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Subject: Re: qhl digest: August 01, 2003 From: Pat Kyser <patkyser@hiwaay.net> 

> Re Pilar's question about putting the quilt under glass: >

This is not scientific, but it worked. About twenty years ago I was given a gorgeous appliqued miniature quilt. To protect it from dust and Alabama humidity, I wanted it framed. For the BACK of the frame, I used a piece of peg board, sealed with polyurethene then covered with washed muslin. The holes in the pegboard have allowed the quilt to breathe and it seems to be in excellent condition under the glass. The glass, by the way, does not touch the quilt at all, the frame is deep enough to allow that. The quilt itself is sewn to the muslin covering the pegboard.

Pat Kyser


Subject: Land O' Nod quilt magazine From: Gary Parrett <gparret1@yahoo.com> 

I did not receive a few days of QHL so am not sure if my note was on it or not. Probably not since I have heard from no one, and you folks are so good about answering a query. So, here goes again.

I have a 1938 publication called Land O' Nod, the Monthly Magazine for Quilters, published by the Land O' Nod Publishing Co., of Lockport, NY. (Just east of Buffalo, NY) It is only eight pages in length, and this must have been the first, since it is Vol. 1, No. 1. Does anyone know if this continued as a publication? I know that there was a Lockport Batting Co., but do not know if there was any affiliation.

The editor was Mrs. Scioto Imhoff Danner, who apparently, from her small autobiography, was a prolific quilter who sold her patterns and traveled with her quilts. The middle pages contain a "new" applique pattern called the Climbing Rose. An article by Dr. W. R. Dunton called, How I Became A Quilt Fan, finishes the magazine. There is also a Q and A column.

If this publication continued, I would be interested if anyone might have the next issue, which was probably Vol. 1, No. 2. According to this paper, the next issue was to have an article about the Genesee Valley Quilt Club of Rochester, NY. I am a member of that club and think it would such fun and so interesting to have a copy of the article for our historic records.

Interestingly, my mother lives in Wichita, KS, and purchased this magazine at an estate sale. She then sent it to me in Rochester, an hour's drive east of Lockport. Mrs Danner, the editor of the publication, lived in El Dorado, KS, which is just outside of Wichita. Small world...



Subject: Re: Land O' Nod quilt magazine From: "Judy Kelius (judysue)" 

What a neat find!

Mrs. Danner's Quilts sold quilt patterns and finished tops and blocks and was established in 1934 and sold to Helen Ericson in 1970. Mrs. Danner produced four catalogues of her quilts, but I never saw a newsletter.

Sounds to me like she hooked up with the Lockport Batting Company to produce the newsletter. It would be interesting to know if there were additional issues of the magazine.

At 07:15 AM 8/2/03, you wrote:

>I have a 1938 publication called Land O' Nod, the Monthly Magazine for >Quilters, published by the Land O' Nod Publishing Co., of Lockport, NY. >(Just east of Buffalo, NY) It is only eight pages in length, and this must >have been the first, since it is Vol. 1, No. 1. Does anyone know if this >continued as a publication? I know that there was a Lockport Batting Co., >but do not know if there was any affiliation. > >The editor was Mrs. Scioto Imhoff Danner, who apparently, from her small >autobiography, was a prolific quilter who sold her patterns and traveled >with her quilts. The middle pages contain a "new" applique pattern called >the Climbing Rose. An article by Dr. W. R. Dunton called, How I Became A >Quilt Fan, finishes the magazine. There is also a Q and A column.


Subject: quilt exhibition catalog From: Joan Kiplinger <jkip@ncweb.com> Date: 

Does anyone have Quilts, Patches and Calico, a catalog published in 1985 by Oglebay Institute and Cabin Creek Quilts for an exhibition at the Stifel Fine Arts Center? I have a B&W copy but need to know if catalog was printed in color.


