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Date: Sun, 01 Apr 2001 10:19:02 -0500

From: Laura Hobby Syler <texas_quilt.co@airmail.net>


Got this message from Jean Lyle concerning ordering Crepelene. She has

it packaged with the silk thread. This is a great deal for those of you

wanting to experiment with it.

However, I too, like Alan, would like more information from Hazel

concerning the museum's displeasure with the use of crepelene. We had a

carpet beetle problem last year and I have noticed some possible dining

going on on my yardage of crepelene....could be the problem...





Date: Mon, 02 Apr 2001 11:15:15

From: "Ann-Louise Beaumont" <albeaumont@hotmail.com>

Edie Zakem and I were asked by the Prince Edward Island (Canada) Advisory

Council on the Status of Women to write a history of 20th century quilting

in PEI for a project called "Firsthand" which documents some of the

contributions women made to the arts and culture of the Island during this

time. There are modules on photography, basketmaking (Mi'kmaq or Micmac),

visual arts, rug or mat hooking, literature,and quilting.In addition to our

original research, we were helped immensely by Sherry Davidson who had

conducted the PEI Heritage Quilt Project documenting PEI quilts and

quilters. She generously gave us access to her unpublished work. Shirley

Moase also helped us fill in some blanks.

The final result is a website that is to be used in the high schools here.

A question section for further study on each module is being developed by

the Department of Education exploring ideas suggested by each researcher.

The site is in English and French and you can find it at


We have included the Acadian (francophone) quilter Louise Comeau who

represents her active quilting community and their traditions of excellence.

From the Mi'kmaq (formerly Micmac) community on the Lennox Island Reserve,

we showcased Christine Bernard with her wearable art. The garments she makes

for her First Nations (aboriginal) community include applique (I can't seem

to make the accent on the e )and we saw a picture of the traditional

applique peaked cap. We were looking for the ribbon applique skirts shown on

p. 88 of"Old Nova Scotian Quilts" by Scott Robson and Sharon MacDonald.

These skirts have a visual similarity to Seminole patchwork even though the

technique is different. I just stumbled across a terrific website by the

Nova Scotia Museum at http://museum.gov.ns.ca/mikmaq/ which has the Mi'kmaq

Portraits Collection and you can see marvelous photos of men and women

wearing traditional garments dating from the mid-nineteenth century on up.

At the launch of our website a lady from the reserve told me that the

appliqueed coat worn by Chief John T Sark is still with the family, as is

the peaked cap worn by S. Mitchell, and that the Mi'kmaq got the peaked caps

from the French. There is so much I don't know about these garments that I

can't say any more intelligently.

While quilting in PEI followed the general North American trends, there are

many aspects that are unique to PEI.If you go to the website, you can find

out what they are.

Best Wishes

Ann-Louise Beaumont in Murray Harbour, PEI, Canada where I have spent 4.5

hours shovelling snow in the last 2 days and have more to shovel today.


Date: Mon, 2 Apr 2001 13:18:35 EDT

From: Hazelmacc@aol.com

To: QHL@cuenet.com


I will not be giving the name of the museum regarding crepeline not holding

up. The person who told me works for more than one museum.

l want to clarify that the museum person did not say to use bridal illusion

-- l use that for my own use. To be sure, there is no one solution to each

of the fix-it problems.

Hazel in No. VA


Date: Mon, 02 Apr 2001 13:22:32 -0500

From: Laura Hobby Syler <texas_quilt.co@airmail.net>


Hi Judy,

This can be done in a couple of different methods for final application,

but the end result does involve some fusing at one point or another.

You can fuse a piece of "camouflage" fabric (not the hunting kind!) to a

piece of muslin or dark color base fabric and either open the back and

insert the bandaid and stitch the back closed or slip it in under broken

threads from the top. Provided you have ample space. You don't need to

fuse the top that way, but you will continue to have the fabric fall out

on you. The other way is to use a double faced fusible on the bandaid up

side. This is then inserted into the quilt, usually though the

deteriorated fabric from the top. The fibers are then gently and

carefully stretched, combed, brushed or laid into as close to the

original position as possible so that none of the "bandaid" shows. Often

this is not possible which is why I try to match the color of the

bandaid to the fabric on the front. Learning how to manipulate the

aging textile and mend the breaks and tears with the fusible is

difficult at best. I've been doing it for about 10 years now and still

have to go very, very slowly. This technique works very well when you

have great embroidery stitches around the edges of the piece that you do

not want to disturb, but something needs to be done to the center of the


Hope I've made myself clear. Would be a whole lot easier to show you in



In humid, soon to be soggy again N. Texas where it's 68 degrees, and my

birthday Iris look like they might cooperate and bloom on schedule next


Judy White wrote:

> Laura, what is the upside down bandaid method? Are you actually

> fusing? This is a new technique to me.


