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Subject: RE: Cloth of Gold and quilting patterns From: "Jocelyn" 

I just bought a quilt top. The patchwork blocks (a multicolor 1930's print and white) are in a pattern I've not seen before, reminiscent of Xquisite, but forming elongated stars, not Xs. It has 4 borders attached, all plain Cloth of Gold white. Obviously this top was made by someone who could do some fancy quilting. The borders are almost as big as the pieced top! Unfortunately, there's no indication of what she intended to use as quilting patterns.

At our guild meeting last night, we had miniworkshops. A woman teaching hand-quilting said that she never uses templates, because by drawing her designs freehand, she can more easily get them spaced evenly, and the slight variations in the designs look better to her, anyway. What do the rest of you do for marking quilting patterns?


Subject: Quilt Repairs From: "Pam Weeks Worthen" <pamworthen@hotmail.com> 

If any of you in New England know of folks here who restore/repair/conserve quilts, will you please answer me privately. I need to develop a list, as folks are constantly asking me for recommendations, and the only person I am aware of is Jan Dreschler. Any one closer to me in southern NH,southern Maine or northeastern Mass? Thanks!

Pam iin NH where the sun is actually out and expected to shine for another 3 mintues!


Subject: NH Signature quilts From: "Pam Weeks Worthen" 

Awhile back, several of you were kind enough let me know privately that you have quilts from NH in your collections. If any of these are signatrue quilts, would you be so kind as to contact me again privately?

And if any others of you know of any NH quilts that are published, (I have leafed through ALL of the books I have in my humble collection and found a few) besides Farrar/Silber's book, "Hearts and Hands", and Lipsett's" Remember Me", please let me know, as well

At this point, I just need to know the block used and the date if possilbe.

thanks a MILLION in advance!

Julie Silber, would you please be so kind as to contact me if the two NH quilts in your book are dated? Thanks!

Pam Weeks Worthen


Subject: Fusibles From: "Avalon" <malthaus@idcnet.com> Date: Thu, 13 Nov 2003 10:33:01 -0600 X-Message-Number: 3

What is the website address re: the study of fusibles?



Subject: ugr again From: ikwlt@cox.net Date: Thu, 13 Nov 2003 13:02:14 -0800 X-Message-Number: 4

i've just received judy martin's newsletter that says it goes out to "12,269 dedicated quilters" and the UGR quilt code is active again. here is what her newsletter said, and then i went to the link to read the newspaper article. i will write to judy and send info that i hope she includes in her next newsletter. if you'd also like to contact her, her website is http://www.judymartin.com

QUILTS AND THE UNDERGROUND RAILROAD A fascinating article from a Baton Rouge news channel details the role of quilts in helping runaway slaves find safe havens on their journey to freedom.



Subject: UGRR From: Kris Driessen <krisdriessen@yahoo.com> Date: Thu, 13 Nov 2003 15:13:48 -0800 (PST) X-Message-Number: 5

You know, you have to wonder sometimes. A bunch of white ladies go to the library to research the Underground Railroad and discover the amazing truth: they used quilts to identify safe houses! According to the article, slaves had to see a wagon wheel block in a quilt to know their journey was to begin. The Bear Paw block was to tell them to follow bear tracks through the mountains. (Hope they didn't look for bear tracks that looked like the bear paw blocks.) (How did the bear know he was supposed to go north?) The bow tie block was to remind them to dress nice so they would blend in when they got north. Well, duh.

Maybe we should just give up. There is no proof it DIDN'T happen. (Of course, there is no proof aliens DIDN'T land at area 51, but that is beside the point.)

All sarcasm aside, I do believe that quilts may have been used as indicators. Deborah Hopkinson, who wrote Sweet Clara and the Freedom Quilt, once commented that she was inspired to write the story based on an 1920's interview of a slave descendant she heard on the radio. (I have no idea what inspired her to write the lesson plan at http://www.macomb.k12.mi.us/ugrr/jhlesson1.htm) I don't doubt that a quilt on a line was used on at least one occasion to indicate that a house was safe at a given moment. It's logical! It can be put out quickly, removed just as quickly and not draw any unusual attention. However, the idea that quilt blocks - most of which were not named in the 1800's - indicated certain paths is just silly.