Subject: FRAMING QUILTS From: "judygrow" <judygrow@patmedia.net> Date: Sat, 

Framing is what I do for a living. I have Framed everything imagineable for 25 years, and always suggest the least intrusive and absolutely reversible framing methods. Being an honest, capable, informed, (dare I say "talented") picture framer has brought me a nice home and put two wonderful sons though college. It has enabled my husband to give up commercial art to become an "easel" painter and it has allowed me to indulge my passion for quilts and quilting. I do it well and have a large shop with many employees.

I say all that as introduction to the following.................................

In all my years I have never seen a textile or piece of paper of any kind, or any other inanimate object of any kind, "breathe." They, none of them, respire.

[ 1 : BREATHE; specifically : to inhale and exhale air successively 2 of a cell or tissue : to take up oxygen and produce carbon dioxide through oxidation]

What you are doing by specifically providing for air circulation in the frame is allowing moisture to escape from the enclosed atmosphere. Period!

The enemies of virtually everything that we put in picture frames are handling, humidity, heat, light, air pollution and creepy crawlies.

Once in the frame the object won't be handled and once on the wall, the frame won't be handled. One danger is minimized.

In humid climates mold growth (mildew and foxing caused by microscopic fungi) is the biggest danger, and humidity should be kept below 70%. In very humid climates silica gel (a dehumidifier -- those packets you find in electronic equipment, and leather goods packaging) can be placed inconspicuously with the art, but never touching the art ( Good for your folded storage areas.) Allowing free air circulation permits moisture to escape the frame and silica packets will be unnecessary. A paper backing on a frame permits the free exchange of mosture laden air. Keeping the art work away from the glazing keeps moisture (which tends to collect on the interior of glazing because of differences in temperature between the inside and the outside of the glass) to evaporate without harming the art. Two dangers are now minimized.

Excessive heat will cause paper and textiles to lose inherent moisture and become brittle. Keep temperatures between 60 and 75 degrees if possible. Three dangers are now minimized.

Ultraviolet light will cause inks and dyes to fade. Keep art away from strong light or even to everyday light for prolonged periods of time to avoid ultraviolet exposure. Ultraviolet screening glass and plexiglass is available which will cut out up to 98% of all ultraviolet. Expensive but worth the expense. Four dangers minimized.

One of the most damaging agents to art is suphur dioxide, a gas produced by the combustion of coal and oil. Keeping the art in closed containers will minimize the effects of airborn pollution. Five dangers minimized.

A last danger, not mentioned above would be from living organisms -- things that eat, and leave their waste products behind. Moth balls and insecticides are not necessary if the environment you provide for the art is not also convenient for teeny tiny living things. Inspect the framed art on the wall regulary, clean the wall behind it, and you probably won't be infested with silverfish, termites, wood borers, and cockroaches. Six dangers minimized.

And with all mounting methods for your textile art -- first do no harm. Every procedure done to frame fine art must be completely reversible and leave no trace.

And please, if you ever see a framed object of any kind breathe, let me know immediately!

NO offense meant here -- my framers are instructed never to use that term in their conversation with our customers, but it is so easy to say that even they slip up. What you are doing is keeping moisture from accumulating and causing mold, but not keeping the art so dry that it looses all natural elasticity and becomes dry-rotted.

By the way, peg-board is uncessarily heavy in a very large frame. Making a stretcher frame with corner and center bracing, and covering that with a heavier fabric, (ideally with more of a nap than muslin), and sew-mounting the decorative textile to the mounting fabric after it is stretched is a better method and is one I've used to mount quilts up to 70" x 80" for glazed shadow box framing.

Judy in Ringoes, NJ judygrow@patmedia.net

>The holes in the pegboard have allowed the quilt to breathe and > it seems to be in excellent condition under the glass. The glass, by > the way, does not touch the quilt at all, the frame is deep enough to > allow that. The quilt itself is sewn to the muslin covering the > pegboard.


