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-Number: 1

I remember making and using flour and water paste as a child in the late 40s. I think it was pretty commonly used so it seems likely it was used for applique as well.

>>In a 1948 hint book titled E-Ze Hints for Easier Living by Emelia Funk under sewing hints she suggests "To make applique work easier, paste the piece on your material with a little paste that has been made with flour and water. The paste will wash out at the first washing."<<

Judy Anne


Subject: Re: flour paste From: Gloria Hanrahan <gloria@ak.net> Date: Thu, 21 Aug 

The glue that was used on my quilt top must be something different. It has dried rather clear and hard. I would think the flour paste would have been a temporary fix, meant to be washed out of the fabric. Maybe I should try it instead of the expensive temporary fabric glue.

Where this top has been stored for the past few decades, silverfish and other critters would have gone for anything other than some type of permanent glue.

Now I'm really going to have to dig this thing out and take a look.



Subject: one GOOD thing about all these viruses From: Kris Driessen 

Well, one GOOD thing about all these viruses that come through with a spoofed return address, I sure found out how many people have me in their address book:-)) I am getting well over 300 of the Sobig F virus E-mails a day, which is sending me mail with subject lines such as "thank you", "your movie", "approved", "your application", "wicked screensaver", "details", etc.

Then, of course, I get the bounced E-mails from people who received the virus with MY E-mail as the spoofed return address. And the "out of office" replies and the "I'll get back to you" replies from various support functions. I wonder if they will:-))

But my point in sending this note is to warn you that there is a second phase coming sometime today, apparently being sent from innocent home computers that have been hacked. (Moral of the story: always run a firewall like Zone Alarm.) You can read more about it http://www.f-secure.com/news/items/news_2003082200.shtml

Just to be on the safe side, it might be worth running a free antivirus checker like Housecall (http://housecall.trendmicro.com/) or Panda ActiveScan (http://us.pandasoftware.com/activescan/com/activescan_principal.htm)

Hmmm, I think I will do that now.



Subject: hAWAII From: Judi Fibush <judi@fibush.net> Date: Fri, 22 Aug 2003 

I am going to Honolulu in January and think there is a quilt museum on this island???? Can anyone give me info on same and if there are going to be any quilt shows in early to mid January on Honolulu? Would be much appreciated.

Judi in No. CA where is rained and thundered and had lightning all last night.


Subject: 1933 Century of Progress winning pattern From: "Sherry" 

I am looking for a pattern name for the winning quilt from the 1933  Century of Progress contest. This quilt is pictured in Barbara  Brackman's Clues in the Calico on page 32. It resembles a Double  Wedding Ring but appears to be made with diamonds. Any clues? I  appreciate any help anyone can offer.

Sherry Massey ------_N


Subject: Re: 1933 Century of Progress winning pattern From: "Joe MacDonald" 

Do you have Patchwork Souvenirs of the 1933 World's Fair by Waldvogel and Brackman? If you look on page 50 and 51, you will see another quilt made of the same pattern. It is called Star of the Bluegrass, a Stearns & Foster Mountain Mist pattern. In Brackman's Encyclopedia of Quilt Patterns, look at block number 3772. It is hard to see in that b&w picture in Clues in the C. but where there are 4 diamonds touching is the center of each block. It is an eight-pointed star where each of the eight diamonds has been divided into 4 smaller diamonds. In the prize winning quilt it looks like she only used colored fabric for the very outer diamonds and on alternating inner diamonds. It looks like the rest of the diamonds are the same fabric as the background or maybe a very pale fabric that didn't contrast with the background. Hope this helps! BTW, this diamond star does have several other names. It can look very differently depending on how you choose to color all the diamonds. Monica MacDonald in Maine


Subject: Re: 1933 Century of Progress winning pattern From: Judi Fibush 

Accordingto the book "Patchwork Souvenirs of the 1933 World's Fair", this quilt was called at first Unknown Star and was later identified as Satr of the Bluegrass.



