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Subject: vogart patterns From: ikwlt@cox.net Date: Sun, 09 Nov 2003 21:41:04 

just this evening i was at a party when a friend took me out to her truck to show me her "find." the lighting was poor, but i immediately recognized the vintage aunt martha patterns that were in the box. too many and too dark to look thru tonite, but there were also some transfers that i haven't seen before so i brought one home to see what i might find out about it. it is a vogart pattern, this one happens to be #215 which is "a flower a day for your kitchen" and has artwork depicting the designs on tea towels, an apron, placemats and napkins. on the back bottom it says "VOGART CO., INC., 275-7th Ave. N.Y., N.Y. 10001" all of the patterns appear to be unused and uncut. i've found references to vogart patterns on the internet, mostly e-bay auctions and websites that sell vintage items, but no real information about them. can anyone give me something concrete? thanx so much. patti in scorched san diego


Subject: Ladies Work Society From: jlgunter@comcast.net Date: Mon, 10 Nov 2003 

I am acquiring a quilt that has a connection with the English Ladies Work Society. The society orginated in Brompton Road, London and then moved to Oxforshire. That is all I know about them, and I am looking for additional information about the society. Could anyone direct me to a source of information, or provide anything else about the history of the group? Thanks.

Judi Gunter


Subject: Cyclamen Quilt...kit? From: "Julie Silber" <quiltcomplex@starband.net> 

Has anyone seen another of this design. It is definitely a kit -- it still has its little blue dots. But which company and when... anyone know??? Thanks Julie Silber  (click on the thumbnails below)


Subject: Re: Ladies Work Society From: "Celia Eddy" <celia.eddy@btinternet.com> 

Dear Jan,

In issue 3 of Quilt Studies, the Journal of the British Quilt Study Group, published in 2001, there is an article by Bridget Long entitled A Study of a Late 19th Century Appliqué Coverlet. The coverlet was made by the Ladies Work Society and the article contains information about the Society as well as a full description of the coverlet.

I'm sure that Bridget would be happy to give you further information about the Society and if you contact me privately I will give you her details.

Please reply to me at celia.eddy@btinternet.com

Celia Eddy


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

Our version of historic relic in this story about John Brown's (a Connecticut son) death would be the quilt. Don't you just have to wonder what became of it? sue reich

Herald and Torch Light Hagerstown, MD December 19, 1889

JOHN BROWN’S IRONS Historic Relics That Once Served Beecher for an Object Lesson.

James N. Atwood, of Livermore Center, ahs in his possession the veritable “leg irons” worn by John Brown during his imprisonment previous to being hanged. H. Atwood, Jr. (Company I, First Maine Volunteers) was at the jail shortly after John Brown’s death. The officers in charge of the buildings vouched for the identity of the irons at the time and Mr. Atwood was thoroughly satisfied with the proof. He also formed the acquaintance of the old negro and his wife who had the care of the cell where Brown was confined. On the day of the execution the old man, being afraid that he should forget which pair of irons it was, tore a strip from the key of the shackles, but the old negress, his wife, said: “Law! I didn’t forgit de whole nuttin, for it was de only pair o’ irons in de whole jail where de key turn de wrong way.” (It was a left-handed key.) Untying the dirty strip of calico from the key, Mr. Atwood went to Brown’s cell and found the torn place in the quilt, the figure of the cloth matching perfectly. Mr. Atwood tried to buy the shackles from the authorities, but they good naturedly told him they had no right to sell; then he made this proposition: “If those irons should disappear and a new pair be found hanging in their place would there be any investigation?” They answered him, “probably not.” He then paid eight dollars for a new pair and made the transfer on his own responsibility. The shackles were sent home to Mrs. H. Atwood, Jr., but the journey was interrupted several times. Rev. Henry Ward Beecher took them upon the lecture platform. They were on exhibition for a week in Portland, Me. The Portland Historical Society were very anxious to get possession of them. The society’s rooms were destroyed afterwards in the great Portland fire. For a few years previous to the death of H. Atwood, Jr., the shackles have been on exhibition in the museum in connection with the Boothbay Custom House. Mr. Atwood, after returning from his services to the war, entered the Free Will Baptist ministry. He was a brother to James N. Atwood, who now has these shackles in his possession. The present proprietor prizes them very highly, and says that they are not for sale, being almost the only souvenir he has of his departed brother.