Subject: Update on Hazzard Civil War Quilt From: "Judy Kelius (judysue)" <judysue@ptd.net> Date: Sat, 02 Aug 2003 13:41:10 -0400 X-Message-Number: 6

I recently shared information about a quilt owned by the PA Museum of Quilts & Textiles - it was made for Philetus Hazzard of Bainbridge Township, Michigan in 1864 when he left to join the Union Army and depicts 20 buildings in his hometown.

I had more news about this quilt . . . the "No. 1" schoolhouse block with children shown in front of it (including two black children) has been identified! The schoolhouse is still standing! The Historical Society in Berrien County, MI has been helping validate the oral history of the quilt.

Pictures are on our eBoard at http://vintagepictures.eboard.com. The identified schoolhouse is the one shown - another schoolhouse is on the quilt and we hope to identify it as well!

Judy Kelius Coordinator PA Quilt & Textile Museum, Lititz, PA

PS FYI, the museum is currently closed for renovations & to hang new acquisitions and will not reopen until September.


Subject: Re: FRAMING QUILTS From: "Sally Ward" <sallytatters@ntlworld.com> Date: Sat, 2 Aug 2003 19:55:26 +0100 X-Message-Number: 7

> A last danger, not mentioned above would be from living organisms -- things > that eat, and leave their waste products behind.

This part of Judy's wonderfully informative post rang a loud bell...in today's Independent (a UK broadsheet) I read an article about items in the Natural History Museum in London being steadily munched through by a small creature colloquially known as a 'museum beetle'. Experts at the museum estimate that up to 12,000 plant specimens and several thousand insects have been eaten or damaged over the past 20 years, and the historic building makes it easy for all kinds of vermin to get at them. The nub of the article was the urgent need for the entire collection to be re-housed under more stringent modern conditions. If you're interested the article is online at http://news.independent.co.uk/uk/this_britain/story.jsp?story=429807

It made me wonder at the time whether the V&A has similar problems with its textiles.

Sally W in Yorkshire


Subject: re framing quilts From: Gaye Ingram <gingram@tcainternet.com> Date: 

I have downloaded Judy's detailed description of how textiles (and, it follows, other items containing ftextiles and good paper) should be framed. I'm giving it to the framer I use who, I know, observes most of these rules, though I'm ussure of the silica. Thanks, Judy, for taing the time to provide this information.

Now, a question: I have a variety of needlepoint items which I have deliberately (against my framer's advice) had mounted using archival materials but not framed, and one in particular which I have hanging as one would hange a tapestry. The latter has particular sentimental value, for it is a collage documenting our family. I have it out of the light, I vacuum using plastic hardware cloth, and periodically, I inspect it for insect damage. It hangs out of lighted area. Should have this mounted per your instructions.

And should we hang samplers in the same manner?

I shall be most careful to watching for breathing textiles, for all my life that is the term I've heard used. I confess I've never seen results or example of respiration, though.

Thanks again, Gaye


: Re: re framing quilts From: "judygrow" <judygrow@patmedia.net> Date: Sun, 3 


The silica is meant for flat storage, not for framing.

If you take that printout in to your framer he will hate you forever. I sure would if someone brought something like that in to me, assuming that I would need prompting to follow correct procedure.

However there would be nothing wrong with your having the information handy in your little grey cells, and slipping in a question here and there to let him know that you are an informed consumer.

Needlepoint is a much sturdier form of needlework than quilting or stitched samplers. I assume that the needlepoint collage design is backed, and the sub-strata is bearing the weight and the stress. Most of the time we need to block and mount needlepoint to bring it back into square. The way they come in to our shop, they usually are parallelograms. Even after blocking, if they are not stretched/mounted, in humid weather they tend to crawl back into the off-square shape. Your stitching was probably so fine and careful that you never allowed the canvas to get distorted in the first place.

Samplers really need to be in frames and behind glazing. My favorite way to frame a sampler is to mount it on 4-ply rag board, doubled, or on 4-ply rag mounted on an acid free foamcore. The first frame to go around it is a 1/2" gold. The glass sits on top of this "fillet" or frame, and then the birds-eye maple or mahogany frame goes around that. (Ask your framer to seal the rabbet and underside of the lip of the inner frame -- anything that will touch the textile.