Subject: Re: 1933 Century of Progress winning pattern From: "Joe MacDonald" 

In Patchwork Souvenirs, they also mention that the design is a "traditional Diamond Star" and Capper's Weekly in 1934 used the name "Quilt of the Century". Now I have a question. In Patchwork Souvenirs on page 49 there is a picture of the Capper's Weekly illustration. I can see the dark fabrics in the illustration match the placement of the dark fabrics in the prize winning quilt. The C.W. illustration also shows a floral fabric and a striped fabric that I can't see in the b&w photos of the actual quilt (where I thought she might have just used a low-contrast fabric or the same fabric as the background). Was this Capper's Weekly's artistic license or am I just not seeing those fabrics in the photos? I wonder because it looks like they reproduced the handquilting design pretty faithfully. On the actual quilt, it looks like more stuffed work where Capper's Weekly's illustration shows the striped and floral fabrics. Maybe I just need better bifocals!! Monica


Subject: Re: 1933 Century of Progress winning pattern From: Judi Fibush 

You are not seeing things. I have an article that was published in the July/August 1995 of Piecework magazine that shows samples of some of the blocks and the fabric. The smaller star consisted of light blue green and dark green solid fabrics and the next size star is a light green with white flowers, tiny white dots and looks like a red or orange center to the white flowers. The quilting was padded in the shape of fern leaves (of which there is an example of this showing too.) The 4 women who did the quilt were not the winners. A Margaret Caden commissioned 4 women to make the quilt for a very little expense to her. She shared neither the prize money nor the credit for their work. Mattie Black (one of the 4 women) had saved those pieces from the original. It was given to Eleanor Roosevelt and disappeared in 1934 and no one has ever seen or heard of it since.

Judi in CA


Subject: Re: 1933 Century of Progress winning pattern From: Judi Fibush 

Also, the illustration you see on page 49 is exactly that - an illustration. The actual pieces that Mattie Black saved show the middle star to be all flowered fabric and no striped fabric at all. They didn't find these pieces until about 1970.

Judi in CA


Subject: Re: Century of Prgoress From: Dana Balsamo <danabalsamo@yahoo.com> 

click on the thumbnail to see this up closeI just woke up, but wanted to comment on this. I have the Sears Century of Progress in Quilt Making Booklet, published in 1934. There are several patterns in it for the prize winning quilts. They call the "Grand Prize Winner Sears National Quilting Contest A Century of Progress Chicago 1933" as the "Feathered Star". You could buy the kits for $3.25 and the Perforated Quilting Pattern for $.25. Photo is in black and white. It is the same #3772 star as in Brackman's. I haven't compared it to my Patchwork in Souvniers book yet, too early, for me. EBoard wouldn't let me dowload the photos, my files are probably too big, so you can see the pics here: click on the thumbnail to see them up close

Hugs, Dana

click on the thumbnail to see this up closeMaterial Pleasures http://www.rubylane.com/shops/materialpleasures Affordable Vintage Linens, Lace, Textiles, Buttons & More!




Subject: Quilters Hall of Fame From: KareQuilt@aol.com Date: Sat, 23 Aug 2003 

Hello all QHLers,

Wanted to include you on my list of those receiving the Press Release for th e Quilters Hall of Fame Grand Opening. Please help pass the word on for us about this long-awaited event!! I can send the contest form in a PDF forma tt myself for anyone who would like it. Otherwise, you can write to the office in Marion and get it in a paper version by snailmail.

