CHARLES PRATT

On July 21, 1940 the PHILADELPHIA INQUIRER ran
a story about Charles Pratt, a resident of
Philadelphia. Mr. Pratt, at the age of 89, wasstill making quilts and the INQUIRER proclaimed
him "The Masculine Champion Quilt Maker". He
had nearly 450 prize ribbons from fairs and exhibitions he had entered in the 56 years since
he started his hobby.
Earlier, Hall & Kretsinger wrote about him in
THE ROMANCE OF THE PATCHWORK QUILT IN AMERICA*,"He claims to be the champion quilter of thewhole world, having in his possession over 200
letters which testify to his supremacy in his
chosen field".
Mr. Pratt's silk mosaics were made of thousands of tiny squares and were usually of a
Biblical theme. They were neither quilted ortied.
He followed the technique used in working out
designs in the manufacture of carpets. "I haveworked among colors and designs from the age of
13. I do not have to use glasses and I do not
use a thimble, although every piece is sewed byhand. Sometimes when I have been bothered, perhaps for months, to get some shade or shades,
friends have dyed silk for me. I have learned
to sew four corners together so that they all
lie smooth. Even if I am a mere man and a
Knight Templar". **Hall & Kretsinger place his birthdate at 1856.
Numerous newspaper articles and Florence Peto,
noted author, lecturer, and a meticulous researcher say he was 89 in 1940, which would
place his birthdate at 1851. He was born in
Manchester, England.
Mrs. Peto included a group of men quilters in
her lectures and was delighted to discover"Dad" Pratt through her friend, Emma Andres. In
reply to her letter, he loaned Mrs. Peto two of
his "quilts", THE NINETY AND NINE and RUTH AND
NAOMI She thought so much of them she exhibitedthem as she lectured and wrote frequently tohim of the pleasure they gave the audiences.
Before she could return them, he died on April
10, 1940. Soon after that, his daughter withwhom he had lived, wrote to Mrs. Peto to keep
the quilts.
Mrs. Peto was thrilled and even used the picture of THE NINETY AND NINE in her lecture brochure. The following correspondence indicates
how she felt about Charles Pratt's work:
We are grateful to Miss Emma Andres for theloan of this correspondence.

Charles Pratt examines his collection ofprize ribbons. From the PHILADELPHIA INQUIRER, July 21, 1940
Oct 23, 1940
I'm so grateful to you for telling me about Mr.
Pratt and I was intending to write and tell you how heanswered my letter to him promptly and so sweetly...
He generously and quite without my asking he offered to send me one of his quilts. I am deeply
touched at his trust and generosity. Indeed, I am
availing myself of the privilege, you can bet. I've
several fine engagements to lecture before niceclubs this November and I mean to show whichever
one Mr. Pratt will or can spare.
You know, I believe he likes to write to us and enjoys being made something of! Well, bless his heart,
he shall have all the honor and credit I can possibly
bring to him.

* THE ROMANCE OF THE PATCHWORK QUILT IN
AMERICA, Hall & Kretsinger, Caxton Printers, Caldwell, Idaho, 1935** THE N.Y. SUN, Apr 1, 1941 "30,400
Pieces"(5)

November 17, 1940
(Mr. Pratt) had sent me two articles which appeared in the Philadelphia papers in 1930. Both ofthem have him born in Manchester, England in 1851.
If correct that would make him 89. I now have two of
his quilts - Ruth and Naomi and The Ninety and Nine.
Took both of them with me to the Long Island Quilt
Talk and Exhibition; kept the story a secret until I
came to the part in my lecture where I speak of
man-made quilts andthen announced that I had brought three items withme and they could see for themselves what they
thought of male needlecrafters. I exhibited Mr.
Kendig's latest (The Oriental Poppy) also. I wish bothmen heard the gasps of astonishment! Mr. Pratt, whowrote me that his work had been praised with somany different words, would have had a few more
adjectives to add to his list. I tried to remember
some of them and write them to him! He seems to
enjoy being made a fuss over - who doesn't?
You said when you received the little square which
Mr. Pratt sent you that you could see that the poor
old man was "slipping" - that his younger work musthave been lovely. He sent me a little square too, andit was the first thing that came to view out of thebox. With an eye trained to recognize fine stitcheryat a glance, I could not help but see that this work
was extremely naive and childish. And I must tell youthat the large pieces are the same. I do not know
just when these two large pieces were made andwhether his first work showed more skill with theneedle but as there is a large place loose from thelining (there is no quilting nor are the two layers fastened together with stitches of any kind) it was possible for me to see the actual piecing together of thesmall blocks. The stitches are uneven and large.
Truth compels me to say the needlework in competition would never have won a prize for itself alone!
Both Philadelphia papers speak of the special prizes
awarded Mr. Pratt, declaring his quilts to be in a"class of their own". That is the secret of his prizes
and trophies I am sure. Do not mistake me; I do notmean they do not deserve what they have won but I
am trying to analyze them truthfully. A judge serving
in competition is instructed that "workmanship" isfirst consideration, that means actual needle stitchery. You see where that would put us in the case of
Mr Pratt's work.
Now that's over, I'm going to say something complimentary about them. No need to disparage themwhen there is so much to praise!
From the standpoint of design, proportion andblending of color they are truly amazing, unique andbeautiful in effect. Hanging on a wall, small irregularities are not observable and the general effect isbreathtaking. Ruth & Naomi is the larger piece and it
is all silk - there is a softer luster to it than The
Ninety & Nine which has some cotton pieces in it.
Stronger contrasts make it clearer in cut than theother but both are