Another thing about framing large textiles. They can't be sewn to their mount only around the edges. They must be sewn or tacked through the center of the quilt for added support. I take small tacking stitches across the quilt every couple of inches, and try to hide these stitches under embroidery or seam lines. I do these in rows across the quilt, spacing the rows about 6" apart. For a large quilt this is a two person job, a pushme-pullyou.

At the moment I have a large (25" x 50") and absolutely gorgeous piece of needlework in for mounting and framing. The woman's mother did it for her (it has her name on it) when she was born, about 60 years ago, but she feels it was never finished. She found it at the bottom of a trunk when she was cleaning out her mother's house, and obviously she just fell apart when she saw it. The woman's mother designed embroidery for table linens in Italy and this piece is beautifully designed and worked. It is done in silk threads and metallics with beading. However, it was originally done on two layers of fabric, and all that is left of the beautiful top layer is what is close to the embroidery. And I can blow on that and it will float off into the atmosphere. The backing fabric looks to me like a batiste, and that is all that I have to work with. What is complicating it is that the edges are crumbling from where the embroiderer had it tacked into her frame. And -- the entire back of the embroidery has been painted with a rabbit skin glue. If I wet my finger and touch it it becomes tacky!


Subject: Re: re framing quilts From: "Sally Ward" <sallytatters@ntlworld.com> 

Incredibly touched by your description of the treasure you are working on at the moment, Judy, but it made me wonder...

At what point would you say that something cannot be restored/contained/put into stasis ? Do you ever have to give clients really bad news?

Sally W


Subject: Re: FRAMING QUILTS From: Dana Balsamo <danabalsamo@yahoo.com> 

I have to attest to Judy's experience and workmanship as a framer. She framed a quilt for me 2 years ago and did a beautiful job. It is in a shadow box like frame so the glass does not touch the quilt and it was hand sewn onto a foam board for support. She even took some extra border fabric and placed it along the edges of the inside walls of the frame, so it looked like the quilt continued. The quilt is in my hallway, away from direct sunlight. I haven't thought to clean behind it, but you can be sure that will get done today. Thanks, Judy!

Hugs, Dana


Subject: Heartfelt thanks From: Xenia Cord <xenia@legacyquilts.net> Date: Sun, 

The flood that overtook Kokomo (Indiana) and my quilt-laden basement on July 4 is old news, but I hope it is not too late to offer a heartfelt thank you to everyone on QHL and elsewhere who offered help. So many people offered replacement items, willing hands, and moral support that answering individually became difficult. I had offers to wash and iron new and vintage fabric from as far away as Florida, Texas, and Washington; friends (real-time and those I only know through cyberspace) from New England, Louisiana, Maryland, California, Illinois, and Ohio offered to come and help. Several of those who lived closer to Indiana did indeed appear, to help out here or to whisk away buckets of wet stuff and return it in pristine condition.

We were surprised and heartened by the numbers of friends who called and came by for major dirty labor: a family we did not even know appeared with a generator and pump to help empty 3.5 feet of water from the basement, and a friend who is a builder turned up with his daughter and a construction buddy and hauled wet, smelly, destroyed belongings, sopping carpeting and padding, and eventually paneling and drywall to the dump. And through it all quilters came and went, taking away things important to me, and bringing them back ready to use.

I can report that the losses were less than what we thought at first: my extensive quilt kit collection is in the freezer, awaiting a calmer time when it can be dealt with one piece at a time, all but 3 quilts from inventory survived without major damage, and my chintz collection is somewhat battered, but still intact. Eight sewing machines, including 5 featherweights, are suitable for boat anchors only, several pieces of vintage clothing did not survive, and my entire collection of Needlecraft/Home Arts magazines from 1911 to 1941, missing only 6 issues, is so much mush.

But these are things that can be replaced, and may be, now that we have started reconstruction. What has sustained us is the wonderful support of friends, and just saying thank you seems inadequate, but...