Karen Alexander

The Quilters Hall of Fame PRESS RELEASE - August 2003


Hazel Carter of Vienna, VA, Founder and President of The Quilters Hall of Fame, announced in the Spring issue of the newsletter of The Quilters Hal l of Fame, E2809CIt is with great thanks and admiration for the efforts and dedication on the part of the Friends of the Quilters Hall of Fame and the quilters across the world that I can now announce that we will officially celebrate t he Grand Opening of The Quilters Hall of Fame July 15-18, 2004. I extend an invitation to each of you to join us in this historic event and to celebrate the accomplishments of our thirty-four distinguished honorees. The opening of The Quilters Hall of Fame in the home of 20th century's earliest quilt historian and quilt designer, Marie Webster, is a remarkable accomplishment. When Rosali nd Webster Perry offered to donate her grandmother's condemned house in Marion,  Indiana, to The Quilters Hall of Fame in 1991 as our permanent home, I don't  think any of us expected the journey of restoration to be quite so long. T he years of volunteer hours that have gone into this project are almost incalculable. It has been a humbling and rewarding experience.E2809D Interviewed at a later date she added, E2809C Many of our Honorees will be presenting lect ures and workshops during the Grand Opening Celebration festivities, July 15-18, 20 04. This will be a remarkable historic gathering of our Honorees. Mark your calendars now and plan to join us! E2809D In addition, CarterE28099s Grand Opening Co-Chair, Karen Alexander o f Reston, VA, announced this week the first corporate donations for the Grand Opening with Georgia Pacific/Northern Quilted Tissue leading the way with their donation of $2500 for the calendar year 2003, and an assurance of annual sup port to follow. E2809CQuilters Newsletter Magazine, a faithful friend for many ye ars of The Quilters Hall of Fame, has also stepped forward and agreed to be the sole corporate sponsor for the Grand Opening Contest prize money,E2809D Alexan der announced. E2809CIn addition, the Quilted Car of Jensen Beach, Fl, made by quilter A nne Fitts, will also put in an appearance throughout the Grand Opening festiviti es. This remarkable creation is a crowd pleaser and show stopper wherever it app ears. The excitement continues to grow as plans fall into place. This is going to be an incredible gathering of many of the major leaders of the late 20th century quilt revival that began in the 1970s. Our Honorees have made outsta nding contributions in all phases of quilting: research, book authorship, designin g, quilt making, teaching, writing and editing, television, exhibit management and other entrepreneurial fields within the quilt world," Alexander remarked. "Just this week Honoree Georgia Bonesteel of televisions longe st running quilting series, Lap Quilting with Georgia Bonesteel confirmed her appearance at the Grand Opening events, as did Honoree Jean Ray Laury, autho r, designer, quilt humorist, teacher and fabric designer, who will present a le cture and workshop. Honoree Carter Houck, author, curator, and former editor of Lady's  Circle Patchwork Quilts magazine will appear on our panel of editors and historians, as will Honoree Joyce Gross, quilt historian and founder and edi tor of Quilters Journal and Honoree Cuesta Benberry, quilt historian, former resear ch editor and historiographer for Nimble Needle Treasures, and author of Always  There: The African American Presence in American Quilts. Honoree Donna Wilde r, founder of Fairfield ProcessingE28099s famous Fairfield Fashion Show has agreed to present a mini-fashion show for us during the Grand Opening, plus share a retrospective slide show of the Fairfield Fashion Show. Honoree Jinny Beyer,  national award winning quilter, teacher and fabric designer, will launch the 4-day event with one of her popular workshops; Honoree Jonathan Holstein, co-organizer with Honoree Gail van der Hoof of the history-setting, record-b reaking E2809C American Pieced QuiltsE2809D exhibit in 1971 at the Whitney Museum of Ame rican Art in New York, will present the lecture at the FounderE28099s Luncheon, July 1 6, following the Ribbon Cutting Ceremony on the front steps of the Marie Webste r House. Honoree Jeffrey Gutcheon, author of E2809CThe Quilt Design WorkbookE2 809D and former columnist for Quilters Newsletter Magazine, will also present a lecture duri ng the Grand Opening festivities, as will Honoree Yvonne Porcella, award winnin g fabric artist and founder of the Studio Art Quilt Association; Barbara Brack man , quilt historian, author of two of the most widely read books on quilt history - Clues in the Calico and Encyclopedia of Pieced Quilt Patterns, pat tern and fabric designer, curator, and Karey Bresenhan, entrepreneur and founder of Quilts, Inc. and the Houston International Quilt Festival & Market. Stay tun ed! E2809D the excited Alexander exclaimed. E2809CMore events are yet to b e announced.E2809D

For additional information about The Quilters Hall of Fame's Grand Opening Celebration, July 15-18, 2004, please send a self-addressed stamped envelope to QHF Grand Opening, P.O. Box 681, Marion, IN 46952-0681. For information abou t the Grand Opening Contest, send a self-addressed stamped envelope to QHF Gra nd Opening Contest, P.O. Box 681, Marion, IN 46952-0681.

CONTACTS: Grand Opening Co-Chair: Karen B. Alexander KareQuilt@aol.com QHF ADMINISTRATION: Shea Buck quilters@comteck.com  QHF OFFICE PHONE: (765) 664-9333 QHF WEBSITE: www:quiltershalloffame.org LOCATION: 926 South Washington Street, Marion, IN ADDRESS: P.O. Box 681, Marion, IN 46952-0681

FOR GROUP TOURS CONTACT: Janice Spicer Marion/Grant County Convention & Visitors Bureau 765 - 668 - 5435 email: groupsales@jamesdeancountry.com


Subject: update to the quilt study pages and misc question From: Kris Driessen 

I *finally* got pictures of the March 18th SQSG meeting in Ringoes NJ up on the web page. If you would like to see them, the link is at http://www.quilthistory.com/study/SQSG.htm The pictures are all thumbnails, of course, so to see them (and their caption), you need to click on them. Well worth the time!

Also, I have a question for the group. I was invited to give a talk on feedsacks at the Newtown PA guild (which I didn't realize was right around the corner from Ringoes.) Fortunately for me, Nancy Kerns was in the audience when someone asked "what is a gunny sack?" I didn't know, but Nancy rescued me, explaining they were burlap sacks, used for feed, similar to a feedsack. My question is: what was the difference? Why would a farmer use a gunny sack rather than a canvas or cotton feedsack? Could a gunny sack be treated so the fabric could be made into quilts or clothing?