I am going to E-mail the writer and refer him to an article written by Giles Wright, a black historian: http://historiccamdencounty.com/ccnews11.shtml Maybe it will help.



Subject: RE: qhl digest: November 09, 2003 From: Jackie Joy <joysbees@yahoo.com> Date: Thu, 13 Nov 2003 16:02:55 -0800 (PST) X-Message-Number: 6

I would like to get a copy of the border quilting design. Does anyone know if it has been published and where?

Jackie Joy Reno, Nevada

Julie Silber <quiltcomplex@starband.net> wrote:

Ooops, forgot the link for the Cyclamen quilt I'm asking about:


Anyone know its origin?

Julie Silber


Subject: Re: UGRR From: Gaye Ingram <gingram@tcainternet.com> Date: Thu, 13 Nov 2003 19:29:32 -0600 X-Message-Number: 7

on 11/13/03 5:13 PM, Kris Driessen at krisdriessen@yahoo.com wrote:

> You know, you have to wonder sometimes. A bunch of white ladies go > to the library to research the Underground Railroad and discover the > amazing truth: they used quilts to identify safe houses! According > to the article, slaves had to see a wagon wheel block in a quilt to > know their journey was to begin. The Bear Paw block was to tell them > to follow bear tracks through the mountains. (Hope they didn't look > for bear tracks that looked like the bear paw blocks.) (How did the > bear know he was supposed to go north?) The bow tie block was to > remind them to dress nice so they would blend in when they got north. > Well, duh. >=20 > Maybe we should just give up. There is no proof it DIDN'T happen. > (Of course, there is no proof aliens DIDN'T land at area 51, but that > is beside the point.)


I think Dr. Wright's article is about the best we can do with most people, especially journalists, who are always looking for a novel twist.

I think that a comparative study of the methods used by other groups who operate underground will suggest to most intelligent people the extremely complex and deeply secretive and convoluted means that normally used as communication tools for such groups.

Those of us who have lived our lives in the Deep South understand intuitively how superfluous a system like quilt signage would be in an operation like the UGRR---and how dangerous. And, if I may make so bold, ho= w stupid. Like those today who leave their native lands for better opportunities in other countries, the people who fled slavery were the most intelligent of their group. Daring, imagination, and risk-taking are factor= s in intelligence. As most slave narratives and plantation records make plain= , they had developed a highly sophisicated system of communicating with other slaves and of recognizing dangers both within and beyond their own group. One who reads these materials and journals of the day will lose count of th= e times a white (or, in sections of Louisiana, a Negro) slave mistress expresses shock upon learning that a slave whom she believed her closest friend and in whom she had the most confidence had fled for the North and freedom.=20

Folklife studies abound in documented accounts of some of these communication modes.

The Br'er Rabbit stories are classic studies of how a minority lacking official or real power deals with a group that holds power. Stealthily. Craftily. Secretly. And always warily.

These New Orleans women who made the N.O. newspaper=AD=ADI cannot but wonder if they have lived in Louisiana or the South for any length of time or if they have been actually known African-Americans who have lived in the area for any length of time. Are they surburbanites who are effectively segregated from routine contact with people who must work around the powerful? It boggles my mind that anyone could grow up in South Louisiana, where tales o= f slave uprisings and their disastrous consequences are still routinely told, could engage in such fantasy.

As for the reporter, who obviously did not research her story, I can only wonder why she must turn to such stories for novelty. In our parish alone, we have recently had a convenience store held up by a dart-wielding bandit; a cross-dressing, gun-toting robber enter a bank and take all he Dum Dum suckers normally given to children of patrons (police nabbed him by following the trail of candy wrappers---so help me, that is true); a hardware store held up by a wannabe thief who could only find a 2x4 board for a weapon (He was upwardly mobile and was trying to secure a gun, which, of course, the owner refused to give him, 2x4's being ever so much easier t= o dodge than bullets); a giant gorilla-shaped balloon stolen in broad open daylight from the skies above a car agency----well, wondrous things happen here that defy the imagination. But they can be verified. And verification is what good reporting requires.

