quilthistorylogo.gif (6848 bytes)

 

Home Page

 

Archives  
Appraisers  
Articles  
Bibliography  
Books  
Cleaning  
Conservation  
Dating  
Gallery  
Join QHL  
Member Links  
Frappr  
Museums  
Quilt Restoration  

Study Groups

 
Subscribe  

Teachers

 

Search

 
   

Comments

 

 

Quilters Find a way to care

01109 - 01122

Date: Thu, 26 Apr 2001 10:06:19 -0500 (Central Daylight Time)

From: Mary Persyn <Mary.Persynvalpo.edu>

FYI - The Indiana Historical Society is mounting a new

exhibit, starting May 12, entitled "A Working Life." The

exhibit will "explore the contributions of three Hoosiers

to Indiana's rich history of art and craft."

The three Hoosiers are Marie Webster, a leader in the

early 1900s quilt revival, Harry E. Wood, a teacher and

craftsman who led the "general shop movement" of the 1930s,

and Portia Howe Sperry, the founder of the Brown County

Folks Shop.

For more information see

http://www.indianahistory.org/workinglife.php

The Indiana Historical Society is located in downtown

Indianapolis.

Mary

Date: Thu, 26 Apr 2001 19:31:46 -0700

From: monikajcdsnet.net

To: <QHLcuenet.com>, <quilterpatpressroom.com>

Pat........that looks like the Mittie Barrier Quilt. I remembered that quilt

right away. It's in "American Patchwork Quilting", a Better Homes and

Garden Book, page 298-300.

It says she was a plain South Carolina farm wife and made the quilt in

1920 . It was handed down to her daughter.

They have patterns included for 3 of the blocks.

Monika

Grants Pass, OR

monikajcdsnet.net

------------------------------

Date: Fri, 27 Apr 2001 07:40:04 -0400

From: "Zendelle Bouchard" <zendelleinr.net>

Hi all,

I have some vintage 30s-40s-50s blocks that I am preparing to make into a

quilt. I'm washing them to get rid of the dust of decades, and spreading

them flat on a towel to dry. But they're coming out really rough and stiff.

Should I be putting a little fabric softener in the rinse water? Or would

this be a bad idea? Or will they just soften up as I'm working on them?

Z

Date: Sun, 29 Apr 2001 14:50:32 -0400

From: Newbie Richardson <pastcraftserols.com>

Z,

I would not waste my time trying quilt those old squares. The fabric

has gotten too desicated to take the stress. Even if they survive the

initial sewing, they will split along any seam lines with in a few

years. FAbric Softener woun't do you any good. Think of the fibers as

hair that has been over permed, or skin that has been exposed to the sun

for too long. Not much can be done. Sorry.

On a brighter note, I am SURE that you have plenty of other projects

waiting to get done!

Best,

Newbie Richardson

Past Crafts Studios

Appraisals and Conservation of Historic Textiles

Alexandria, Va.

Date: Mon, 30 Apr 2001 10:08:11 -0400

From: "anne" <datkoaerols.com>

> Barbara Garrett and Joan Hamme will

> present a slide lecture featuring the best of the quilts discovered by

> the York County, Pennsylvania, Quilt Documentation Project at the May 16

general meeting of the Baltimore Applique Society. The meeting is at 7 p.m.

at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott

City

MD and will cost $3 for nonmembers.

The Quilt Documentation Project

> registered more than 1,600 quilts. The lecture will show about 300 of

> the most outstanding, including applique, pieced, signature, and other

> types of quilts.

>

> York County is Baltimore's closest Pennsylvania neighbor, and some

> shared influences and styles will be apparent, especially in the album

> quilts. Several Baltimore-style album quilts appeared in one community

> near the Maryland border. In addition to the slides, our lecturers

> will display several quilts found during their documentation days,

> include a friendship quilt signed by Baltimore album quilt designer Mary

> Simon and featuring one of her multi-layered basket blocks. The book

> based on the project, "The Fabric of Friendship" will be available for

> purchase.

>

> Barbara Garrett is a quilt historian, quilter, lecturer and author.

> She was a consultant to the York County documentation project as well as

> projects in several other Pennsylvania counties. She spoke to the BAS

> at the March meeting on the historical development of quilt styles as

> seen in doll quilts she has made with period and new materials. She

> recently appeared on HGTV's program, "Simply Quilts."