Subject: Re: gunny sacks From: KareQuilt@aol.com Date: Sat, 23 Aug 2003 

Gunny sacks were made of very coarse scratchy material and always brown like hemp rope when I was a kid. You wouldn't wear this stuff against your skin unless your life depended on keeping warm.

Karen Alexander


Subject: vintage pinker From: "Steve and Jean Loken" 

My mother brought along on her visit this year a pair of vintage pinkers. They use a rolling action. I've never heard of any like this, however, I saw a similar pair on Ebay today on a search. Mine are made by Florian Mfg. Co. out of Plantsville, CT. Does anyone have an idea of the age of these and when they were popular? They make a nice continuous line of pinking, but don't seem really practical nor easy to use. I only tried them on paper, but the box says "pinks all fabrics". I guess I'll consider them an oddity, but since they have no family or sentimental connection I'm thinking of selling. This isn't, however, a solicitation to sell. I'm just looking for history on them now. Thanks. Jean, not Jean Carleton, in MN.


Subject: Re: vintage pinker From: "Wanda" <fattyoldkid@houston.rr.com> Date: Sat, 23 Aug 2003 17:36:23 -0700 X-Message-Number: 7

I have a pair of those pinkers...they came from my grandmother and I remember them for as long as I can remember which is more than forty years...hope that helps...I don't know how popular they were but she and I used them alot along the way...mine are dull after all these years...and you are right, not really easy to use. Wanda


Subject: Re: update to the quilt study pages and misc question From: 

Back when I was growing up on a NH salt water farm (2nd qtr 20th C.), gunny sacks were known as burlap bags. Anything that animal feed came in were known as grain BAGS. Sugar was in sugar bags and flour in flour bags (paper or cloth), and groceries were carried home in paper grocery bags. Sack was a term used somewhere in the Great Beyond west of the Connecticut River. Most animal and poultry feed, i.e. grain, came in grain bags and generally it was burlap. Why? Because it was cheaper than cloth, I suspect. Toward and after the end of WWII the Purina grain store did carry the printed cotton bags, and we used them for some blouses and aprons. My father preferred the burlap bags. My grandmother did also, because she used the burlap for hooking rugs during and after WWII when the burlap preferred for hooking could not be readily obtained. Burlap bags were useful for a variety of purposes around the farm, covering newly seeded grass areas and the like. If memory serves, the Purina store took back the burlap bags for reuse, but I don't remember whether a credit was given for the return. The thread used to stitch the bags closed was saved by some people for crocheting, too. ----------------------------------------------------------------------

Subject: Re: gunny sacks From: Barb Garrett <bgarrett421@comcast.net> Date: 

The burlap sacks I've seen locally held potatotes -- I will talk to some older farmers and see if they held anything else -- but the burlap sacks my children used in elementary school for sack races during Field Day were potato sacks that a local farmer had stored in his barn. Since I use cotton sacks for quilting, I have never looked closely at the burlap ones for sale at flea markets and such -- will need to start doing that <grin>. Locally the burlap are cheaper than the cotton.

They are coarse and rough, the burlap fibers are thicker than the fibers of burlap bought at JoAnn's for crafts, and more loosely woven. Flimsy best describes them. I don't think farmers choose to use one type of sack or another -- I think the person/company that packages the product decides what packaging to use. My guess is that economics and strength are deciding factors for them, and the farmer then finds a use for the bag after he purchases the contents. Or stores it in the barn as many are currently being found in barns -- dirty and stained.

Barb in southeastern PA


Subject: Re: gunny sacks From: Judi Fibush <judi@fibush.net> Date: Sat, 23 Aug 

Burlap sacks/bags are quite durable and actually can be protective. If any of you are familiar with the Unicorn Tapestries in the Cloisters in NYC, the potato or burlap bag has quite history and dates back centuries. The tapestries date to somewhere around the 1400's (I believe given a century or so), when the French Revolution came about in the late 1700's, these lovely tapestries were taken down and stored in a barn covered with burlap bags to prevent them being destroyed by the revolutionaries. At the close of W.W.II, some American soldiers found these tapestries in dirty but good condition some 200 years later in the barn. They were cleaned and are simply gorgeous and hang now in the Cloisters. Of the 7 tapestries, the one with the maiden who captures the Unicorn is the only one almost completely destroyed. We will never know what she looked like so we can capture a Unicorn! How Sad!

Judi in CA who has always loved Unicorns and Burlap bags too.