I intend to write the N.O. paper and follow with a telephone call the edito= r who signed off on this story. But maybe I should just go spit in the wind.

From the hills of North Louisiana where the wind is once again cold, gaye=20


Subject: Re: UGRR From: "Patricia Magyar" <magyars@earthlink.net> Date: Thu, 13 Nov 2003 20:39:04 -0500 X-Message-Number: 8

Gaye-Keep writing! I doubled over laughing and had to read your email aloud to my husband. Go, go, go girl! Pepper



Subject: Re: Japanese folded patchwork From: "Celia Eddy" <celia.eddy@btinternet.com> Date: Fri, 14 Nov 2003 12:22:44 -0000 X-Message-Number: 1

This is a multi-part message in MIME format.

Thank you to everyone who sent me information about origami and = kirigami.

Another question: Japanese folded patchwork is now a popular technique; = is it true to say that it is simply a modern adaptation to quilt making = of the traditional craft of paper folding? I think this may be the case = since no mention is made of it in any of the standard works on Japanese = quilts, for example Jill liddell's book.

Celia ----- Original Message -----=2


Subject: Re: NH Signature quilts From: "Lynne Z. Bassett" <lzbassett@comcast.net> Date: Fri, 14 Nov 2003 09:09:27 -0500 X-Message-Number: 2

Dear Pam,

There is a New Hampshire signature quilt in my exhibit at Historic Deerfield. It was made for Dr. Ransom Noble Porter (1823-1883) in 1850 by members of the Unitarian Congregational Church of Dublin, NH. The pattern is an eight-pointed star similar to Brackman #1631c, set on point. The catalogue for the exhibit, in which this quilt is pictured, should be out any second now. (It has been promised for over two months, but keeps on getting delayed for one reason or another--grrr!) So, if you're interested, please check with the Historic Deerfield book store to get a copy.

Good luck with your research!

Best, Lynne ----- Original Message -----


Subject: quilt frame for sale From: "Lisa Erlandson" <quilter@cooke.net> Date: Fri, 14 Nov 2003 08:34:07 -0600 X-Message-Number: 3

Good morning all, With Kris' permission, I would like to let any interested party know that I have a Hinterburg Classic Quilting Frame (large!) that I would like to sell to a loving home. Please contact me privately at quilter@cooke.net if you are interested. Thanks, Lisa Erlandson


Subject: Not the UGGR From: "Ann-Louise Beaumont" <albeaumont@comcast.net> Date: Fri, 14 Nov 2003 07:54:23 -0700 X-Message-Number: 4

I have been pondering the point that, for me, exposure to the HIPV controversy has broadened my horizons. I am more aware of the work of African-American quilt historians. It has made me aware of my ignorance of aspects of Canadian history, let alone of southern US history. I have been able to read Drew and Stills and learn a bit about the people involved. As far as quilting is concerned, this fall I did get to see 3 quilts that were certainly thought-provoking.

 The first two were in the African American Museum in Dallas (Part of the city-wide Quilt Mania exhibit).One was a crazy quilt with interesting and very linear floral motifs. The vision was different from the crazy quilts I had seen in the north-east. The second one was pointed out by the museum curator. He is aware of the controversy, yet he wonders about the significance of some very linear geometric designs couched in beige thread on a beige fabric in what I would call a utility quilt. There is also a triangular, arrowhead-like shape at the end of one of these lines. One could read anything into these symbols. They are quite deliberate. The couching seems to extend into the seam allowance, but this may be an assumption on my part. Definitely a mystery quilt. 

