Block-Work Stenciled Spread1825–184088 × 76 1/4"Paint on cottonGift of Robert Bishop1985.37.90Pieced and stenciled summer spread. Divided into twelve 9 1/4" blocks with 1 1/2"w. sashing made from brown cotton with random paisely motif; plain corner blocks at intersections and outer corners. Pieced border on three sides, 5 3/4" w. with running motif of pink stars flanked by green leaves. Six blocks feature geometric design of four oak leaves radiating from center of block alternating with other leaf form. Each block with alternating theorem roses and other flowers in pink and dark blue, with freen leaves. Top three blocks have floral sprays with theorem roses (center) and blue flowers with pink centers (sides) stemming from fan of pointed leaves. BLC and BRC each have different flower.1529291024185.37.9Sarah MasseyTextilesThe American Folk Art Museum believes this work to be in the public domain.WatertownWatertownUnited StatesNew YorkTextilesWatertownStenciled spreads are relatively rare. Most seem to have been used as summer spreads, made from a single layer of fabric, usually a fine muslin or linen and may have been a rural alternative to elaborate embroidered spreads. Extent examples come from small communities in NY State., Vermont, Conn and other New England areas. Theorem painting was a fashionable pastime among women in the early part of the 19th century and the techniques used on these spreads are directly derived from the art of theorem painting. Stencils could be purchased, but it was not unusual for a woman to cut her own from oiled paper or another stiffened medium. The dye solution used for the painting was either a vegetable dye mxed with gum arabic, corn starch or cream of tarter. Ground pigment commercially brought could be suspended in an oil medium and mixed with "stencil mordant" for a dye that was more durable or cakes of dye from a factory could be used. The coloring agent was handpainted onto the fabric using stencils, but because the dyes were not biled into the fabric. the spreads were not generally laundered. This design is somewhat unusual because it is set into blocks and according to the donor may have been made by Sarah Massey of Watertown, NY.Whole cloth stencil185.37.918251840 1985 37 9 Stenciled spreads are relatively rare. Most seem to have been used as summer spreads, made from a single layer of fabric, usually a fine muslin or linen and may have been a rural alternative to elaborate embroidered spreads. Extent examples come from small communities in NY State., Vermont, Conn and other New England areas. Theorem painting was a fashionable pastime among women in the early part of the 19th century and the techniques used on these spreads are directly derived from the art of theorem painting. Stencils could be purchased, but it was not unusual for a woman to cut her own from oiled paper or another stiffened medium. The dye solution used for the painting was either a vegetable dye mxed with gum arabic, corn starch or cream of tarter. Ground pigment commercially brought could be suspended in an oil medium and mixed with "stencil mordant" for a dye that was more durable or cakes of dye from a factory could be used. The coloring agent was handpainted onto the fabric using stencils, but because the dyes were not biled into the fabric. the spreads were not generally laundered. This design is somewhat unusual because it is set into blocks and according to the donor may have been made by Sarah Massey of Watertown, NY.Whole cloth stencil