> Judy White - Ct


Date: Mon, 2 Apr 2001 14:39:04 EDT

From: KareQuilt@aol.com


Thought QHl readers might find this free program interesting that the

Smithsonian is offering Thursday, April 19, noon-1 PM. This is a part of a

series they have been doing for sometime now about clothing and textile

objects in the collection. The flyer reads, "From the Barnyard to Fifth

Avenue: Making High Fashion Fabrics from Food. From the 1940s to the late

1950s, the textile industry in this country and abroad produced fabric from

corn, soybeans, milk and peanuts. Only two of these fibers were consumed in

large amounts by the American pubic: Aralac (milk) and Vicara (corn).

Katherine Dirks shows samples of these fabrics, describes their use, and

explains how and why they were made."

Karen Alexander


Date: Mon, 02 Apr 2001 16:56:41 -0500

From: Newbie Richardson <pastcrafts@erols.com>


As far I know from my studies with Dr. Ordonez at the Univ. of Rhode

Island and the opinions expressed by other AIC textile conservators,

there is nothing "new" about the disadvantages of crepeline. It has all

the problems of longevity of any very fine silk gauze. It just does not

wear well over time. It does not harm the fabric underneath, you just

have to redo the repair every 15 to 20 years or so depending on the

amount of wear and display the piece gets.

Textiles, by definition are in a constant state of deterioration.

some last longer than others. So far the polyesters are doing the best,

though they have not been around for more than 50 years. Then linen -

witness the mummy shrouds from ancient Egypt, cotton - depending on how

it was finished, wool (if the bugs don't get there first!) and finally

silk, the most fragile of all.

I suppose that textile conservation is the profession of the true

"Polyanna". We just love tilting at windmills!

Newbie Richardson

Date: Tue, 03 Apr 2001 09:40:13 -0300

From: family.chisholm@ns.sympatico.ca (Sara Chisholm)


My mother, a NJ quilter, recently lost her battle with cancer. We hung

the funeral parlor full of quilts - some that were her work, and some of

her favorite antiques - and draped the casket with her grandmother's

crazy quilt from the late 1890s. It was really quite a lovely quilt


My sister and I, both quilters ourselves, wanted to send her away with a

quilt, but couldn't bear to part with any of her masterpieces. We

quickly put together some star signature blocks made by her friends (as

a millenium project) to send with her. The nine stars were alternated

with nine plain squares to make a 3x6 block quilt - just the right size

to tuck in around her.

It's nice to know lots of folks are being kept warm for their journey.

Sara Hart Chisholm

Middleton, Nova Scotia


Date: Tue, 03 Apr 2001 07:54:43 -0500

From: Laura Hobby Syler <texas_quilt.co@airmail.net>



Thanks for the insight. I know that I've had to replace some of the

crepeline that I put on my grandmothers quilts back in the early 80's but

she has them on "display" in her room at the nursing home and is constantly

dragging them out to show off. I have never been fond of any type of overlay

as it distorts the color and "shades" the true appearance of the fabric. As

you say, there is nothing new about the disadvantages of crepeline, and we

are truly tilting at windmills when we try to keep these beauties from

falling apart. But we are a determined lot!!! Next, we should all meet at

the beach and work on keeping the sand in place!

Have a good Tuesday,


In mugger than yesterday N. Texas where the high is to be 84 today! Yikes!!!


Date: Tue, 03 Apr 2001 10:00:42 -0400

From: "Pam Weeks Worthen" <pamworthen@hotmail.com>


Hi All! Am just posting a quick announcement for anyone within an easy drive

of southern NH.

Lorie Chase is the Regional Coordinator for NH for the AQSG and is giving a

show and tell lecture in Lee, NH, tomorrow, April 4 at 7:30PM.

Lorie will be bringing her quilts to show an overview of quilt history, and

the audience has been invited to bring quilts to share. Rumor has it (and

I've tried to confirm, but haven't yet) that there may be a documented

English quilt from 1810.

"ping" me if you want directions, or use your map finder. The site is the

Mast Way School, Mast Road, (RTE 155) Lee, NH. It is just on the outskirts

of Lee Village, very near the police station.

Pam, in NH where the sun is actually out today, the snow is disappearing

from the Seacoast, but I hear there are still 5 ft of snow in the woods in

the north!