Subject: Ground Zero Quilt From: WileneSmth@aol.com Date: Tue, 11 Nov 2003 

I don't know if this is "old news" or not, but if not, it's an amazing piece of work by Lois Jarvis of Madison, Wisconsin.

Ground Zero Quilt

Click on the image of the quilt repeatedly and it will zoom in and zoom in until you can see the faces of the people who perished in NYC that awful morning. Then scroll down to the bottom of the page and click on the various links for more about the quilt and its maker. --Wilene


Subject: Re: Kirigami From: "Celia Eddy" <celia.eddy@btinternet.com> Date: Tue, 

Does anyone know of any ways in which the Japanese paper folding craft is applied to quilt making today?

Thanks in advance for any information.

Celia Eddy


Subject: Re: Cyclamen Quilt...kit? From: JBQUILTOK@aol.com Date: Tue, 11 Nov 

The flower gets lost in an image of a face when I look at that -- it probably wasn't a best seller!

Janet Bronston


Subject: Photo library From: "Carol H. Elmore" <celmore@ksu.edu> Date: Tue, 11 

I recently learned about the following digital photo library from Indiana University through one of our library lists:


I typed in quilts in the search box and got several images with quilts.

It's an interesting collection of photographs/slides that I thought some of you on the list might be interested in viewing. Probably all of your Indiana people already know about it.

Indiana University has other digital collections at this website:


The Hohenberger collection also has quilt images. Maybe some others do too.

Carol Elmore Manhattan, Kansas

Carol H. Elmore Research Services Librarian Veterinary Medical Library College of Veterinary Medicine Kansas State University Manhattan, Kansas 66506


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

No more sad stories of veterans and the Civil War. To honor those brave men and women who have sacrificed for our freedoms, this poem that is a return to Autumn is most appropriate. sue reich

New Oxford Item New Oxford, Pennsylvania November 13, 1891


There is a purple peacefulness that covers nature’s features. Like a many-colored-bed-quilt o’er a baby’s trundle bed, Nature covers all us children, nervous, tired little creatures, Nervous, tired little children, whether Princes, popes or preachers; When the leaves turn red.

And she spreads her gaudy bed-quilt, all aglow with golden glory, For she knows ‘twill please her children and decoy them off to bed. They drift off in their gorgeous cribs, like babies in a dory. Down through misty, hazy valleys that we read about in story; When the leaves turn red,

A balm that’s full of sleepiness envelopes hill and river, An air that’s full of sweet content o’er all the earth is spread, We know we dream, and yet we pray to be awakened never, For ‘tis the prayer of every soul to dream right on forever; When the leaves turn red. - S.W. Foss, in Yankee Blade


Subject: Speech From: "Pilar Donoso" <quiltpd@mi.cl> Date: Tue, 11 Nov 2003 

Dear Ladies:

I read everyday your notes and I try to learn something new from all of you and keep notes when I can. I am a History teacher, but before that, I am a Passionate Quilter and Teacher. Tomorrow I am taking a bus for 11 hours to go to the north of Chile to talk about Quilt History to a group of Quilters. I don´t think I am ready because every day I discovered something I didn´t know before (Thanks God for that), and I am nervous about talking in front of people I don´t know.

I would like to thank everyone of you for sharing your knowledge and the help I received from some of you in some specific subjects. I hope my brain will go along with me in this trip

I think I will open this 4 days exposition, forum and speeches with Pat Cummings letter "Para mis amigas", with her permission of course. Thank you Pat.

Wish me luck Thanks Pilar Pilar Donoso I. Santiago, Chile quiltpd@mi.cl


Subject: Re: Speech From: "judygrow" <judygrow@patmedia.net> Date: Tue, 11 


I am sure you will do very well! I gave my first speech in October and got some very good advice beforehand from two knowledgeable ladies on the list.

From Xenia, I was told that "an expert is someone from the next state who comes with slides." As you are travelling 11 hours, I am sure you will be coming from far enough away to be considered from the next state.

From Judy R. I was told, "When you speak to historians concentrate on quilts, and when you speak to quilters concentrate on history!"

Both pieces of advice helped me trememdously. Good luck to you! Let us know how it all went when you get back home.

Judy in Ringoes, NJ judygrow@patmedia.net ----- 


Subject: origami fabric folding From: <chrisa@jetlink.net> Date: Tue, 11 Nov 2003 17:16:06 -0800 X-Message-Number: 9

Hi Celia- This book may help you with your question. I believe this author has also written book on folding fabric and applique.

