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Date: Mon, 24 Sep 2001 22:23:34 EDTFrom: Windquilt@aol.comTo

Newbie writes:
>>You should not cut up real flags or wear
>>them - but fabric with the design printed on it is fine to use for
>>clothing and decoration.

My question is - what if I make a flag or a flag look-alike from
solid-colored cottons.  Would that be considered a "real" flag?  Or a
decorative item?  I haven't seen this addressed on the etiquette sites,
perhaps because the Q-and-A was not prepared by a quilter.   Any ideas? 
Nancy Blake
Visit the New England Images 2002 websitehttp://www.newenglandimages.org

Date: Tue, 25 Sep 2001 04:47:04From: "Anne Copeland" <anneappraiser@hotmail.com>To:

I think that many things contributed to their popularity.  Having coordinated fabric, or all the scraps available quickly without having to build a collection; having access to fabric ready to sew whether you had a car or were geographically close to a fabric shop; and whether you had access to someone to "teach" you quiltmaking or not, or whether you had made a quilt before or not, you could believe you could still make a quilt that you could be proud of may be just some of the reasons.  Quilt kits in one form or another were available before the advent of the automobile.

I was thinking of something that can perhaps equate in some ways with the popularity of the kit quilts--the phenomena of the watercolor quilts of today.  Once this type came out, it became almost an overnight success, with everyone, experienced quilter or not, wanting to make one.  One thing is that this quilt type could go with almost any decor, whereas say, a Southwest style quilt would have a very limited popularity for decor purposes.  The kits of the time in most cases, fit well with the decor in everyone's homes.  These watercolor kits could soon be bought in kit form and this would appeal to many people who would not be able to pick all the fabrics required without help.  The skills required to sew simple squares together were minimal, and yet the completed quilt would be a handsome (at least to many) piece with almost the look of an art quilt.

Another angle I to which I have given much thought (and personal trials) was that despite the fact that the kits came with many "aids" to help the quilters, many of them were not that easy to complete.  I personally owned a kit quilt that was a copy of a quilt from the Titus-Geesey museum, TheSunflower (which was an abstract rather than representational pattern) wasjust such a kit.  Try as I might, I could not get those marks on theapplique pieces to truly match with the marks on the background fabric,which may be why the kit was never finished.

Also, I have heard tales of people cutting out all the pieces at once, only to become overwhelmed trying to sort them out, and giving up before the kit was completed.  So even though they were kits, they did require some level of skills.  And appliqueing is not that easy to master without an instructor, unless you are a quilting wizard (OK, some of YOU might be, but NOT me).  I did eventually manage to master the art of applique, but not without a great many difficulties.
Peace and blessings, Annie

Date: Tue, 25 Sep 2001 05:51:51From: "Anne Copeland" <anneappraiser@hotmail.com>To:

Thank you so kindly, Diane.  I remember when we were doing our research, how very difficult it was because we didn't have the internet (can you believe it now???), and all of the really good resources were so far and so few between.  I am glad that others too have done their work.  As I noted, I would sure like to see all of our books and articles published, because there is a need for all of them, as you noted.  I know that I can never read too many books on a subject in which I am interested.

I wish we could self-publish.  Many years ago, I self-published a pumpkin cookbook because I also could not interest publishers even then because they believed it was too specialized, though they all liked it and were mosten couraging.  I took a second full-time job in exchange for the printing, and printed up and sold most of the books that were printed.  Didn't make much money at all since I had to do all the advertising, mailing, etc., but the book WAS in Books in Print, and that did generate some requests on an ongoing basis.

I think all of us who have written good works have been affected in this way at one time or another.  It is frustrating to work so hard and so long, and then have your work come to naught because of a lack of a publisher willing to tackle something a little different.  But I can understand it all from an economic standpoint.  Well, maybe one of these days before we are all long gone.  Peace and blessings to all of you,  Annie

Date: Tue, 25 Sep 2001 07:09:52 EDTFrom: DDBSTUFF@aol.comTo

Hi Everyone;
I just want to thank all of you who wrote with the names of appraisers in North Carolina. Is there a complete list of US appraisers anywhere on the WWW?

Date: Tue, 25 Sep 2001 07:41:20 -0400From: "Kris Driessen, QuiltBus.com" <oldquilt@albanyweb.com>To

Why yes, Darwin, at the QuiltHistory site:-))
I listed all appraisers that I knew of or sent me their names at http://www.quilthistory.com/quilt.htm.  I know there is a list of AQScertified appraisers on line, but I don't know where exactly. Try http://quiltappraisers.org/paaqt%20members.htm.