Date: Wed, 4 Apr 2001 11:55:08 -0500

From: pcrews@unlnotes.unl.edu


I am writing to mention that we are offering a History of Quilts course as

a distance education course this summer, June 12-July 10. It is offered

to non-credit participants, as well as for graduate credit. Videotaped

lectures will be mailed to students for viewing prior to once-a-week

telephone discussions of the lectures and assigned readings via conference

call. Email will be the mode of contact outside of class and for some of

the class discussions. The weekly teleconferences will take place on

Tuesday evenings from 7-8 pm CDT. Students who register for the course

will be supplied with an 800 number to call. The lectures were delivered

by top scholars in the field including Virginia Gunn, Merikay Waldvogel,

Jennifer Goldsborough, Jonathan Holstein, Janet Berlo, Dorothy Osler and

others. I will serve as the resident instructor for the course and will

lead the weekly discussions by telephone. Detailed course information and

registration information regarding the "History of Quilts" course and other

summer workshops is posted on our web site at http://quiltstudy.unl.edu.

Please share this information with anyone who might be interested in this

opportunity. Thanks.


Patricia Cox Crews, Ph.D.

Professor and Director

International Quilt Study Center

Dept. of Textiles, Clothing & Design

P. O. Box 830838

University of Nebraska-Lincoln

Lincoln, NE 68583-0802

Phone: 402-472-6342

Fax: 402-472-0640



Date: Wed, 04 Apr 2001 23:14:22 -0400

From: Mary Beth Goodman <mgoodman@quiltr.com>

At 1:55 AM +0000 4/4/01, Sara Chisholm wrote:

>My mother, a NJ quilter, recently lost her battle with cancer. We hung

>the funeral parlor full of quilts - some that were her work, and some of

>her favorite antiques - and draped the casket with her grandmother's

>crazy quilt from the late 1890s. It was really quite a lovely quilt



>My sister and I, both quilters ourselves, wanted to send her away with a

>quilt, but couldn't bear to part with any of her masterpieces.

Sorry for your loss Sara, but what a wonderful tribute you made to your

Mother. Nicely done.

I recently made two quilts that in my head are intended as coffin quilts

or pall-coverings. It was an interesting process. I started out making

just one, two sided quilt, but each top wanted to stand on its

own. People seem a little curious about why I made these two quilts, but

there does seem to be a tradition of doing this and it's just something I

wanted to do.


Mary Beth Goodman

Queen, NYQuilts!

Quilts, vendors, lectures, classes!

May 19-20, 2001

Russell Sage College, Troy NY


Now enter your quilts online at: http://www.albany.net/~mgoodman/quiltreg/


Date: Thu, 5 Apr 2001 09:50:48 EDT

From: RBCochran@aol.com


In a message dated 4/3/2001 8:40:23 AM Eastern Daylight Time,

family.chisholm@ns.sympatico.ca writes:

<< My mother, a NJ quilter, recently lost her battle with cancer. We hung

the funeral parlor full of quilts - some that were her work, and some of

her favorite antiques - and draped the casket with her grandmother's

crazy quilt from the late 1890s. It was really quite a lovely quilt

show! >>

What Sara didn't say is that her mother is Natalie Hart, our beloved friend

and colleague. More than a wonderful quilt show, the memorial service was a

lovely celebration of Natalie's life. Her passion for quilting and life

touched so many people that there weren't enough chairs! Happy memories were

shared, and poignant words were spoken, including this quote from Hannah


"There are stars who radiance is visible on earth though they have long been

extinct./ There are people whose brilliance continues to light the world

though they are no longer among the living./ These lights are particularly

bright when the night is dark./ They light the way for mankind."

Natalie's gentle and loving presence will be greatly missed by us all.

Rachel Cochran

Barbara Schaffer

Rita Erickson

for the Heritage Quilt Project of New Jersey


Date: Thu, 5 Apr 2001 14:52:13 EDT

From: KareQuilt@aol.com


I am crossposting a discussion topic that began on H-QUILT because I am not

certain that everyone here on QHL also subscribes to H-QUILT, and I would

like to hear from QHLers who may have observations and opinions to the issues

being addressed as well. The topic is hand quilting vs. machine quilting:

In reference to comments about the seeming shift of primary interest in

quilting from hand quilting to machine quilting (I am not referring to

piecing but only to the quilting), I would like to pose some other questions.

Twice in the past week I have been approached by hand quilters who feel they

are being overlooked in quilt show judging contests because machine quilting

and hand quilting are being judged in the same categories, and they feel

overwhelmed, outnumbered and overlooked. (I am not a quilt show judge myself

and do not enter quilt shows.) This complaint is the reverse of what was

occurring in the early 80's when I first got into quilting. Both individuals

who spoke to me brought up the point that they feel the big companies that

sell sewing machines are behind this change because of the power and

influence of the money they spend to underwrite judged quilt shows/contests.