FOLDED FLOWERS : FABRIC ORIGAMI WITH A TWIST OF SILK RIBBON , Kumiko Sudo Breckling Press 2002  (Click on the title for more info)

Kim Wulfert


Subject: RE: 19th century quilt poetry and prose From: "Candace Perry" 

Just happened upon the John Brown story. I worked for a MARVELOUS historical society in Louisville called the Filson Club (some good quilts there, unfortunately no museum curator at this time) and we had, among our oddities, a scrap identified as the a fragment of the blanket John Brown slept under...I do believe it was a brown check hand spun linen, but that was a long time ago... Incidentally, the Filson has some of the most significant Lewis and Clark collections in the country. Apparently they have a new exhibit downtown on L & C -- so if you're in Louisville it's a must see (along with my other old stomping grounds, the KY Derby Museum). Candace Perry


Subject: Origami From: "Sandra Wilcox" <sgwilcox@worldnet.att.net> Date: Wed, 

There's a recent quilting book on exactly that topic. It's called Quiltagami. The book covers technique rather than history. I believe Kumiko Sudo's last 2-3 books on pieced flower designs in the Japanese style are based on origami as well. Rebecca Watt's book Fabulous Folded Flowers (I think that's the exact title) seems to include ideas similar to origami. Again, this is all contemporary quilting. You could also check out Jackie Robinson's book on Three Dimensional Quilts. One shortcut to making the old bow-tie block involves an origami technique, but I don't know where that originated. Hope this is useful. Sandy Wilcox


Subject: 19th century quilt poetry and prose connection From: 

I was hoping that someday, one of these newspaper accounts would trigger someone's memory of a quilt relic that was buried in a museum or historical society. It would be hard to prove without DNA analysis that it was in fact used by John Brown, however, I hope that we all keep looking and not discount these odd findings. Do you think I should send the John Brown article to the museum? sue reich


Subject: RE: 19th century quilt poetry and prose connection From: "Candace Perry" 

Sue, I would love to say yes, that someone would know what this was all about, but I fear I was really the last curatorial type they had there (as far as I know!), and I was last around, in a part time capacity in 1998. I am sure they would call me up and say what the heck was I talking about? It's almost like the blanket, or whatever it was, was cut up as relics of the great man. Candace Perry


Subject: origami From: "Laura Fisher" <laurafisher@netlink1.net> Date: Wed, 12 

japanese quilt expert Kei Kobayashi wrote a book several years ago = showing how to create any quilt pattern using origami. I think it has = been translated into English. The American Folk Art Museum Library may = have it.


Subject: Textile conservation site From: danabalsamo@yahoo.com Date: Wed, 12 

Hi all, I apologize for the cross posting:

Went to the Newark Museum Quilt seminar last weekend...fabulous!! There was a speaker who was a textile conservationist who was very informative, albeit I wanted to question one thing she said...when conserving pieces, she stated that they would rather use fabrics stronger than those previously used, rather than a period piece. Hmmm... So in my search to trying to find her online to question her (Judy Grow, please check her bio in back of the newsletter I gave you...she's the young one in the upper right hand corner on the back page...Kate Barker, is there any info on her?) I went to the website her newletter had on it and it is a fabulous site!


Explore it all and all its links. There are all sorts of archived newletters with all sorts of info about quilts and fabric, and various texiles, folding and restoring and hanging. I need a new printer cartridge...I ran out of ink!

Check all the bibliography for the newletters Check this one out, this is where Kate Barker was affiliated:


Look at all the links of the RAP members (Regional Alliance for Preservation).

Make sure the hubby is tied up, kiddies are to bed, and you have a cup of coffee...you'll be awhile.

Enjoy, Dana 


Subject: teal/brown/cheddar From: Gaye Ingram <gingram@tcainternet.com> Date: 

Several weeks ago, Lynn Gorges raised question re "quilts made up of teal/brown/cheddar fabrics in the last quarter of the 1800's, which show up the most (but not only) in the southeastern US."

There has been little response that I've seen.

Lynn's question was two-fold, I think:

1) Is there a regional connection in these colors and if so, why?

2) Do they reflect a fashion or other, larger color trend of the late 19th century?

It would be interesting to hear from members re their own experience/knowledge about such quilts and the basis for their popularity.

As Lynn noted in her query, many of these with brown are mistakenly identified as "faded"/"fugitive" greens, when in fact, the fabric color was that dun-brown color from the outset.

From the hills of North Louisiana, where summer just keeps coming back, gaye





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