> >


Subject: Re: vintage pinker From: Judi Fibush <judi@fibush.net> Date: Sat, 23 Aug 


They can be sharpened. I have my mother's and still use them today. I've had them for 50+ years. Flannel will really dull them.



Subject: Re: gunny sacks From: "Sally Ward" <sallytatters@ntlworld.com> Date: 

This is the sort of time when I wish I had an Anglo-American dictionary <G>

You talk about using burlap bags for rug hooking. We would have use hessian sacks for that because of the open weave, and hessian came in for some of the other uses you mention - potato sacks, coal sacks, gardeners' insulation..... Is burlap as coarse as hessian? Or the same thing? or different?

Sally W


Subject: Re: vintage pinker From: "Sally Ward" <sallytatters@ntlworld.com> Date: 

Are these the sort of tools which would have been developed from those used to cut decorative pinked patterns on fabric for clothing, or are we not talking that far back ?

Sally W


Subject: gunny sacks From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 24 Aug 

Sally -- hessian is European usage for burlap and carpet backing, per Fairchild's textile dictionary.


Subject: vintage pinker From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 24 Aug 

Hand-held pinkers and pinker shears of various types date back to early 1900s as opposed to pinking irons which evolved in the 1500s, according to the history of pinkers in the Doll Costume Journal, winter 2000.

Sally Ward wrote:

>Are these the sort of tools which would have been developed from those used >to cut decorative pinked patterns on fabric for clothing, or are we not >talking that far back ? > > > > > >


Subject: Re: gunny sacks From: Xenia Cord <xenia@legacyquilts.net> Date: Sun, 

Ah, Sally will always send me scurrying for my dictionaries! I have had a look in Montgomery, Textiles in America, and in my O.E.D. for references to burlap, gunny, and hessian, and here are the results (maybe more than you wanted to know):

Burlap - coarse canvas made of jute, piecedyed or left in its natural color. Low grades were used for gunny sacks and wrapping furniture; a firmer quality with a finish was used for drapery purposes (Montgomery, quoting Denny). (1695) originally perhaps a sort of holland; now a coarse canvas made of jute and hemp, used for bagging; also a finer material for curtains (OED)

Gunny - Coarse cloth made in India of jute fiber to be used for sacks and to cover bales (Montgomery). (1711) from Hindi, a coarse material used chiefly for sacking and made from the fibres of jute or sunn-hemp (OED).

Hessian - A coarse hempen cloth [Beck]; hessian and forfars were two qualities of the commonest unbleached sheeting and principally used for packages [Perkins]; 'Dutch Barras and Hessens Canvas' are listed under linen goods in the 1660 London Book of Rates [Beck]; ... In J. F. Fisher's order of 1767 from Philadelphia, both brown and white, or unbleached and bleached, 'hessons' were listed with sailcloth, Russia sheeting, osnaburg, dowlas, and other coarse cloths (Montgomery). A strong coarse cloth, used for packing bales, 1881 (OED).

There endeth the lesson -



Subject: montgomery quote From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 24 

Xenia -- re statement below -- is that Grace Denny who[m] Montgomery is quoting? If so that is gratifying as I consider the Denny books among the best textile references [editions between 1923-62].

Xenia Cord wrote:

>Burlap - coarse canvas made of jute, piecedyed or left in its natural >color. Low grades were used for gunny sacks and wrapping furniture; a >firmer quality with a finish was used for drapery purposes (Montgomery, >quoting Denny). > > >


Subject: old dress patterns From: Kris Driessen <krisdriessen@yahoo.com> Date: 

I love this list! There isn't anything SOMEBODY doesn't know:-)) A friend of mine is helping her mother clean out her house so she can move to a smaller place and came across a whole bunch of sewing related items. I kept the buttons and the Kansas City Star patterns cut out from newspapers in the 1930's, but I was wondering if anyone on this list was interested in clothing patterns from the 30's and 40's? I didn't take them, but I would be happy to do so and pass them on if anyone wants them.

She also brought over a whole tin full of doll clothes patterns cut out of local newspapers. I was reading one of the articles about local events when my 16 yo daughter commented, "I don't know any of those people." A little more searching showed the reason why - the newspaper was dated 1936!



Subject: Re: montgomery quote From: Xenia Cord <xenia@legacyquilts.net> Date: 

Replying to Joan K's query about Denny: yes, the Montgomery citation was from Grace Goldena Denny, Fabrics and How to Know Them (3rd ed., 1928).



Subject: montgomery quote From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 24 

X -- thanx. I have all 8 editions and find them indispensible because they define what was on the market at the time plus which fabrics became obsolete [off market] from edition to edition. 1928 was last edition to have this title; next edition in 1936 and all subsequent editions were retitled Fabrics. I mention this in case anyone wants to get a Denny. They are reasonably priced and many are available.