This is a very interesting question at this period in quilt history: what

influence have the sewing machine manufactures had in the shift from hand

quilting to machine quilting? Should hand quilted quilts and machine quilted

quilts be judged in separate categories? Is it the lack of money for prizes

that keeps the two in the same category in all these contests?

Karen Alexander


Date: Thu, 5 Apr 2001 16:16:06 -0400

From: "pepper cory" <pepcory@mail.clis.com>


Hello Karen and all-what a good topic for discussion! I am a hand quilter

who sometimes hires others to machine quilt samples, plus I teach quilting

and judge shows. At this point I think we ought to keep hand and machine

work together. A particular category's prize money being given by a machine

company does NOT influence a judge's opinion. The exception is when the

prize is designated for a particular sort of work, but you'll commonly find

that show organizers resist being told by donating companies their ideas for

"Best in Show" and simply trust their judges' expert opinions.

I have given prizes to both hand and machine work. The point is: is the work

(stitching and the whole package of workmanship/color/artistry) done well?

My book "mastering Quilt Marking" addressed just this question in the

chapter Quilting from the Judges' Point of View. To quote: "...grouping

machine and hand quilting together promotes a higher standard of

workmanship. Machine quilters will realize their stitching will have to meet

the traditional strict standards of hand quilting, while hand quilters are

now on notice that they need to quilt their quilts as thoroughly as machine

quilters do in order to compete." There's more but you get the gist. Unless

those disappointed hand quilters have proof of a judge's prejudice, this

sounds like a new version of old-time sour grapes! There's room to spare for

all kinds of quilting--just do it well!

Pepper Cory from the sunny Carolina coast


Date: Thu, 05 Apr 2001 20:09:47 -0400

From: "Pam Weeks Worthen" <pamworthen@hotmail.com>



I agree with you that machine and hand quilting should be judged in the same

category (unless, obviously, the show is organized with prizes enough to

keep them separated, such as some of the MAJOR shows) I have not judged a

quilt show, but have had my work judged and am on the judging committee for

my local guild. It's about color, design and execution of the technique, not

which technique is more desireable.

It DOES encourage a higher level of craftsmanship, and if there are sour

grapes from the hand quilters, it's payback for the years I had to listen to

"Oh, it's machine quilted", as if this was a sin. (ooooh, I'm in such a

mood tonight!)

I do both machine and hand quilting or applique, depending on the schedule

and the project. As a maverick at heart, my greatest personal triumph after

putting up with the groans and gasps of "fooling" people with my "mock hand

applique", was having one of the most stubborn advocates of NEVER ANYTHING

BUT BY HAND ask me to teach her to machine quilt.

My particular gripe on this topic is with people who piece a top, then send

it off to be professionallly machine quilted, and enter it into a show

without recognizing the work of the "second" quilter.

I'm remembering an article in QNM within the last year on this subject. It

was written by someone representing the professional machine quilters,

encouraging people to have a written agreement with their clients that if a

quilt is entered in a competition, the machine quilter must be recognized,


There's my 10 cents worth.

pam in NH who antiqued all day instead of going to work, but don't tell the

board of directors! (now I have to work Saturday...)



Get your FREE download of MSN Explorer at http://explorer.msn.com


Date: Thu, 5 Apr 2001 20:11:41 EDT

From: QultFrFn@aol.com


In a message dated 4/5/01 8:34:39 PM, pepcory@mail.clis.com writes:

<<Machine quilters will realize their stitching will have to meet

the traditional strict standards of hand quilting, while hand quilters are

now on notice that they need to quilt their quilts as thoroughly as machine

quilters do in order to compete>>

I agree with Pepper. I am, by choice, a hand quilter. However, I've done

enough machine quilting to know that it isn't as easy as some hand quilters

believe -- at least it isn't for me. If I need something machine quilted I

try to hire a skillful machine quilter.

Many hand quilters, today, take the batting labels too literally. The result

is that too many quilts, with hand quilting, are sorely under-quilted.

Keep the techniques in the same catagory. I would like to suggest we allow

BOTH machine quilting and hand quilting in the same piece...while we're at



Nancy Brenan Daniel AZ

Date: Fri, 6 Apr 2001 13:42:53 +1000


Pam and all,

>My particular gripe on this topic is with people who piece a top, then send

>it off to be professionally machine quilted, and enter it into a show

>without recognizing the work of the "second" quilter.

This is a "bug-bear" of mine too, I have just "encouraged" members of my

quilting group into the world of acknowledging the input of others in their

quilts, by introducing a Duo Quilt Category into our upcoming quilt

exhibition, the rule was that ...."Any quilt made or worked on in any way by

more than one person must be entered in the group or duo quilt

categories...." the new duo category has the most entries in the

exhibition. I am not sure whether I like this mixed-bag category, but at

least it has achieved the desired result regarding recognition.