The third quilt was an amulet quilt made by Margaret Williams in Denver. She made a copy of a quilt that had affected her deeply that she had seen in Frys "Stitched From the Soul". A photo of her quilt was included in a Denver Post article advertising the exhibit " Qulting and the Quest for Freedom" held at the Stiles African American Heritage Center in Denver. Jacqueline Tobin was to give a presentation on HIPV. However, Tobin's presentation was not what made me want to go to this exhibit.The photo of this quilt -the shapes and their placement on a white background- knocked my socks off, and, I know this is a real stretch, reminded me of the shapes and placement in the pictures I had seen of the Levens Hall quilt in Britain. 

Why do some shapes affect us so powerfully? Anyway, I got to talk to Margaret, a very interesting woman who also does historical reenactments, and got to eat a teacake and expanded my horizons. My husband was with me, and no matter how hard he tries, he was a lump of misery, so we left long before the Tobin presentation. So now, I need to find a copy of Fry's book to find out what is published about this quilt and will surely learn more along the way. Best Wishes, Ann-Louise Beaumont in Greeley, CO


Subject: Re: Not the UGGR From: Kris Driessen <krisdriessen@yahoo.com> Date: 


Stitched from the Soul: Slave Quilts from the Antebellum South was reprinted and can be purchased from Amazon at http://www.amazon.com/exec/obidos/ASIN/0807849952/quiltweb/ 

The book description reads: "This richly illustrated book offers a glimpse into the lives and creativity of African American quilters during the era of slavery. Originally published in 1989, Stitched from the Soul was the first book to examine the history of quilting in the enslaved community and to place slave-made quilts into historical and cultural context. It remains a beautiful and moving tribute to an African American tradition.

Undertaking a national search to locate slave-crafted textiles, Gladys-Marie Fry uncovered a treasure trove of pieces. The 123 color and black and white photographs featured here highlight many of the finest and most interesting examples of the quilts, woven coverlets, counterpanes, rag rugs, and crocheted artifacts attributed to slave women and men. In a new preface, Fry reflects on the inspiration behind her original research--the desire to learn more about her enslaved great-great-grandmother, a skilled seamstress--and on the deep and often emotional chords the book has struck among readers bonded by an interest in African American artistry"



Subject: Re: Not the UGGR From: "Candace Perry" <candace@schwenkfelder.com> Date: Fri, 14 Nov 2003 10:32:06 -0500 X-Message-Number: 6

I find this very intriguing, as I have worked in two southern museums -- one associated with the NC Museum of History -- and "slave" artifacts of any sort were VERY rare and nearly impossible to document. Candace Perry


Subject: Re: Not the UGGR From: <gingram@tcainternet.com> Date: Fri, 14 Nov 2003 11:54:16 -0600 X-Message-Number: 7

> > From: "Candace Perry" <candace@schwenkfelder.com> > Subject: [qhl] Re: Not the UGGR > > I find this very intriguing, as I have worked in two southern museums -- one > associated with the NC Museum of History -- and "slave" artifacts of any > sort were VERY rare and nearly impossible to document. > Candace Perry > I agree, Candace, though Gladys-Marie Fry's book does a what I believe to be a good job of showcasing the work of slave quiltmakers. Moreover, it draws upon a variety of contemporary primary resources to provide a context for understanding both the nature and variety of the quilts produced by slaves and the difficulties involved in documenting them. For me, the book is worth the photographs of former slaves alone, though its real value is far greater.

The documentation of slave-made objects, as you observe, is simply hard to pin down as firmly as one would wish. Most often Fry must rely on what many state quilt documentation teams have used---the stories of families in which the quilts have passed down (usually white families), along with a jot or tittle of some corroborating information.

This book came as a great joy to me, a Southerner, and I had hoped it would lead to further explorations of the relationship between African-American and Anglo quiltmaking traditions. In general, the South has lagged in the study of its region's quilting traditions and there is much work to be done in such areas as these. The very nature of slavery makes the cross-cultural study of African slave traditions and Southern/Anglo traditions more difficult than, say, that involving the Pennsylvania Germans and the Scots-Irish/Welsh or other groups. But it is subject that deserves serious study, I'm convinced.