Thank you! Xenia


Subject: Heartfelt thanks From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 03 

X -- what goes round comes round. Did you ever think that all of those whom you have freely helped knowingly and unknowingly is now being repaid in some manner. Delighted with your upbeat summary; life will get better.


Subject: Re: Framing quilts From: Anne Copeland <anneappraiser1@juno.com> 

Thank you, Judy for one of the best discussions on framing quilts I have ever read anywhere. I am making this one a true keeper. When asked how to preserve a family quilt that is delicate and/or damaged, and may suffer worse from being folded and stored, or hung in any way on its own, I have often recommended framing it and basically suggested methods similar to what you are describing. I also think that framing such a piece helps preserve it one step further in that younger generations may respect it more because a thing that is framed (and original) is perceived to have a value, especially if there is documentation accompanying it, whereas a worn or delicate quilt may end up being discarded or used for a motorcycle cover! Peace and blessings, Annie


Subject: Dr. W.R. Dunton From: "Kathy Moore" <KathyMoore@neb.rr.com> Date: 

Regarding Karen's question about the Land O'Nod magazine and a Dr. W. R. Dunton: In the 1994 issue of the AQSG's annual publication Uncoverings there is an essay by Jennifer Goldsborough about Baltimore Album quilts and she identified Dr. William Rush Dunton, Jr. as being the first to identify Baltimore Albums as a unique subgroup of quilts. He privately published a book in 1946 describing and illustrating his findings (see her article, page 76).

I would r-e-a-l-l-l-l-l-y like to see the pattern you mention. Could you post it????

Thanks, Kathy Moore


Subject: if you like hankies....... From: Joan Kiplinger <jkip@ncweb.com> Date: 

I understand there a a few quilters on this list who have made quilts using hankies. Perhaps you might be interested in this hanky book by Betty Wilson just out: Autographed copies are now available on her website and should hit book stores or can be ordered through book stores by end of month. Printed and Lace Handkerchiefs -- Interpreting a Popular 20th Century, 400 photos http://vancewilson.com/oldhankies/ohdefault.htm also try http://www.oldhankies.com


Subject: Ia/Ill Quilt Study Group From: "Susan Wildemuth" 

Cathy asked me to forward this message to the list concerning the first meeting of Iowa/Illinois Quilt Study Group. Our first meeting was a truly wonderful group effort by Cathy Litwinow, Marilyn Woodin, Kathy an intern with the Kalona Quilt and Textile Museum, myself, the KQandT Museum, and all the Ia/Ill women/men who attended.

Cathy wrote this wonderful description of our meeting. Enjoy--

It is possible to get goose bumps in IA on a hot day in a historical (non-air conditioned) Grout Church in the Kalona Historical Village on Aug. 2, 2003. I will write a short report, as my note taking isn't quite up to Cinda's prose. It was wonderful having some the the brightest and best quilt historians in one building. I'm going to start in the middle with the tour of the Kalona Quilt and Textile Museum. Sarah George gave a walking tour of quilts from her collection that were hanging there. AWE! the fabulous baby/doll Midwest Amish quilts of tumbling blocks, Jacob Ladder (black and blue), and 5 Trees. Pink and White checker board vibrated. Sarah hug 2 beautiful appliqués made by Thuy Nguyen. A reproduction of Judy Matheson's Mariner's Compass took our breathe away. Go visit. Words aren't enough! A special thank you to Marilyn Woodin and Sue Wildemuth for hosting and taking care of all the details. (I'm butting into Cathy's description and adding -- Cathy Litwinow also hosted and did a great deal of leg work to make this meeting happen) 

Barb Eckoff started the morning off with a mint conditioned Log Cabin Star from the late 1890's. Most of the blocks did not contain the red center square and some were pieced in courthouse steps. The back was chintz with large vertical cable quilting. A golden embroidered, possibly fund raiser quilt yellow gold hexagon appliquéd in the center and then store names and spokes of names, all done by the same hand. Susan Price Miller continues to astound us with her research on Hurbert Van Mehren, sharing the delicate ephemera patterns (she found more to add to her collection while shopping in Kalona). She shared "Roses of Piccardy" top-designed by Van Mehren-6 overlapping circles were all hand pieced into hexagon sections of depression era fabrics, ending with a wild uneven outside border-we were all glad we didn't have to bind it! 

