Rather than show an American tradition of making do amid adversity, the IAD reflected a record of American design that corresponded to traditions of the past that were enjoyed mostly by privileged white Americans, mostly from the East coast, and predominantly high style. These fancy quilts shared little in common with the scrappy “make-do” ones that became more common during the Great Depression. Among these are four paintings of bedcovers that we now call “Baltimore Album Quilts,” including this one documenting a quilt attributed to Mrs. D.C. Auchenbaugh, of Hagerstown, Maryland, and now in the International Quilt Museum collection (next image).