>

> Joan Hamme, a quilt historian and quilter, was the chair of the York

> County Quilt Documentation Project, which registered quilts and related

> items from 1997 to 1999. The project plans to continue to record the

> county's quilt legacy in upcoming public and private documentations.

> Joan was president of the York County Quilt Guild from 1996 to 1997.

>

>

------------------------------

Date: Mon, 30 Apr 2001 10:45:33 -0400

From: Newbie Richardson <

Mary Waller wrote:

>

> Hi, Newbie,

>

> Just read your post to QHL about using old blocks.

>

> I've heard/read you describe rehydrating other materials, like leather.

> Is that possible with fabric?

>

> Mary Waller

> Vermillion SD

Of course you can do it with fabric. But it does not return them to

their original "youth". Sometimes, after a fabric has been wet cleaned,

it feels dry and crispy after it air dries. Depending on how much stress

it can with stand, a gentle steaming works great. But that is very hot

and can really be stressful on the fibers.

One recent technique to remove fold lines from old, fragile fabrics

that cannot be wet cleaned is to use Gortex fabric. Basically the trick

is to use the gortex as a barrier that allows the moisture to penetrate

- but not let that same moisture condense on the textile.

You place a piece of gortex over a section to be rehydrated, then

press a damp cloth over it using weights to hold it down. Check every

five minutes (using a timer is best)to be sure that no droplets have

formed from condensation on the other side of the gortex.

I observed this at the Museum of Fine Arts Boston where they were

putting on an exhibit of the paiseley shawl. One of the consevators got

distracted, did not keep an eye on the project, the moisture condensed

on the shawl, leaving a water mark. It is very time consuming - but a

great technique for displaying old quilts that have a really bad

foldline.

Newbie

------------------------------

Date: Mon, 30 Apr 2001 10:54:27 -0400

From: Newbie Richardson <pastcraftserols.com>

Marcia Kaylakie wrote:

>

> Dear Newbie,

> I am designing a workshop called Old Blocks, New Quilts and your comment

> was of interest to me. Do you have a particular method to determine whether

> or not a block is "past it's prime"? Or do you do it just by feel and

> sight? I would be appreciative of insight in this area. Sincerely, Marcia

> Kaylakie, Austin, TX

Marcia,

Please remember that I am not an experienced quilter (my thing is

smocking classic children's clothing!) but I can usually tell if the

fabric isn't going to respond well to any conservation with needle and

thread by the "feel" of the fabric. I keep going back to the analogy of

over permed hair or over sun exposed skin, they feel different! Another

test is to tug gently on the fabric - does it "give"

like a new piece does? Try this with both an old piece and a new

(prewashed) piece. There is a definite difference in how the fabric

reacts.

This has NOTHING to do with the appropriateness of quilting with old

blocks/tops. I still believe that the original maker is up in Heaven,

pleased as punch that her unfinished project is FINALLY getting done!

But I do notknow anyone who has so much free time that she can waste it

on a lost cause! There are lots of options for using old blocks, ect.

Making a new quilt is only one of them!

Best, Newbie

------------------------------

Date: Mon, 30 Apr 2001 11:17:13 EDT

From: Trimble4aol.com

Hi all,

I am wondering if anyone here has some clue as to how long those woven name

tapes (like you put on camp clothes, or kids' gym suits) have been around.

I purchased a lovely old quilt about a week ago, and was tickled to find a

name tape sewn to one corner (hadn't seen THAT until it was mine). I did a

little on-line research and found the name belonged to a man, and got dates

and towns for some of his relatives. Have gotten no further, though. Seems

the gentlemen passed away 15 years ago and the quilt was not in the town

where he died. That part of the investigation is for another day soon.

I am just curious...having the name made it so much less anonymous!

Thanks a million for any help.

Lori East

in windy Massachusetts

------------------------------

Date: Mon, 30 Apr 2001 14:22:23 -0400

From: "pepper cory" <pepcorymail.clis.com>

 

Can anyone on QHL remember/name the craft that used those six-petaled tin

templates? Yarn was wrapped around them and produced dimensional flower

shapes in rugs and mats. Sometimes the templates turn up at antique shops as

quilt templates and although a few might have been used to trace the

occasional quilting design, these daisy-like templates had a use of their

own. Now what WAS the name of the craft?!

Thanks-

Stumped in coastal Carolina,

Pepper Cory

------------------------------

Date: Mon, 30 Apr 2001 16:11:59 EDT

From: QultFrFnaol.com

To: jeanlesterntown.com, qhlcuenet.com

 

Jean -- Thanks for your remarks regarding hand and machine quilting in the

same piece.