Date: Tue, 25 Sep 2001 08:29:51 -0400From: Newbie Richardson <pastcrafts@erols.com>To

Xenia,  The history of mass manufacturing in the US really goes back to the textile mills in Lowell.  Then to the Civil War and the revolutionary concept of interchangeable parts introduced by (I think) Remington in the production of guns.  The same concept was used by the Union to make "standard" uniforms for the army.  Those standards are still in use today for men's wear. Henry Ford just continued the idea in a more "advanced" way!  Kit houses were the intermediary stage between individual builders and developers. Can we then say that quilt kits were the intermediate step between "home made" and industry made?  I do not remember that there many factory made quilts much before WWII - other than the machine quilted satin spreads of the 1930's and 40's. Just thinking out loud!  Newbie
Date: Tue, 25 Sep 2001 09:55:20 -0400From: "Cinda Cawley" <lrcawley@dmv.com>To: "

    Peggy Armstrong, Barb Garrett, Phyllis Twigg and I (all Vintage Friends of Fran) spent Saturday at the History House in Cumberland, MD (home of the Allegany Co. Historical Society) at the request of Vintage Friend Suzanne Cawley who has undertaken a documentation of the Society's quilt collection with the help of members of the local quilt guilds.  We were asked to comment on historical signifcance, dates, conservation, etc. and to suggest ways that quilts could be displayed during a special exhibit planned for March through Oct. of 2002.   Peggy will be returning tomorrow with Fran who is going to advise on preserving the Crazy Quilts.    We had a wonderful time; in addition to the quilts the Society gave us a delightful lunch in elegant surroundings and a fascinating tour of the Victorian mansion which is restored to the 1880s period.  But, it was really all about the quilts and there are some beauties.  

 "Best of Show"  went hands down to an enormous Blazing Stars quilt (8 point stars composed of 45 degree diamonds) with stuffed motifs in the alternate plain blocks, initialed and dated 1817 with cording, a chintz border and, the icing on this glorious cake, a handknotted fringe on all four sides.  The row of diamonds next to the point of each star is made of the background fabric so that the points float away giving the quilt a particularly airy appearance.  The quilt is very acidic; our recommendation was that it should be sent to a professional conservator for wet cleaning.    

If you look on a map you will find Cumberland in the "waspwaist" of Maryland sandwiched between West Virginia and Pennsylvania.  During the early 19th century the town was far more important than it is today.  It was the terminus of the National Road, our first super highway, which ran from Baltimore to Cumberland.  No doubt the ladies of Cumberland had access to the best of everything.  We certainly found evidence of this in the quilt collection.  There was an early silk mosaic (c. 1840) backed by a subtle dove colored plaid that said "Quaker,"  Although we have no proof, it certainly could have come from Philadelphia.  

A brilliant red wool wholecloth quilt with a linen back shouts New England.  There is a lovely applique album quilt dated 1852.  We may be looking at what brides from the big cities brought with them to the edge of civilization (G).    The Pennsylvania German influence (the National Road was heavily used by the PA Germans to take their crops to market in Baltimore) is represented by a quilt in a pattern that was new to all of us.  It's a very sadly worn four-block applique circa 1850 (definitely a Dead Quilt ).  

The four large blocks are hearts composed of diamond shaped leaves decorated with small hearts in turkey red or cheddar scattered randomly.  The border is a serpentine vine with tulips.  This is not prissy Baltimore applique; this lady was doing what I always think of as PA country applique: simple, sturdy flowers sitting firmly on inch-wide stems.  I know I'm forgetting some of the details.  Perhaps "Cousin Suzanne" will correct me.  Almost all the red has deteriorated, but the quilt still makes an impact.  

Suzanne and her committee have decided to recreate the quilt, not once, but twice.  One copy (machine applique) will be a raffle quilt for the History House to use as a fundraiser; the other (done by hand) will be a recreation of the original to be a permanent part of the collection.  They also hope to sell the patterns.  I think the patterns would be a great success; the quilt is so unusual and the applique is fairly simple.  Even I, who have no pretensions as an appliquer, would love to make a single big block as a baby quilt.   