Andi Reynols shared a utility log cabin made by her great-great grand mother Catherine Hunnicutt Davis in the 30's. Catherine was widowed before the birth of her 11th child, working as a seamstress, using fabric from customers to make the quilt. Our dear Sadie Rose aka Karan Flanscha shared her archival notebook of the collections from reproductionfabrics.com. We now know way she is able to answer QHL questions in such detail. She wowed us with a controlled Victorian Crazy Quilt-- 4 fans in the center and outside corners. Jennifer Perkins: the new Iowa Quilters Guild President presented a postage stamp tied quilt that would take hours to explore the circa 1875 fabric collection. She purchased the quilt for $80 in Kimballtown, IA. Such a wide variety of madders and mourning prints. Virginia Berger's Old Maid's Puzzle was dated 1874, We were only able to decipher the last name "Bailey." Again, the madders were great. 

Nyla Morrison whipped out a badly stained sampler quilt circa 1880's worth converting. The blue, yellow, some tan which were original green now fugitive. Followed by a Compass Star variation made by her great aunt. Hand pieced and quilted with lots and lots of points now blue and yellow Gail Naughton, curator of the C-S Museum in Cedar Rapids brought an embroidered baby quilt. The pastel print squares in the center with wide white borders were accented w/ French knots (freedom knots!) Multicolored heavy floss blanket stitched around the outside edge, probably made in the 1970. We wish Gail success with her Museum studies masters. Joyce King pulled out a family piece used to wrap furniture red and green appliqué. 6 bouquets-each a bit different. again fugitive green. 

Zoe Dorsey, brought a crazy quilt containing a cigar band and names, dates and "Kansas forever". Made by Mary Luretta Imes Bertholff in Kansas and then back to Lorimor, IA in the 1900's. Sarah George shared a family blue and white Irish chain, made by Annie Elizabeth Sigler Stauffer from Smithburg, Maryland, circa 1865. Shirley McElderry (if you have a kit quilt she probably has a pattern) brought a turn of the 20th century bow tie made with shirtings and prints by her great Grandmother. She showed a long narrow appliquéd vine piece which was bound--a pillow sham? 

Linda Carlson and Erin brought Martha Schultz and Matthew Schhafer's wedding quilt. A multi-pastel (not a Van Mehren) Lone Star quilt made by Martha's aunt in Kansas. Melva Berkland and husband (the only historian-the rest of us were herstorians) brought her grandmother's wool crazy quilt. Names, dates and town documented the embroidered quilt. Deb Rake, working on her quilt masters from U of Neb. brought a box so full of kit quilt documents and catalogues from the 1930's it was difficult to even pull a page out! She passed out copies of her thesis flyer, she curated a kit quilt show at the University. Marilyn Galley shared the crazy quilt given and then sold by the Fulton, IL Historical Society, the wide variety of wild life embroidery was fantastic! Will the mystery of what block was removed from the upper right hand corner be solved? The other blocks very pristine. Her second quilt had a wonderful turkey red and this reporter didn't write anything else down! Catherine Litwinow brought several of her Kansas City Star Quilts. Nancy Page Magic Vines-1932, The Bible History Quilt,--Ruby McKim-1927, using lots of colored embroidery floss and set with streak of lightening, Bird Life Quilt- 1928, maker repeated 6 birds to make 30 blocks instead of the patterned 24, and 1931 Fruit Basket by Ruby Short McKim, heavily embroidered blanket stitch around the fruit.

