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Subject: Late 1800's fabric From: Donald Beld <donbeld@pacbell.net> Date: Sat, 

Hi, I am in the process of donating a Garfield's Monument quilt my great-great-grandmother, Perthina Bailey, (don't you love her first name) made in the mid to late 1880 to the Lincoln Shrine in Redlands, California.

However, it has several pieces of deteriorated brown fabric where it would have been folded and exposed to the sun.

I want to repair those few pieces (by covering over) with genuine 1860-90 brown fabric--not reproduction, but genuine antique period fabric.

Does anyone have a source? Please let me know privately if you feel it isn't something for the chat line. Thanks, Don Beld


Subject: Re: Late 1800's fabric From: "Maurice Northen" <3forks@highstream.net> 

Don, I have 2 quilts which have browns, of good size. Tell me the size you need and I will scan you what I have that I can donate.

Joan of the South Quilt conservator in Texas 


Subject: Baltimore Album exhibit at Baltimore Museum of Art From: "Phyllis Twigg" 

THE BALTIMORE MUSEUM OF ART PRESENTS, "BALTIMORE ALBUM QUILTS: = APPLIQU=C9D ARTISTRY"=20 BALTIMORE, MD (September 30, 2003)-Discover Baltimore's unique = contribution to the art of quiltmaking in a rare exhibition of album = quilts from The Baltimore Museum of Art's collection, one of the largest = in the country. Baltimore Album Quilts: Appliqu=E9d Artistry, on display = from November 5, 2003, through May 9, 2004, features more than 20 = exceptional album quilts and individual squares created in Baltimore = between 1845 and 1865, masterpieces of needlework in which each = elaborate square is treated like the personalized page of an autograph = album. In conjunction with the exhibition, the BMA will offer series of = workshops led by well-known quilters, including a lecture and workshop = by nationally known quilting expert Elly Sienkiewicz.

GALLERY TALKS : With Anita Jones, BMA Associate Curator of Decorative = Arts for Textiles: Thursday, November 13, 1 p.m. .With a Museum Docent : = Thursday, November 20, 2 p.m. and Thursday, December 4, 2 p.m.=20


In conjunction with the exhibition, a reproduction of the Samuel = Williams quilt featured in Baltimore Album Quilts: Appliqu=E9d Artistry = has been made by The Baltimore Appliqu=E9 Society. This four-year = project-the product of thousands of hours of effort by more than 100 = volunteers working in the United States, Great Britain, and Canada-has = resulted in the most ambitious historical quilt ever recreated by the = Society for the benefit of a museum or historical society. The = reproduction will be on display at the BMA and at quilt shows around the = country before it is raffled on May 2, 2004. Proceeds will benefit the = BMA's Textile Department. Call 410/396-6338 for ticket information.

Visitor Information: The Baltimore Museum of Art is open Wednesday = through Friday, 11 a.m. until 5 p.m.; Saturday and Sunday, 11 a.m. until = 6 p.m.; and during the first Thursday of every month (except major = holidays), 11 a.m. until 8 p.m. The Museum is closed Monday, Tuesday, = New Year's Day, July 4, Thanksgiving, and Christmas. Admission is $7 for = adults; $5 for seniors ages 65 and over and college students; and free = for children 18 and under. Admission is free on the first Thursday of = every month and for related Free First Thursday activities. =20 The BMA is located on Art Museum Drive at North Charles and 31st = Streets, three miles north of Baltimore's Inner Harbor. For general = Museum information, call 410/396-7100 or visit the BMA's=20

web site at www.artbma.org.  


Subject: Attached Files/1800's brown in Texas for Don From: "Maurice Northen" 

Here are what I have, 2 quilts. Both of the "dot" fabrics are plenty. = The plaid brown will only be the 2" squares., but there are plenty, I = will just have to lift them for you. I know neither of these are strips, if that is a must?

Joan in Texas


Subject: Nancy Page query From: Debby Kratovil <kratovil@his.com> Date: Sun, 12 

Does anyone have a full set of the Nancy Page "Laurel Wreath Quilt" series with the four birds. It is so sweet. I have the flowers and the leafy vine and four birds. But I don't have a picture (newsprint) of the black drawing of the full quilt. What is the size of that? Does anyone have a quilt made from the patterns. You can answer off the list if you prefer. Many thanks ahead of time. Debby (the quilter who is not a very good historian) -- Debby (with a "y" and not "ie") Kratovil http://www.quilterbydesign.com http://www.ipriority.com


Subject: Mosaic Textiles: In search of the Hexagon From: "Carol H. Elmore" 

I received my catalogue--Mosaic Textiles: In search of the Hexagon this past week from France. It is an exquisite book and I would recommend it to all of you on the list. My French is rather rusty since the last French class that I had was over 30 years ago but despite that I can read much of the book. The pictures are well done. It was a real challenge to get the check in euros but was definitely worth the effort. If anyone on the list gets to go to France and see the actual quilts, I hope you'll report back to us. Janine Janniere has done a great job with the catalogue.