THE PARABLE OF THE NINETY AND NINE
"How think ye? if a man have an hundred
sheep, and one of them be gone astray, doth
he not leave the ninety and nine, and goeth
into the mountains, and seeketh that whichis gone astray?
And is so be that he find it, verily I
say unto you, he rejoiceth more of thatsheep than of the ninety and nine which
went not astray." Matt. 18 v 12,13.

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Isn't that lovely? Of course I've had myself a crying spell again. It is silly to be so foolish but I really
am very touched.
Mrs. Burd said she was going to write to you so
you will have heard from her by now and I'll giveaway no secret when I tell you that you are to have aquilt also! You like me must be rejoicing. Wasn't itfine of her to think of us? She said she thought she
would give the other quilts to some Museum. Well, aMuseum should be glad to get them but I do not believe there is anyone alive who will love them more orappreciate what their making meant, than you and I.

skillfully planned in proportion - I actually do notknow just how he has done that.
He wrote that his designs were original. I do notknow just how he has meant that. Both of these are
traditional Bible Pictures. We have all seen them on
our Sunday School papers many times. But his color
scheme and plan for getting it together in squares
must be his own technique and I, for one, am willingto concede him much applause for so splendid an accomplishment...
He must have made about 30 quilts.
Feb 5, 1941
The people from Newark Museum came yesterday.
Like myself, they thought Mr. Pratt had done anamazing job; they admired his coloring and especially
his fine proportions. I think they were disappointed in
his actual stitchery which is so important in the quiltmaking art. I doubt if they consider that his work
should be classified in the oldtime folk art of quiltmaking because they aren't, strictly speaking quilts,
nor were they made for that purpose. Of course they
are patchwork, no doubt about that. . .

Jan 2, 1942
All my guests wanted to see the quilts; so I
opened the chest and pulled them all out and spreadthem one by one over the the big four-poster andyou should hear the exclamation. The men all go for
Mr. Pratt's of course and think it is a feather in theirown cap - such work done by a man.
Feb 6, '42
Poor darling old man! I look at Pap's work and feelso sad about him; I do not see why though for helived a long life and apparently not too difficult aone. He had a hobby that made him happy and adaughter who loved him.
The Bergen Co. newspaper reviewed the Hobby
Show given last week in the Englewood Field Club;Mr. Peto took the quilts over and saw to it that achoice place was given to The Ninety and Nine ... hesays it was effectively hung over the mantlepieceand fireplace. I had gone to the trouble of printing
the description of each quilt and tacking it to thelowest border; I had on this, "Made by Charles P.
Pratt, 89 year-old quiltmaker of Philadelphia" and soforth. The reporter had it "- 8 year old quiltmaker. " I
was so disappointed I could have cried. However
many people admired it and I understand the show
made a nice sum of money for the Red Cross... Mr.
Pratt would have been delighted to have both his
Ninety and Nine and his Ruth and Naomi working forthe same cause, wouldn't he?

Feb 25,At the lecture in Teaneck High School the otherday, Mr. Pratt's quilts looked lovely hung on the wallsof the handsome library. The rooms was trimmedwith flowers, the (DAR) chapter flags, and all my
quilts.
April 14, 1941
You probably have heard the sorrowful news also;
our beloved friend Chas. Pratt has passed on - funeral today. A postcard merely said that - time andplace of funeral. It was a shock for I had had a letterfrom him two days before, he made no mention of
being ill.
April 22, 1941
(Mr. Pratt's) daughter wrote-our friend's death
was sudden and must have been a heart attack ... Hedied while she was reading the 23rd Psalm to him.
CHARLES PRATT DIED APRIL 10, 1941

May 3, 1942
. . .1 wouldn't dare have Mr. Pratt's quilt's cleaned they would fall apart. Ruth and Naomi is almost apartnow. It is all silk and fraying everywhere - it would
never survive a cleaning. But "Pap" wanted people tosee it and enjoy it. So I feel I do right in showing it.
But hereafter I am only going to show it here in myhome - I will show The Ninety & Nine for exhibitions
and lectures.
cont on pg 15

May 12,
I got out the quilts and had The Ninety and Nine
in my lap with the scissors ready to take off thetapes which I had put on in order to hang the quilts
at exhibitions without harm to the edges. Just thenthe mail arrived and with it a letter from Mrs. Burd
(Mr. Pratt's daughter) Imagine how I felt when she
wrote that she had decided to give me the quilts.
She said she felt that in doing so, she would be doing
what Pap would have wanted her to do.