 To finish the morning, Marilyn Woodin shared "Baby" pictures in Clues in the Calico, by Brackman, this red and green quilt with it's original, never been washed egg glazed chintz, was made in Maryland and found in a barrel in Denison, IA-(start breathing), Only to be followed by paper cutting (that German "S" work) red appliqué pictured in Anita Schelkford's book (sp). A Women's Relief Corp stitched in 1892 red work possibly for the World's Fair. Then a candlewicked spread with wrapped grapes and hand knotted fringe. The grand finale was a box of hexagons made by the woman who taught Princess Elizabeth how to drive in WWII-are you ready? English paper pieces, the stamp to make the papers and hundreds of hexagons less then 1/4 inch!!! Seams were bigger then the finished pieces. Hopefully pictures will be posted. My apologies to any one, who's quilt wasn't mentioned. We plan to meet again February 7, 2004.


Subject: Booknotes From: "judygrow" <judygrow@patmedia.net> Date: Mon, 4 Aug 


Did you watch Booknotes tonight? Brian interviewed 90+ year old Dorothy Height, the black women's and civil rights leader. She appeared in a purple suit and a big purple hat, complete with huge silk flowers around the brim. She wore a white bead necklace and huge fake pear cluster earrings, and was the most wonderful interview he's had in a long, long time. No loss of memory there at all, and she certainly knew when to throw in important names as asides, as in, "my good friend Dr. Camille Cosby told me I had to write this book..."

Brian Lamb is the whitest white man I've ever seen, made all the more so by Ms. Height's high color!


Subject: Re: Booknotes From: Gaye Ingram <gingram@tcainternet.com> Date: 

> > Gaye, > > Did you watch Booknotes tonight? 

No, I missed this. Was getting neighbor to E.R., then collapsing. > > Brian Lamb is the whitest white man I've ever seen, made all the more so by > Ms. Height's high color!


I love black lady's church hats. I give my cleaning lady one every year. I read in Victoria of a woman who specializes in them. In NYC, I think.

OH YES, I GOT A NOTICE VICTORIA CEASED PUBLICATION. I'm sick. I love that magazine.I can't figure why: it seemed to be doing well.

Heard anything about that?



Subject: RE: Coroplast containers From: "Candace Perry" 

Right now I'm using coroplast for archaeological collections, simply because I like its sturdiness and "cleanability". I would, however, not hesitate to use it for anything else...I think it's more pricey, though I haven't bought any for awhile. I also don't believe they've made boxes in all the sizes I need (specifically textile size) but I'm not sure about that either... Anyway, my review, two thumbs up!


Subject: Coroplast containers & tissues From: Joan Kiplinger <jkip@ncweb.com> 

Candace -- thanx for comments. They will help in future decisions for certain types of storage. I've also learned there are several brands of acid-free tissue which are more rugged than standard type -- Bondina, Reemay and Hollytex. These tissues won't mangle as easily as -- I am forever in and out of my fabric boxes which contain fabrics encased in tissue and this certainly causes wear and tear on paper. Have not checked Gaylord and Hollinger catalogs yet nor Light Impressions site to learn about availability. Has anyone tried these?? Comments???.


Subject: Victoria Mag From: "judygrow" <judygrow@patmedia.net> Date: Mon, 4 

I never liked that magazine, so took no notice. I always thought it too contrived. Beautiful photography though.

Judy in Ringoes, NJ judygrow@patmedia.net


Subject: Re: Victoria Mag From: Gaye Ingram <gingram@tcainternet.com> Date: 

I liked that magazine.

Very contrived. Even silly in its use of language. Pretentious, like playing ladies who lunch when that day has passed. Sometimes I almost gagged.

But a treasure trove for those of us who love laces, fine linens, etc, as well as for location of boutiques that specialize in things interesting. It was not Victorian, but Edwardian.

It also had excellent features from time to time on needlework artists.

And when Kathryn Rice Ingram was growing up, we copied or adapted many really lovely patterns for evening dresses from its pages. One black velvet and white satin number that was stunning on her.