Carol Elmore Manhattan, Kansas


Subject: UNL study on adhesives From: Jennifer Perkins <qltrstore@harlannet.com> Date: Mon, 13 Oct 2003 01:38:56 -0500 X-Message-Number: 1

This was sent to the Omaha Quilt Guild. Thought you all would be interested, too! Jennifer in Iowa

Date: Fri, 10 Oct 2003 16:11:58 -0000 From: "quilten95" <mlrichling@cox.net> Subject: UNL study on adhesives

Dr. Patricia Crews and Janet Evenson have participated in a study, and written a report on the effect of light and ageing on selected quilting products containing adhesives.

The study covered the use of quilt basting sprays, fusible webs and fusible battings.

Basically, the study recommended quilters interested in making heirloom products should avoid quilt basting sprays and fusible webs. Fusible battings appeared acceptable, but could cause yellowing.

Here is the address of the finding: http://www.quilts.org/QIQAFall03SpecialRep.pdf 

I'm sure this report will cause quite a few "fireworks". Read and enjoy...

Have a great weekend, Mary R. :)


Subject: Re: Late 1800's fabric From: "Sherry" <smassey@ok-history.mus.ok.us> 


Are you donating this to a museum? I would not recommend changing the original quilt, damaged or not. You may consider sending the period fabric WITH the quilt and informing the curatorial staff that this is fabric SIMILAR to what was in the quilt, but don't restore the quilt. A good museum will want to retain the history of the quilt as it is and CONSERVE it in its current condition. Be sure and include all the information you have about your ancestor, also.

Sherry Massey, Registrar Oklahoma Museum of History


Subject: coffin quilt From: "Liz Lois" <loislane@tds.net> Date: Mon, 13 Oct 2003 

Hi Sally, That quilt is also pictured in the book Quilt Masterpieces by = Susanna Pfeffer page 71. I believe it is still owned by the Kentucky = Historical Society. I believe I saw it at the museum there about 10 = years ago. Liz in Wisconsin 


Subject: more coverlet issues From: "Candace Perry" 

I recently received for the collection a white "Marseilles" coverlet or bedspread with a nursery rhyme motif. It apparently dates to the 1920s. Can anyone shed some light on these and why they are called "Marseilles?" I apologize if this was brought up before -- I have a feeling I read something about it but don't know where! Thanks tons! Candace Perry Schwenkfelder Library & Heritage Center


Subject: Re: UNL study on adhesives From: "Sherry" 

I am so happy to see this study!! I have been trying to convince my quilting friends that the use of fusibles (and polyester batting) in their quilts will only bring disappointment in years to come. Unfortunately, some of them express today's "microwave society" attitude toward quilting: "In 20 years I won't care what it looks like". So many modern quilters are in a hurry to see a finished product and don't want to take the time to use quality products and construction methods. Unfortunately, I'm afraid today's quilts won't stand the test of time as so many of our historic quilts have. I, for one, continue to quilt by hand, using only natural threads and battings in the hope that a love for QUALITY quilting will regain a foothold among quilters. Only time will tell. Thanks for the infor, Jennifer.

Sherry Massey


Subject: worrying about the future of quilts From: "deb" <deb@quiltingposs.com> 

Most quilters - or I should say most of my customers (I own a quilt shop) - do two kinds of quilts just like quilters of yesteryear - those that are "utility quilts" and those that are "company quilts". They produce three or four times as many utility quilts as they do "company". Today's utility quilts are quick pieced, quick quilted, may have fusibles and are to be used to hang on the wall for holiday decorations, snuggling on the couch, thrown on the floor for a fort, dragged around by babies and toddlers, etc - they aren't expected to last so the quilter doesn't put more effort into them than necessary for them to serve their purpose. Company quilts may not be hand pieced or hand quilted but are done for beds and are used by and given to those who will appreciate them - they are expected to last and be handed down & the quilter puts more effort into how she makes them.

I won't get into the argument of hand quilting vs. machine quilting other than to say I have seen machine quilting that is much better than some hand quilting & vice versa.