Subject: denny books From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 24 Aug 

Also left out another important feature -- books contain brandnames and their manufacturers.


Subject: Re: old dress patterns From: Judi Fibush <judi@fibush.net> Date: Sun, 24 Aug 2003 06:59:33 -0700 X-Message-Number: 11


If there are any patterns for aprons of any style in there, I would like them, please. Contact me at judi@fibush.net


Subject: Vintage Pinkers From: "Suzanne Cawley" <ccawley@alleganyinternet.net> 

I have a mint pair of Florian pinkers in the box.....and they seem to work quite well. They were made by the Florian Manufacturing Company of Plantsville, Connecticut and also have the "Good Housekeeping" seal of approval. They are patent # 2174222 so they were patented in 1939. Funny how "new inventions" are really not so new sometimes. I bought the pinkers because they reminded me of a rotary cutter with a wavy blade. Hope this helps.

Suzanne Cawley In balmy wild West Virginia


Subject: Re: old dress patterns From: "Wanda" <fattyoldkid@houston.rr.com> 

kris, I would really be interested in them...please email me offlist at fattyoldkid@houston.rr.com Wanda


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


I am having trouble posting to the list so will try another route and, hopefully, this will get through. Since there were no answers concerning the Land O' Nod magazine, I went to Lockport last Thursday to see what I could find out. I started at the library. That lead to the historian (who was not available) and over to the historical society museum. The very condensed version is that the Lockport Cotton Batting Company was started in 1870 and finally quit operation in 1967. During that time they made cotton and wool batts, adding many other items as the years progressed. In its heyday, it operated out of two facilities in Lockport with other facilities elsewhere. None of the buildings in Lockport are standing at present. An article from 1902 says that there were three batting companies in Lockport. The aforementioned, the Niagara Cotton Batting Company and the New York Cotton Batting Company. I found nothing on the New York Cotton Batting Company and little on the Niagara company. 

The Niagara and Lockport companies merged in 1940 and retained the name of the Lockport Cotton Batting Company. There were other aquisitions through the years. Through the 1940's and 50's, the Lockport Cotton Batting Company was a very large and thriving industry. The historical society museum owned an Ann Orr pattern book, 1944. In it I found an advertisement for Land O' Nod cotton quilt batting, one of the names for a particular line of batting. In another booklet, the Lockport Quilt Pattern Book, Replicas of Quilts Old & New, 1942, was the same pattern, the Climbing Rose, which was printed in the Land O' Nod in 1938. Also, the Land O' Nod magazine shared the same address as the Lockport batting company. Karan Flanscha sent me an article in which Mrs. Helen Erickson, who purchased Mrs. Danner's business, said concerning the Land O' Nod magazine, "she(Mrs. Danner)said there was only one issue, that it began as a sort of advertisement for the patterns, I think." Mrs. Danner, if you will recall, was the editor of the Land O' Nod magazine. Just a little story... at the museum, I spoke with the woman behind the front desk and showed her the magazine, and told her my tale. Her eyes lit up and she beamed a big smile, and said, "I'm a quilter, too!", and was just as excited as I was. We quilters are everywhere! I had a lot of fun, met some delightful people, and had a great day.



Subject: Gunny sacks and Pinkers From: Paul and Nancy Hahn <phahn@erols.com> 

Yes, Sally, I've assumed hessian and burlap were the same type of cloth. I let Xenia do her dictionary thing, which she is so extraordinary at, while I just pulled at my point of reference-Charlie on Ground Force, on BBCAmerica, always wraps the roots and some soil of her water plants in hessian before dumping them in the pond. Close-ups of this made me say, "Ah, that must be our equivalent of burlap." End of my scholarly research! I've often had those roller type pinkers in my shop-after the first pair sold so quickly, I figured there must be something to them, although I couldn't get them to work easily. Just as interesting is the older type that clamps onto the table and with the turn of a crank handle, the fabric feeds through and is pinked, similair to running clothes through a wringer! I've just gotten back from a wonderful trip to the UK and as soon as I can get my thoughts organized, I will share some of the wonderful quilt related things I encountered.

Nancy Hahn


Subject: Re: Pinkers From: Xenia Cord <xenia@legacyquilts.net> Date: Mon, 25 

Singer made two mechanical pinkers: one that clamped to a table as Nancy Hahn describes, and the same unit reconfigured to fit most of their straight needle machines, including the Featherweight. The device was attached to the needlebar, and the machine power ran the pinker as you fed the fabric between the rollers. Moreover, there were different blades for cutting wavy lines as well as zigzag lines, and a blade that was straight. And we think rotary cutters and pinking shears and scissors that cut decorative edges on paper are new!