Yes, I've been campaigning for allowing both <=> machine and hand quilting in

pieces for years...usually to very deaf ears.

It's not only NQA, but also in Paducah...at least the last time I judged

there. I keep doing it in my work and teach it...and warn my students about

the resistance they will probably encounter should they enter their quilts in

shows.

I think it's going to need to be a serious 'grass-roots' kind of movement to

make the change.

Sincerely, Nancy Brenan Daniel, AZ quilter

------------------------------

Date: Mon, 30 Apr 2001 16:26:56 -0500

From: "Jocelyn" <jsmartinukans.edu>

Newbie,

re: desiccated blocks

What can those of us who have antique quilts/tops/blocks do to prevent them

from drying out?

------------------------------

Date: Mon, 30 Apr 2001 18:18:06 -0400

From: Barb Garrett <bgarrettfast.net>

Hi Pepper -

For those of us living in southeastern PA, it isn't obscure needlework as it is

found all over the place -- comforters, pillows, pot holders. Our sources

when I did documentation called it Tufted Yarn Work.

------------------------------

Date: Mon, 30 Apr 2001 19:12:28 -0700

From: Denise Clausen <nadyneoregoncoast.com>

To: Susan Wildemuth <ksandbcwgeneseo.net>

Hi Sue

The Latimer Quilt and Textile Center has many of the Needlecraft/Home

Arts magazines in its collections.

Denise Clausen

Director LQTC

Susan Wildemuth wrote:

>

> Does anyone on the list know if there is a photo archive, photo morgue, or

> museum despository for the photos featured in the NEEDLECRAFT/HOME ARTS

> Magazines from the 1910's-1940's?

>

> Thanks,

> Sue

------------------------------

Date: Mon, 30 Apr 2001 22:45:14 -0400

From: Paul and Nancy Hahn <phahnerols.com>

 

Barb, My Old Order Mennonite friends from New Holland referred to this

as "stump work" when they showed me pincushions made of these blocks.

Don't know if that is a regional name or just their family name for

this.

Nancy Hahn

------------------------------

Date: Mon, 30 Apr 2001 22:53:06 -0400

From: "J. G. Row" <Judygrowrcn.com>

>You place a piece of gortex over a section to be rehydrated, then

>press a damp cloth over it using weights to hold it down. Check every

>five minutes (using a timer is best)to be sure that no droplets have

>formed from condensation on the other side of the gortex.

Perhaps the museums should learn of our technique for flattening rolled

posters before mounting and framing them. We have a cold vacuum press,

actually 2 presses, one 40 x 60, the other 48 x 96. We sandwich the (cheap)

poster between 2 sheets of kraft paper, lay the package on the bed of the

press, spray the top kraft paper with a light misting of water so that is

almost doesn't change color -- very little does the job -- and then close

the lid and turn on the press. The vacuum pulls the moisture out of the

kraft paper and down through the poster paper, relaxing the fibers and

getting the roll marks out. The vacuum also sucks all the extra moisture

out of everything. If you leave the press on for 10 minutes or so there

might not be a bit of moisture left.

With fine fabrics the gortex would work the same way as the kraft paper does

for us . Of course a large Paisley shawl wouldn't work even in our largest

press.

We throw the kraft paper away when we are done with it, but perhaps the

gortex would be reusable. I'll have to look into that.

Judy in Ringoes, NJ

judygrowrcn.com

------------------------------

Date: Tue, 1 May 2001 06:12:23 EDT

From: JBQUILTOKaol.com

To: QHLcuenet.com

 

I have a quilt top that's been in the family. It has woven tape w/ the name

of the maker & a date of 1906 written onto it. I doubt it was put on at the

time the top was made - suspect my great aunt documented what it was sometime

in the 1940's or 50's.

Janet Bronston

------------------------------

Date: Tue, 01 May 2001 22:21:58 +1000

From: Lorraine Olsson <svenpnc.com.au>

 

I just placed a search on google.com and came up with this information

http://www.commercialproducts.com/

For ALL Your Woven Label Needs!

Manufacturing Chemists of Starches and Finishing Auxiliaries for

the Woven Label and Narrow Fabric Industry Since 1944!