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cont from pg 7
Sept 25, 1942
. . .poor old Dad Pratt did write me that hedrafted his own patterns - your letter is the first I
have ever heard that he had a designer. I supposed
he was able to do this because he was once a carpet
designer you know. Well, when you get ninety or
thereabouts, you get confused. I expect to be worse
than confused; I will be non-existant.
Jan 7, 1947
I think I have coaxed the curator of the N.Y. Historical Society to hang Mr. Pratt's Ruth & Naomi on
the platform; the poor quilt is coming to pieces andwill not last long. However I have a feeling that hewould say yes - he loved to have his work shown andwhat good can it do packed away? I can bring it
home with me after the meeting and the Ninety &Nine can stay on exhibition through the threemonths.
July 15, 1947
Congratulations on finishing your Ninety and Nine!*
Would you like any of my things for your display?
Would you like another "loan" of the original Ninety
and Nine?
Now about the quilts: I hope I can get them to you
in time. I'll try to get them packaged and off tonightor tomorrow. I'll send Ruth & Naomi and I do notneed to say to you - take good care of it. It is muchlarger than The Ninety & Nine and all silk. It was intender care when I got it. I seldom take it around for
exhibition because I am afraid it will burst into holes
anytime. Silk will never become an heirloom especially silk cut into such tiny pieces.

"Dad" Pratt shows his technique for sewing
the thousands of squares together to form
his mosaic silk quilts.

Penn's Treaty is one of the few quilts that
didn't have a biblical theme.

Dec 8, 1948
If (his daughter) could know the hundreds, thousands of people that have had joy from Mr. Pratt's
Ninety and Nine it is always much admired and exclaimed over. I am afraid it will wear out but I keep
reminding myself that he told me he wanted people
to see his work - so that is what I am doing.
August 19, 1954
Lectures do not begin until October. The 90 & 9
goes with me each time of course.
*For additional information about Emma Andres and her Ninety and Nine please turn topage 16.

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JOURNAL OF A QUILTMAKER
In 1942, Emma Andres borrowed Charles Pratt's
quilt The Ninety and Nine for an exhibition. She
loved the quilt so much she took a pattern fromit and later decided to reproduce it. We think
many quiltmakers will identify with her notesfrom a journal she kept while making the quilt.

1944
Feb 3 - 2685 pieces
Feb 14 - 3365 pieces
Jul 19 - added 38 pieces
Jul 20 - 76 pieces added
Jul 27 - finished rows with feet
Jul 31 - got ready 132 pieces
Aug 5 - Had been on Plaza in evening to cool off
with MaMa & friends. Had patches along and got 18
ready. Figured I had 5004 pieces.
Nov 12 - snow today 10-12 am. Put a stripe of
48 pieces to quilt.
Nov 13 - put 114 on
Nov 14 - put 80 on
Nov 18 - Sunday. Had to rip some pieces in theleft hand of figure and finally got enough pink to put
it in instead - working later at the store and fixedright hand after a ride with Gladys Mann, her brotherand her mother. We took them to the airport, etc.
Had just enough pink I thought. Finally had to use 3
pieces of darker shade to save the hands.
Nov 20 - put 48 on
Dec 31 - Had 6271 pieces in quilt.

1945
Jan 1 - sewed 89 pieces
Jan 5 - sewed 70 pieces
1945
Jan 1 - sewed 89 pieces
Jan 5 - sewed 70 pieces
Jan 15 - sewed 30 pieces
Jan 17 - sewed 115 pieces. Now have 7229
Jan 19 - Dyed a darker green for bushes and it
turned out fair. 7479 pieces.
Jul 13 Father Flanagan's birthday. Put 48 pieces inbreast part of sheep on it. (My problem sheep) atstore. It was a cloudy day.
Took time this morning for a bit of relaxation andput 164 pieces in that I had pieced at Mrs. Wood's a
few evenings ago. Should be 9282 pieces.
An Indian man was in today and asked if I was theone making a quilt with Christ in it. I showed it to him
and he said, "Good" That was complement enough Mrs. Summers saw it again this morning and said,"It's beautiful"
Nov 11 - Armistice Day Put the 100 green pieces
in quilt today store that I pieced last night at Bertha
Wood's - Lately have taken box of pieces alongwhen I visit her for the evening and have accomplished quite a little. Working on the sunset now.
Many folks admire and wonder at it - Lost track of
the pieces now.

