
“What do you mean?” asked Lizzy
​
“During that time, one of the things people needed most was quilts to keep them warm. They couldn’t afford to just go out and buy
blankets, and they couldn’t even afford to purchase fabric to make a quilt. They had to use what they had on hand. In those days, sacks for
seeds, flour, and sugar were made out of cloth. Times got so bad that when the sacks were empty, they were washed, and mothers would
use the cloth to make clothes for their children. Some companies started printing pretty designs on the sacks, so at least the kids’ clothes looked a bit more cheerful. The leftover scraps were used
to make quilts.”
​
“That sounds horrible,” sighed Lizzy. “It’s so sad.”
​
“It was a sad time for sure, and it was during this worrisome period that I spent most of my time making these quilt blocks.
​
From Lizzy Albright and the Attic Window, Chapter 6