This was the first item , I have not researched any more, but it certainly places

these labels in the 40s

Lorraine in Oz

 

------------------------------

Date: Tue, 01 May 2001 09:38:28 -0400

From: Newbie Richardson <pastcraftserols.com>

To: QHLcuenet.com

CC: bgarrettfast.net

Barb,

There is a more exact term for this technique. It is a German/Dutch

term, starts w/ an "s", I think. None of my books on Pa. German weaving

has the term, as they are specialised in the weavings and door towels.

This technique was considered a bit "declasse", or "kitch" by many -

which may be why I can't find any reference in my books. I have talked

to older ladies who did this work and were taught by their grandmothers,

etc. I stupidly did not write down the term. But it is a specific

vocabulary word which describes the technique of wrapping the yarn over

those tin templates, cutting the yarn, and then felting it to get the

tight tuffted effect. It was very popular in the last part of the 19th

and 1st 3rd ofthe 20th centuries. Mostly done in Pennsylvannia, Ohio,

Indiana.

Don't suppose you have any reference books that have the right term?

Newbie

in exquisitly beautiful Nortern Virginia. The dogwood are to die for!

------------------------------

Date: Tue, 01 May 2001 10:19:15 -0400

From: Barb Garrett <bgarrettfast.net>

 

Having some free time this morning I'm looking through some books and found

the following --

In the Goshenhoppen Documentation book by Nancy Roan, she says -- Tufted

yarn motifs turned up in the documentation with pillow tops and a knotted

bed cover. Tufted yarn work is not unknown in eastern PA. We have seen

rugs, bed covers. Pillow tops are by far the most common application. The

tufted yarn motif is made by stitching varied colored yarn back and forth

over the tin form. When the stitching is completed, the yarn is clipped and

the form removed. These tin stars range in size from 3 inches to 12 inches.

I have pin cushions made with this motif -- vintage early 1900s.

I agree with Nancy Hahn that I've heard it called stump work, just couldn't

find that name right away. I found the name in a book called Trapunto and

Other Forms of Raised Quilting by Mary Morgan and Dee Mosteller, c1977.

I'll quote from page 13 -- It was also during these two centuries (17th and

early 18th) that another intriguing raised needle art became fashionable,

both in England and on the Continent. Geven the rather graceless name

"stump work," the technique involved the use of layers of embroidery

stitches, one on top of another, to build relief figures on fabric, normally

white satin. To bring certain important design elements, such as human

bodies and flowers, into even higher relief, sometimes tiny wooden molds

were placed behind the stitching. Stump work was made even more elaborate

than raised quilting by the addition of colorful "overlays" done in a

variety of stitches. Stump work had many parallels with trapunto. It was

done on fashionable garments and all manner of furnishings. Like trapunto,

there is some question as to the derivation of its name and techniques.

Also like trapunto, its popularity ended with the eighteenth century in

Europe, followed by a brief vogue in American needlework.

Could that "brief vogue" be the predominantly Pennsylvania German use of it

on wool with the stars in the late 1800s and early 1900s?

Barb in southeastern PA

------------------------------

Date: Tue, 01 May 2001 10:32:27 -0400

From: "Judy Kelius (judysue)" <judysueptd.net>

 

This past week I found matching redwork pillow shams (the kind you lay on

the pillow) that have caricatures of a man and woman and a 1905 date,

apparently when they were married. Their names are included - the man's

sham features some owls, and the woman's has doves. There are also initials

"AB" below the date, perhaps of the person who made these. Do any of you

who are more familiar with redwork know anything about these? Were they

standard caricatures that you could buy or did someone actually draw these?

If anyone would like to see photos, let me know - I'll be glad to email

them to you. These are so neat! I'm going to do some research to find out

who the people are . . . these shams came from within 10 miles of where I

was born, so I have a special interest in them.

------------------------------

Date: Tue, 01 May 2001 08:27:30 -0700

From: "Julia D. Zgliniec" <rzglini1san.rr.com>

To: pastcraftserols.com

CC: QHLcuenet.com

 

Dear Barb and QHL,

I am not sure if I have the right mental image of what you are

describing but I have several samples in my lace collection of doilies

and mats made by wraping yarn or thread around a little tin template. It

is called "Waffle Work" byKathleen Warnick and Shirley Nilsson in their

book Legarcy of Lace, c. 1988. A Solstice Press Book, Crown Publishers,

Inc., NY ISBN 0-517-56899-3

It gives pictures of both the technique and the little template.

I recommend this book to anyone who likes/studies/collects lace of all

kinds.