Three pictures showing the progress of Emma Andres' quilt top, The Ninety andNine From left to right, Miss Andres' father holds the quilt; Emma, her pattern andthe quilt; Emma with the almost completed quilt.

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Feb 19 - When I went to the dentist I finished correcting my mistakes. Then found in the evening I had
made a mistake on another side of one square so had
to rip the piece off and had good luck not running into any cross seams. If it were not for taking mypieces along to Bertha's guess I would never get thequilt finished.
May 9 - While Mrs. Blackburn was playing a number on the organ for the Monday Club musical, I got
dreaming of Dad Pratt and The Ninety & Nine. Could I
finish mine by my birthday? It would be just 5 years
since I had my display on my birthday showing Dad's
original. This has given me more inspiration to work alittle more on the quilt. The display shall be done incommemoration of the completion. Want to call it

1946
Jan 1 - 176
Jan 9 - 181
Jan 18 - 18
Feb 21 - 141 pieced at home. Brought them toshop to sew on. It was the part where the little
sheep's head is being added. Had one brown squarewrong and as the ear needed two pieces instead ofone, I ripped it out. Sure have had a time deciding
about the grey under the chins
Jul 13 - Father Flanagan's birthday. Put 48 pieces
in breast part of the right hand sheep. Did 91 later.
Jul 21 - Sunday a.m. Paper late so worked on myquilt and conquered the problem of the foot of the
big sheep. Put in some parts that had been a muddle- Last night at Bertha's got the leg. Most white
ready to put in. Worked some more of sheep
shadow. Such satisfaction and relaxation and folks dolove it too.
Jul 28 - Monday am. Put 90 pieces in sunset that
I got done at Bertha's last night. Ripped out corner
and wonder how many times the quilt has alreadybeen shown to wear so badly. Put another in its place
Aug 2 - Put last 9 pieces of light grey in sunset
when Bobby & Betty Surratt came over to the house- Later had to rip out a few to fix the dark grey so it
looked more graceful.
Aug 3 - Wanda Taylor brought her blue sailor
dress for border and it's swell but I'm afraid it's notenough.
Aug 18 - My birthday. 4 years ago today I gave
display with Dad's original. Marie Kuhne brought apiece of blue and it matches nicely with Wanda's
dress and with a little of my original blue from therobe, I'll have the border mat'l. Was finally successful
in getting the white at Penney's Had hoped to haveenough cream color.
Sep 10 -sewed a bit more of the cream colored
strips on border and just happened to have enough.
Sewed by guess to come to the corner.
Oct 3 - Took pieces along to Carlsbad Caverns
and even sewed while waiting for the flight.
Oct 5 - Almost had a fatal accident when I decided to dry clean the quilt. The dark red faded orran

Andres & Pratt
Tapestry Quilts ExhibitorSymphony in Tapestry Quilts
Jun 14 - Sat eve. "GePhiz" got the "E" on theborder. Started from end of rows. The 1st shall comelast and last, 1st. Ha! By working in the evening,
even taking it along downtown as we sat in front of
Woolworth's to see the crowds go by, I had thepieces sewed in two's. Got the lettering in besides
getting the corner.
Jun 15 - Sun. Father's Day. Afternoon got out
Ninety & Nine and worked on some of the letters.
Have "Nine" in strips to get together. Should be writing letters but am anxious to get my work along.
Started at 3:00 and got it sewed on by 4:00 and it
looks like the top part is going to work.
Jul 3 - put the last letter "Y" in. Quite a coincidence as the whole making of the quilt is "Y". Had
first pieced "Nine" and put in "Ninet Y" last
Jul 8 - Wed 9:45 p.m. finished!
Jul 12 - Checked and found I had failed to complete the "A". Had forgotten to put the cross bar so
will rip it out and fix it before I get to the binding.

1947
Jan - Putting in the border and being too anxious
later found I went too far so had to rip some whitesquares. Put blue where it belonged. "Ye shall rip
what ye sew"

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It was July 8, 1949 that the first quilting stitches were put in. By taking little
rows of stitches through each square, thequilting does not seem to distract from thepicture and if it can be kept from drawing
it up, it will make it more durable andcomplete looking.
The quilting was started at the left handcorner at the bottom. No cotton to be used
but the tan lining that was put on should
fit with the proper basting.

Photo from Nov. 22, 1942 EVERY WEEK, a Sunday newspaper supplement supplied by Newspaper Enterprizes Assoc. Emma Andres is shown standing beside Charles Pratt's The Ninety
and Nine which she later reproduced. See stories pg 5 & 16.