 In the mid-twentieth century Cumberland had a factory that produced "Celanese" much of it used for parachutes during W.W. II.  Naturally the quilters of the town made quilts of "Celanese."  We saw enough of these to recommend a local history exhibit featuring the quilts and photos etc. relating to the industry.  Most of these quilts were fairly pedestrian, but one Pineapple Log Cabin made of brightly colored ribbons was absolutely charming.    

Of course, there are Crazy quilts; as I said, Fran is making a special trip to check them out.  Naturally, there were exciting details on some of the Crazies: a James G. Blaine campaign ribbon from 1876, a bandana from the election of 1888 with portraits of Benjamin Harrison and Levi Morton, a "Stevensgraph" ribbon (Barb Garrett will explain) celebrating Gerorge Washington.  One quilt which can only be described as a "Novelty" might have been a banner from a local fraternal organization; it has a silk Confederate battle flag in each corner.  Always so many more questions than answers!     

Suzanne will surely keep us posted on the quilt exhibit at History House.  They have an exciting lineup of quilt related events planned and the pattern project should be of interest to all of us.Cinda from the Eastern Shore whose motto is since I wouldn't hesitate to go ten miles to see one antique quilt it makes perfect sense to go 300 miles if I can see thirty.  The roundtrip to Cumberland from Salisbury was 560 miles--well worth the effort!

Date: Tue, 25 Sep 2001 13:10:52 -0400From: "Gibson, Nancy" <ngibson@dar.org>To: "'

Washington, DC, September 21, 2001---The DAR (Daughters of the American Revolution) Museum presents a book signing and presentation by noted collector and dealer in antiques quilts Stella Rubin on October 10, 2001 at10:00 am.
Author Stella Rubin, a nationally known dealer and collector with 25 yearsof experience in the quilt world, shares the secrets of the professionals as she shows how to assess value in a quilt. Treasure or Not? How to Compare and Value American Quilts is more then just a survey of quilts, but is a master class in evaluating these works of art. The book is aMiller's-Mitchell Beazley book published by Octopus Publishing Group, Ltd.
Stella Rubin has been an avid collector and dealer of antiques since 1977.She has exhibited at the New York City Fall Antiques Show, The Baltimore Museum Show, the Delaware Antique Show (Winterthur Museum) and many others. She has sold quilts to many private collections and institutions such as the Metropolitan Museum of Art, the DAR Museum, the Smithsonian Institution and the Museum of Fine Arts in Houston. She lectures frequently.
The program is free, but reservations are requested. For more information call Nancy Gibson at (202) 879-3238 or email her at ngibson@dar.org<mailto:ngibson@dar.org> .
The DAR Museum has an outstanding collection of objects made or used inAmerica prior to 1840. To fulfill the goals of the DAR--education, preservation and patriotism--the museum holds educational programs throughout the year. This program is being held in conjunction with the DARMuseum Quilt Guild.  

Date: Tue, 25 Sep 2001 20:25:47 EDTFrom: Trimble4@aol.comTo

<<  I know there is a list of AQS certified appraisers on line, but I don't know where exactly.  >>
Try the AQS web site, under the appraiser information listing.  I can'tremember if the list is there or if it's a link to somewhere else (andbecause of an anti-virus glitch, I can't go look for you right now :-{), butI'm sure that's where I found it.
Good luck!Lori in Mass.
Date: Tue, 25 Sep 2001 17:55:40 -0700 (PDT)From: Judy Schwender <sister3603@yahoo.com>To:

The Betsy Ross site with the instructions for cutting a 5-pointed star has a link to flag etiquette.  Checkout:
Also, try a google search for American flag etiquette. There is a lot of info out there.  Some of this discussion comes back to the notion of free speech, and artistic license.  The question maybe: are you creating a pieced flag as an entity unto itself? or are you creating a pieced flag that will be incorporated into a larger artistic expression? Based on what I have read, the first option would require the same treatment any American flag is due, the second would allow you more leeway. Monica Calvert's "Glorious Lady Freedom", grand prizewinner of The Great American Quilt Contest, in Celebration of the Statue of Liberty Centennial, 1986,utilizes an American flag in its design, and the World Trade Center towers as well.  No one will argue that the flag is portrayed the least bit disrespectfully in this quilt. Norman Rockwell portrayed the American flag in many of his covers for the Saturday evening post- although in a realistic manner.  A more abstract rendering of the elements of the flag is more likely the route a quilter would go. Didn't Jasper Johns also portray the flag in his paintings?  Anyone else?  Judy