My customers do quite a bit of utility quilts, but they do enough "good" quilts so that I think quite a few will last for future generations to treasure.

In 1936 Carrie Hall was worried enough about the sale of kit quilts to state " In the ready-cut quilts offered for sale are seen the effects of this hurrying age in which we live." (Boy would she be in for a shock today!) Others also likened the kit quilts to boxed cake mixes and instant foods. Today those kits, finished & still in the packages are highly collectable.

Just my two cents. Debbie Quilting Possibilities Bayville, NJ


Subject: The Quilt Index Launches Today with Over 1,000 Quilt Images From: "MJ Kinman, The Alliance for American Quilts" <mjkinman@quiltalliance.org> 

Hello, All –

On behalf of The Alliance for American Quilts and our colleagues at Michigan State University, I'm pleased to announce the launch of the Quilt Index, an online database that will eventually include tens of thousands of images of historical and contemporary quilts. You can explore the Quilt Index at www.quiltindex.org. It launches today with nearly 1,000 images from four separate archives.

The Quilt Index is a project conceived and developed by The Alliance for American Quilts (www.centerforthequilt.org) in partnership with Michigan State University Museum/Great Lakes Quilt Center (http://www.museum.msu.edu) and MATRIX: The Center for Humane Arts and Letters Online, at Michigan State University (http://www.matrix.msu.edu).

I have included more information about the Quilt Index below. Our hope is that this will become an important resource to all who are interested in studying quilts and quilt heritage.

MJ Kinman Executive Director The Alliance for American Quilts

October 13, 2003 -- The Alliance for American Quilts and Michigan State University announced today the launch of The Quilt Index (http://www.quiltindex.org), a new website placing historical and contemporary American quilts at the fingertips of anyone with a computer and Internet access. This landmark online resource offers a central, searchable database to provide first-of-its-kind access to information and images of this original American art form. The Quilt Index launches with information for over 1,000 quilts from four separate archives. Yet this is just the beginning. The Alliance for American Quilts and MSU will begin working with other groups around the country to add records for the tens of thousands of quilts that have been documented by state quilt projects and collecting institutions.

The Quilt Index was conceived and developed by The Alliance for American Quilts in partnership with Michigan State University Museum/Great Lakes Quilt Center and MATRIX: The Center for Humane Arts and Letters Online, at Michigan State University. Four quilt archives contributed quilt images and surveys from the state and regional quilt documentation projects to create this initial phase of the Quilt Index: the Illinois State Museum, the Michigan State University Museum, the Tennessee State Library and Archives, and University of Louisville Archives and Records Center.

"The Quilt Index has long been a dream of many who study quilts and work to preserve their history," adds Shelly Zegart who co-founded the first of the quilt documentation project, the Kentucky Quilt Project, in 1981. Zegart, now board president of the Alliance for American Quilts, says the Quilt Index is the culmination of more than 20 years of effort to document and preserve our quilt heritage.

The advantage of a single comprehensive Quilt Index is enormous, the project architects say. Quilts can be viewed by contributing collection or documentation project as well as searched across collections for patterns, individual quiltmakers, themes, techniques, and many other characteristics. As a result," The Index provides a rich, deep resource for students, teachers, scholars, quiltmakers, and the general public," notes Marsha MacDowell, curator of folk arts at the MSU Museum and MSU professor of art and art history.

Major advances in digital library technology combined with years of quilt documentation and research made the development of this comprehensive on-line Index possible. The complex Quilt Index architecture and web site interface design were constructed by MATRIX, a center devoted to the application of new technologies in humanities and social science teaching and research.

Planning and implementation of the Quilt Index was made possible by grants from the National Endowment for the Humanities (NEH) division of preservation and access. For more information, contact MJ Kinman, Executive Director of The Alliance for American Quilts (Email: mjkinman@quiltalliance.org ) or Marsha MacDowell, Professor and Curator, Michigan State University Museum (Email: macdowel@pilot.msu.edu).


Subject: came across this list From: "Candace Perry" <candace@schwenkfelder.com> Date: Mon, 13 Oct 2003 11:56:29 -0400 

On a website that excerpted an 1830 book about Philadelphia. These are materials that were for sale on the wharf in Philly sometime in the late 18th century. Any ideas on some of these wild names (quilted humhums?)? Candace Perry Schwenkfelder Library & Heritage Center Tandems, isinshams, nuns, bag and gulix, (these all mean shirting) huckabacks, (a figured worsted for women's gowns) quilted humhums, turkettees, grassetts, single allopeens, children's stays, jumps and bodice, whalebone and iron busks, men's new market caps, silk and worsted wove patterns for breeches, allibanies, dickmansoy, cushloes, chuckloes, cuttanees, crimson dannador, chain'd soosees, lemonees, byrampauts, moree, naffermamy, saxlingham, prunelloe, barragons, druggets, florettas!