Subject: (19th century quilt prose and poetry) From: <mreich@attglobal.net> Date: Mon, 25 Aug 2003 14:30:47 -0400 X-Message-Number: 6

The following account reads like a Who's Who of the last quarter of the nineteenth-century. Perhaps, we will all view those initialed fragments on Crazy Quilts a little differently after reading this. I would just love to see this quilt! It gave me a chance to brush up on some late nineteenth-century history. Do you all know of these people mentioned in this article? Apparently, nineteenth-century quilters did! I'll provide their historic footnotes tomorrow. sue reich

The Herald and Torch Light Haegerstown, Maryland October 8, 1885

A Quilt To Dream Under (St. Louis Republican)

A kaleidoscope quilt, whose every silken scrap brings to view some surprise in the embroidered name or initials of celebrities of the day, is being made by Mrs. Robert M. Yost. The pieces of this elaborate fabric have been gathered from far and near, and in nearly all cases were accompanied by autograph letters from the contributors. Miss Rose Elizabeth Cleveland, on behalf of her brother, sent a white satin cravat, embroidered with purple pansies in chenille, the letters “G. C.” in old English text worked in pink and embossed in little pansies in purple and yellow. Miss Cleveland sent for her own contribution a piece of hunter’s green velvet, the fragment of a reception dress on which Mrs. Yost has worked the initials “R. E. C.” in pink, with a spray of wild roses and leaves off at one side. Speaker Carlisle’s initials appear on a white cravat, worked with convolvulus and leaves, the blossoms blue and pink, the large C worked in blue and pink. Mrs. Carlisle is represented by a scrap of black-striped moiré, on which a butterfly poses near the big pink G in the centre. Mrs. Grant sent a number of magnificent pieces, among them a scrap of Mrs. Sartoris’ wedding dress on which the letter S in old English text is embroidered in blue with lilies of the valley scrolled about it. Mrs. Grant ’s own initials are worked in gold on a piece of wine colored velvet, one of the dresses she wore at the White House, and a fragment of one of the hero’s cravats is worked with his initials in red, blue and white. In close contiguity will come a scrap of one of Jeff Davis’ neckties, on which the letters J. D. are wrought in blue with little field flowers worked in yellow in their centres. Mrs. Davis is represented by scrap of purple and black brocade silk embroidered simply with D. 

One piece that makes a handsome showing is of pale amber silk, elegantly brocaded with roses and leaves of a brighter shade of yellow, a scrap from a dress worn by Mrs. James K. Polk at the White House, whose initial-letter a large P, is wrought in orange on a piece of black velvet from another of her gowns during her stay at the Executive Mansion. General J. E. B. Stuart’s daughter, Virginia Pelham Stuart, who was asked for a memento of her father, sent some scraps of black and yellow silk, the colors of her father’s cavalry, which she wore when she presented a flag to the Stuart Horse guards in Richmond, and received in acknowledgment a medal with crossed swords and medallions attached. Mrs. John Logan’s initials appear in pink on a rich green velvet scrap. “Beauregard” wrought in bright blue letters along the length of a black gross grain necktie speaks for itself. A very interesting relic is a band of pink ottoman ribbons embroidered with the letters N. H. P. in gold color, little forget-me-nots caressing the centres. The ribbon was the last one ever worn by the famous St. Louis belle, Nellie Hazeltine Paramore, once reported to be Mr. Tilden’s betrothed, who tied it about her throat to wear at the lunch party the day before she sank on her bed in the illness which proved fatal.

 A unique souvenir is a piece of stone-gray ribbon on which the letters A. J. are worked beautifully in pink, and the end scrolled with lilies of the valley. The letter accompanying this, signed “Annie James,” relates that the writer wore the ribbons at the trial of her husband, the distinguished bandit, Frank James, at Gallatin, Texas. Two tiny pieces of modest brown and black silk, bearing the initials, “P. C. & A. C.,” in small blue and crimson characters, studded with field daisies and forget-me-nots, have all the sweet simplicity of these gifted sisters – Phebe Cary and Alice Cary. Ella Wheeler sent a gorgeous piece of yellow satin from one of her wedding gowns, and asked that it might be embroidered with “a red carnation – the flower I love best.” On it glows a carnation, finely wrought in red chenille and stain green leaves. The letters E. W. are emblazoned in cardinal silk on the yellow satin. 