Unless you understood needlework, I realize the journal would only have been good for looking (and the photography was lovely, as you note)

I shall miss it.

My Fine Lines and Antique Samplers and Needlework came today, though, and that is partly consoling me.

I am not a fan of Hearst.



Subject: Red-faced and apologizing in Louisiana From: Gaye Ingram 

I did not mean to impose my own views re Victoria magazine on our list. I was writing in a rush, as, alas, is often my custom. I apologize for adding something else irrelevant to your emails. And I hope that anyone employed by Hearst publications or associated with them will understand that I recognize my being or not being a fan of that organization has no effect on the universe.

I promise to start thinking before hitting the "send" button on the computer.

Begging your pardons, Gaye


Subject: RE: Coroplast containers & tissues From: "Candace Perry" 

I know a tiny bit about reemay and I would agree that for longterm use it is a good product. I think I have used it somewhere -- but being on the cheap in most small museums we tend to buy what we can afford! Many times our objects are resting for a good long time, so they aren't disturbed frequently -- but if you are in and out, I think one of the sturdier materials is a great way to go.


Subject: Re: More questions re Lancaster Blues From: ARabara15@aol.com Date: 

I have also seen them in quilts made in Southern NJ. Much in the same way they were used in the Pa quilts. Could be a cross over of people migrating back and forth but not sure.

Donald Brokate Trenton, NJ


Subject: Re: More questions re Lancaster Blues From: Gaye Ingram 

I too wonder. Trestain calls them Lancaster Blues and says they were "thought to be made only in Pennsylvania."

My question remains WHY?

Gaye Ingram


Subject: 19th century Quilt poetry and prose From: <mreich@attglobal.net> Date: 

The Poet On A Quilt We have often thought, as in mute rapture we have dwelt upon some of the Poet Cutter’s sensitive musings, of Voltaire’s exquisite idea, “Poetry is the music of the soul, and above all of great and feeling souls.” In another column we present some of the Poet’s ideas on a Quilt. It does seem to us that only a great and feeling soul could extract poetry out of a quilt. Only the seductive influence of an inspired singer could bring the glory-crowned goddess of Parnassus down to work on a quilt. As Whittier writes of Burns, Give lettered pomp to teeth of time, So Bonnie Doon but tarry: Blot out the Epic’s stately rhyme But spare his Highland Mary,

So we say of the Poet Cutter, whatever else in the realm of song dies forgotten let his Lines on a Quilt live forever!

Long Island Farmer on Sewing a Beautiful Quilt, Made by Miss Ella Foster of Flushing,

When I behold grand works of art, It does my imagination start; If it is worthy of due praise I’ll do it in my simple lays.

As on that Quilt I cast my eyes It did me very much surprise. It was indeed a splendid sight, I gazed with rapturous delight.

It seems to me to be more grand, Than any I’ve seen in our land. It is designed with taste and art, And arranged so well in ev’ry part.

The colors do so richly show, The silks give forth a brilliant glow, The satin part with hand and flowers, As if fresh plucked from Nature’s bowers.

In centre is worked the lovely rose, A real one, one would suppose, But tho’ an artificial one, It is exceedingly well done.

Of rich colors, seen of every hue, The red, the white, the pink, the blue, Of ev’ry kind that one might name, All intermingling with the same.

On it are handworked butterflies, That look so natural to my eyes; Formed in the most artistic way, And these do make a rich display.

A deal of work on this been done, To make it such an attractive one. The labor must have been very great To form it in such perfect state.

It shows what industry can do. When a good object they pursue, To labor so for public weal, Does show a spirit filled with zeal.

The proceeds from this precious thing, Or money that this Quilt will bring, Is to purchase books for them to read, For a good library they do need.

O may this Quilt so very nice, For this good cause bring a high price. And that will cheer the maker, too, And accomplish what she has in view.

She deserves much credit for the same, It should give honor to her name. Likewise encourage others, too, To a good cause their labor show.

Bloodgood H. Cutter Little Neck, L.I., Jan. 1885





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