Subject: Re: came across this list From: "Major Ma'am" 

Candace, I recognized Saxlingham, it is a village in Norfolk, England. (East Anglia area about 60 miles north of London.) It might be a particular weave or type of material that came from there. I will see what else I can find out about it, if possible and get back to you.

Becky In the High Desert Of California (dans le haut désert de la Californie)


Subject: Re: more coverlet issues From: Gaye Ingram <gingram@tcainternet.com> 


Can you give dimensions and details of design?

I own such a coverlet, one that has the alphabet and figures from nursery rhymes woven into it. I believe it to be early 20th century.



Subject: Marseilles Spreads From: "BOBBIE A AUG" <qwltpro@msn.com> Date: 

Candace, These were called Marseilles Spreads because that is the port in France w= here they were shipped from - not where they originally made. They were = made in Italy but died out in popularity about 1400's. They were made in= Provence, France and exported out of Marseilles because that was the big= gest shipping port. These were the woven or loomed ones made on a Jacqua= rd loom. They were not the earlier quilted ones. This is brief, I know.= Just finished doing research for a book.

Bobbie Aug


Subject: Re: Marseilles Spreads From: Kittencat3@aol.com Date: Tue, 14 Oct 2003 

One slight correction...weren't the Marseilles spreads popular into the 19th century? The jacquard loom wasn't invented until the 18th century. The medieval spreads were all hand sewn.

Lisa Evans Easthampton, MA


Subject: Re: more coverlet issues From: "Candace Perry" 

Gaye, I'll be getting the spread out by tomorrow and I'll report on it! I know that Humpty Dumpty is featured. Candace


Subject: UNL Special Report on quilting adhesives From: "Martha" 

Hi all, Just read this report and am pleased that info. is finally out on these types of products. I, too, have many quilt friends that give the same response of, "I don't care if it doesn't outlast me" when referring to their quilted creations having used fusibles and adhesives. I wonder if they are really being truthful??

Question to the group: Some quilt restorers that I know purport the use of a product called "Fine Fuse" to stabilise weakened areas of fragile fabrics in quilts. Did the UNL researchers test this product, and if so, was there any conclusive data? Is this product similar (in chemical makeup) to any of the products listed in the special report?

Thanks for any info. Enlightening quilt enthusiasts in Northern Colorado:-)

Martha Spark Antique Textile Consultant Fort Collins, CO ----------------------------------------------------------------------

Subject: Re: UNL Special Report on quilting adhesives From: "Sherry" 


Good question. I think it is interesting that you referred to "quilt restorers" and not quilt conservators. I would bet that the chemical makeup is very similar to those products studied by UNL.


Subject: Re: UNL Special Report on quilting adhesives From: Kittencat3@aol.com 

I wouldn't touch any of those products with a ten foot pole. If it was good enough for Aunt Jane, it's good enough for me. :)

Lisa Evans [a proud quilting Luddite]


Subject: Thank you, Shultz! From: "Sherry" <smassey@ok-history.mus.ok.us> Date: 

I would like to express my sincere appreciation to Schultz Metcalfe for = the absolutely magnificent crazy quilt block she made for our quilt = exhibit. The fabrics and embellishments are exactly what we wanted and = so much more than either of us working on the exhibit would have been = able to produce. It is so gratifying to be reminded of the kindness of = strangers and quilters are among the kindest people I know. Thank you = again, Schultz. Your name will be listed on the Acknowledgements in the = exhibit gallery guide which will go to the IQSC along with the rest of = the exhibit documentation, for their archives.


Subject: Marseilles Quilts From: "JG Kane" <jgkane84@hotmail.com> Date: Tue, 14 

Hello Candace, You asked about Marseilles quilts - the area around Marseilles, in France,was famous for fine quilting.The quilts were usually all white, made of silk or linen, and were corded and stuffed in elaborate patterns.This type of quilt became known as Marseilles, Marcella,or Marsala. The quilted fabric, sometimes wool and cotton as well as the silk and linen, was imported into England throughout (18th and in turn exported to the colonies as petticoats as well as bed covers. A process was developed in England to loom weave fabric that ressembled the Marseilles quilting and this was patented in the 1760's, opening the way for cheaper quilt-like fabric, which was also exported (in yardage as well as bedcovers.)As time went on the quality deteriorated - the early bedcovers are heavy, and quite thick. I have one that is the typical frame design, with lovely 'quilted' motifs, but it is heavy! Hope this is what you wanted! Jill, in Leeds. U.K.