One of the most interesting pieces is a straight, broad strip, formed of creamy brocade and pale blue satin, across which “Onida” glows in large scarlet letters and set between in a stiff medieval way as on stained glass, is a row of white marguerites with golden-hearts wrought in chenille, their prim little green leaves completing the luxuriant symphony of color. Augusta Evans sent a piece of black velvet on which A. E. is worked in cardinal, with pale pansies decorating the letters. “A piece of Miss Alcott’s best gown” was the written endorsement that came with a scrap of black velvet, which is embroidered with a large A in blue silk, illuminated with carnation pinks. 

A souvenir of Mrs. M. J. Holmes, the alleged novelist, shows her initials marked in floral letters on a scrap of green gros-grain. Mrs. Margaret J. Preston, the poetess of Virginia, sent a scrap of her lavender silk gown. Whittier sent the end of a black silk necktie, which is wrought with a scarlet W., wreathed with little yellow field flowers. Patti took from the bosom of her dress, just after one of her performances of “Traviata,” the pink ribbon on which her name is inscribed in white amid a trail of forget-me-nots. “Aimee,” embroidered in scarlet letters, interlaced with starry white jassamines, flashes across a bit of blue ribbon that she snatched from her black locks. On a square of superb black velvet that once formed part of Ristori’s train is embroidered “Ristori” in the purple of royal grief, lightened by the pansies that stand for thought.” (St. Louis rhetoric.) 

A flash of gold roses on a creamy satin ground forms the field for the brilliant scarlet D that designates the contribution sent by Fanny Davenport. Emma Abbott sends a piece of royal purple velvet, on which E. A. is worked in pink and blue. Ellen Terry’s gown has a representative in a rich cream satin scrap from one of her Portia robes, wrought with heliotropes to form her initials. Some of the handsomest pieces were contributed by Nellie McHenry – scraps of her rich stage dresses - one of which, a beautiful royal purple velvet, is embroidered with the letters “N. M.” in gold. Susan B. Anthony sends not only a piece of her own best black gown – on which Mrs. Yost has worked a large purple A. – but a bit of blue ribbon which, she writes, “is from around the lovely white coil of Mrs. Cady Stanton’s hair. (Caveat applied for.)


Subject: The Bowes Museum, England From: "Sally Ward" 

I've just discovered that the Bowes Museum in County Durham has a wonderful new website which is searchable for items from the collection. Looking for quilts I found the following: http://www.bowesmuseum.org.uk/collections/standardsearch.php3?Collection=Textiles  (enter quilt as your search term.)  Its great to see a UK museum making its collection accessible in this way.

Sally W


Subject: Re: (19th century quilt prose and poetry) From: Jackie Joy <joysbees@yahoo.com> 

I am truly enjoying these voices from the past.

Jackie Joy


Subject: Re: (19th century quilt prose and poetry) From: Gaye Ingram 

Re: crazy quilt pieces.

My word, Sue! Did the Mrs. Yost who was the recipient of all these pieces for a crazy quilt have "connections" ----or just a lot of daring? What a cross-section! James Greenleaf Whittier and the lugubrious Presbyterian poetess and sister-in-law of Stonewall Jackson, Margaret Junkin Preston; J.E.B. Stuart and U.B. Grant--with Grant right next to Jefferson Davis(!); Susan B. Anthony and Ms. James K. Polk; Patti, Ellen Terry, et al; Frank James' widow! A gathering of folks who would make a very strange gathering in real life. This is a party I'd like to attend.

My personal favorites:

"....a band of pink ottoman ribbons embroidered with the letters N. H. P. in gold color, little forget-me-nots caressing the centres. The ribbon was the last one ever worn by the famous St. Louis belle, Nellie Hazeltine Paramore, once reported to be Mr.[Sam. J?] Tilden s betrothed, who tied it about her throat to wear at the lunch party the day before she sank on her bed in the illness which proved fatal." QUESTION: Why don't we sink on our beds in illness today, instead of the withering away in nursing homes? Me---I'd prefer the former.


"A souvenir of Mrs. M. J. Holmes, the alleged novelist,..." I'm keeping this one in mind for the next book review I'm asked to write for a book that does not strike my fancy. A reply to the editor of "Do you mean the alleged novelist so-and-so?" ought to get any reluctant reviewer off the hook.

And all this flower symbolism which (with exceptions, when the St. Louis Rhetoric was cited) seemed so commonplace!

I've enjoyed all the lit'rary things re quilts you've shared with our list, but this one is beyond compare. Thanks so much for taking the time to type it up and share!

From North Louisiana, where the heat is oppressive and where we are kept eve n remotely alert only by the slim and improbable promise of a thunderstorm,

The allleged Gaye Ingram





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