Regrads,

Julia Zgliniec- Poway, CA

 

------------------------------

Date: Tue, 1 May 2001 09:50:30 -0800

From: mlelowell.edu (Mary Lou Evans)

I can date them at least back to the 40's because we had them in our

clothes as children....

TTYL, Mary Lou in N. Arizona

Date: Wed, 02 May 2001 04:49:44 -0500

From: Shirley McElderry <tigersouplisco.com>

J&J Cash Company of Norwalk, Conn. made woven labels, trimmings, etc. In

an 1894 Ladies Home Journal, the ad read: "Your name can be woven in

warranted fast Turkey Red cotton on fine cambric tape; order through any

dry-goods store--"

I have some of these labels; they are one and a half inches by

three-eighths. The letters were woven into the cloth in different colors

and script styles.

Shirley Mc from beautiful Iowa

------------------------------

Date: Wed, 2 May 2001 07:28:33 -0400

From: "Zendelle Bouchard" <zendelleinr.net>

Hi Lori,

the gentleman may have been a nursing home resident at some point. At the

home where I work, they sew those tapes to all the resident's clothing, etc.

Although often times on the quilts, they just write the name on in black

magic marker. Eek!

Z

>>I purchased a lovely old quilt about a week ago, and was tickled to find a

name tape sewn to one cornerDate: Fri, 04 May 2001 10:46:34 -0400

From: "Kris Driessen" <krisdriessenyahoo.com>

To: QHLcuenet.com

>Press Release Immediate

>Contact: Janet Finley (evenings) 303-422-3879

>

>The Columbine Quilt Guild presents Louisa L. Smith for a lecture and

>workshop on Strips ‘n Curves. Louisa Smith, Loveland, CO fiber artist,

>teaches her very own Strips ‘n Curves method. Ms. Smith’s method will

>soon be published by C&T Publications. You’ve seen these fabulous pieces

>at Symposium and Fabrics of Legacies. This is the lecture and workshop

>being held in Grand Junction by CQC. Excellent opportunity to attend if

>you can’t make Grand Junction in August. Beginners and advanced are

>welcome!

>

>The lecture and workshop will be held at the Wheat Ridge Community Center

>(Pioneer Room), 6363 35th Avenue, Wheat Ridge, CO.

>Lecture time: Monday, June 11, 2001 at 7 PM

>Workshop time: Saturday, June 16, 2001 9 AM 4 PM

>

>Attend the Monday, June 11th lecture for a preview of the Strips ‘n

>Curves method. Workshop sign-ups are being accepted immediately by

>calling Janet Finley (evenings) 303-422-3879. Lecture guest fee: $6.

>Workshop $30 members, $35 non-members. Supply list will be sent upon

>registration. Make check payable to Columbine Quilt Guild.

Date: Sat, 5 May 2001 14:17:10 -0500

From: "Susan Wildemuth" <ksandbcwgeneseo.net>

 

I am going to start on my son's graduation/quilt this weekend, he graduates

next year. I want to have some signatures on the quilt in various

places-teachers, scouts leaders, 4-H leaders, etc. I do not plan to

embroider the names. What I want is some ideas on what type of "pen" to use

that is thin-lined, won't run, eat fabric, is permanent, and with proper

quilt care, will still be readable years down the road. I plan to do a

brief history "Life of Brian" to go with his quilt and display both at his

graduation party. I wish I could claim this idea as new, but I'm afraid I've

seen it at three different graduations where mom or grandma was a

quiltmaker. I have used Micron pens (black is always my color of choice) in

the past. Is this a good choice or is there something better out there?

Any help you can give me would be greatly appreciated.

Thanks,

Sue

Date: Tue, 08 May 2001 21:03:48 -0700

From: Denise Clausen <nadyneoregoncoast.com>

Hi Sue

Lettering on fabric is what I do. I am both a calligrapher and quilter

and teach classes about lettering on fabric. I have used Pigma pens the

most often. I have seen a comment in archival supply catalogues that

they are both permanent and will not damage fabrics. I had used them for

years not knowing about their long term effects on fabric. I did test

them for durability and they did loose a bit of intesity when washed is

a machine. I did have a couple quilts dry cleaned after the house was

filled with smoke and ash after a run away slash burn came within feet

of our house. The intensity of the ink reduced significantly, but it is

still visible enough to trace over it again.

Pigma pens come in several sizes of pointed pen, in a "brush" felt pen,

and in a small "edged" pen (for calligrahy). They come in many colors.

Best of luck

Denise Clausen