Subject: druggets & Huckabacks From: "JG Kane" <jgkane84@hotmail.com> Date: 

What wonderful names in your list candace! They sound like early English poetry I only know Huckaback ( rough, woven patterned cotton used for hand towels in C19th ,C20th - we call them huckabacks), and Drugget, which I associate with a woven cover used like a rug to cover floors and carpets. I'd love to know what the others are! Jill, in Leeds


Subject: Re: came across this list From: Xenia Cord <xenia@legacyquilts.net> 

Looked through Montgomery, and was able to find the following definitions. Variant spellings may account for the absence of the others, marked "not found."

tandem -linen cloth from Germany isinsham - not found gulix - also garlix, bleachable linen cloth from Goerlitz, Silesia huckaback - linen, self-patterned weave, tabby ground, small figures quilted humhums - plain, thick woven cotton, toweling, from Bengal turkettees - not found grassetts- also grazet, silk and worsted dress goods, warp & weft different colors single allopeens -alapeen, mixed wool & silk, men's furnishing & upholstery fabric allibanies -allibanee, mixed silk & cotton, striped, from India dickmansoy - not found cushloes - not found chuckloes - not found cuttanee - silk & cotton satin weave, striped, often floral, Gujarati export cloth for quilts; also imported for printing in England crimson dannador - not found chain'd soosees - sousae; silk or cotton/silk, India, 36" wide x 10-20 yd. long, black/ white striped lemonees - related to sousae, solid pastel (?) goods, India byrampauts - not found moree - morea; staple cotton goods, Coromandel coast, India, used for chintz naffermamy - not found saxlingham - not found prunelloe - prunella; worsted for women's gowns, petticoats, shoes; academic gowns barragons - coarse fustian (cotton), strong & twilled, for men's cheap clothing druggets - wool or wool/silk, sheer or thin, narrow weave goods, England and US florettas - 18th C. glazed worsted dress fabrics, Norwich, small lozenge & zigzag patterns; from fleuret or waste silk (French).




Subject: Marseilles Quilts From: "Kathy Moore" <KathyMoore@neb.rr.com> Date: 

Regarding Candace Perry's request for information on the Marseilles coverlet, I researched these for a term paper for Dr. Pat Crews in her History of Quilts class last spring semester at Univ. of Nebraska. What I learned is that the term Marseilles was originally used for beautifully and professionally quilted pieces done by professional seamstresses in Marseilles, France in the 1700s and 1800s. They were expensive and highly prized by royalty and the landed gentry in Europe; frequently done on commission for weddings and birth events. Some of them made their way to the colonies even though there were legal restrictions on trade of these textiles. In the early 1800s when industrial weaving machines began to be used they were quickly employed to weave facsimile "Marseilles" coverlets which were much more affordable and became very popular. I believe these were a form of double cloth woven goods; not quilted, whole-cloth goods. They were also referred to a "Marsels". Sally Garoutte wrote an article about both of these goods for Uncoverings (sorry I don't have the date handy) and Kathryn Berenson wrote an article about the quilts for Uncoverings in 1995. She also has published a fabulous book with many beautiful color plates illustrating the quilted pieces, Quilts of Provence. I think the book is now out of print, but I recently obtained a used copy through Amazon.

Hope this helps.

Kathy Moore


Subject: RE:Fine Fuse formulation From: "Margaret E. Geiss-Mooney" 

Good evening, all - After I googled "Fine Fuse", one of the websites (all retailers of the product) stated that it is "made of strong nylon". Another name for nylon is polyamide polymer. So, yes, the chemical makeup is the same as those investigated in the UNL Special Report on quilting adhesives. But as the two authors said in the report: "It is also clear that knowing the general chemical classification of an adhesive provided on a product label is not enough information to make an informed decision, since the two polyamide products (Stitch Witchery and Wonder-Under) behaved very differently from each other." But Stitch Witchery exhibited significantly greater amounts of colour change and Wonder-Under exhibited significant product bleed-through. "The fusible webs evaluated, while acceptable for 10 to 20 years, could not be recommended for quilts intended to be handed down from generation to generation or for studio art quilts intended for sale to serious collectors or museums." Regards, Margaret (Meg) Geiss-Mooney Textile Conservator Professional Associate, AIC in beautiful Northern California mgmooney@moonware.net





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