As for the curator of the African-American exhibit on the State Fair grounds in Dallas, it is well to recall that he was dealing in conjecture. His background is in fine art, and he is new to the study of African-American art forms and the methods of folklife study, as he readily admits.

One thing I hope will grow out of our Deep South Quilt Study group is the focusing of more attention to the varied cultures within our region and their distinctive contributions to quiltmaking---and in discussing their interactions. I'm not at all sure archival and genealogical resources have been exhausted in identifying extant slave and African-American quilts. There are many discoveries to be made, I think.



Subject: Re: UGRR From: "jajb" <anne_j@worldnet.att.net> Date: Fri, 14 Nov 2003 


I've become more and more curious about the origins of the UGRR myths. Thanks for this bit of information. A lady on another list shares hearing the story about quilt being hung on a porch as a signal in 1950. Although HIPV made the myth more widespread I thing it has been floating about for a long time.

I'm sure there were seeds that got these stories going, perhaps rare occasions where a quilt signal was set for a specific situation or perhaps somehow the stories got going after the Civil War.

I was glad to see that Kim Wulfert's article comes up on top in Google when I searched 'UGRR quilts'. It comes out pretty high in related search phrases. I'm hoping a lot of teachers, reporters, etc will start finding more accurate information this way.

The way Google works the more people link to Giles R. Wright's article at http://historiccamdencounty.com/ccnews11_doc_01a.shtml and Kim's at http://www.antiquequiltdating.com/ugrr.html the higher those pages will come out when people search so those who have sites and want to promote accurate information can help by linking.

Judy Anne



Subject: Quilt Nirvana-part 1 (long) From: "Cinda Cawley" <lrcawley@dmv.com> Date: Fri, 14 Nov 2003 23:19:31 -0500 X-Message-Number: 10

In the teeth of the great wind storm of 2003 I ventured across the Bay Bridge yesterday to see the Baltimore Album Quilt exhibit at the Baltimore Museum of Art. If you can visit Baltimore before May you'll have a chance to see a spectacular display of these amazing quilts. It was the prospect of a gallery talk by the curator Anita Jones that led me to defy the elements. I learned a lot! There are about twenty quilts, all but one from the Museum's collection, and a number of blocks. Many of these quilts were in Dena Katzenberg's historic 1981 exhibit at the BMA and have not been exhibited since. Others have never been displayed before. . I suppose the star of the show is the Samuel Williams Quilt (1846-47) with its incredible triple vine border. This quilt which has all the Baltimore bells and whistles has been reproduced by the Baltimore Applique Society. The copy will be raffled to benefit the Museum. Call the BMA gift shop (410-396-6338) if you want to buy a ticket ($5.00). 

I am not even a member of BAS. I'm just tipping you off to a great opportunity. It is the most incredible reproduction you could ever imagine. The BAS tried to match every fabric exactly. Susan McKelvey duplicated the intricate inscriptions and drawings. It's glorious! That said, I must confess that the Samuel Williams is not my favorite. The quirky and less gorgeous always appeals to me. I was charmed by the first quilt I saw as I entered the gallery. Made by a member of the LeCompte family c. 1845. It has simple straight cut borders and sixteen rather naive blocks including a charming little fire engine and fireman. I also like the simplified version of the epergne of fruit so lavishly rendered in other Baltimore Albums. A really nice touch at the entrance is a case displaying stencils and stamps from Susan McKelvey's collection. A worktable with a lyre base and a sampler featuring a bouquet similar to the floral designs often found on the quilts offer a great illustration of the objects that might have provided inspiration to the quiltmakers. The Mary Everist Quilt (c. 1847-50) is another favorite of mine. It was a gift to the Museum from Dr. Dunton himself. The drop-dead feature of this quilt is the incredible red running feather border in reverse applique. I've seen this quilt before, but it always amazes me.

 The biggest quilt I've ever seen (maybe the biggest quilt ever made 127" by 142") dominates one end of the gallery. It's hard to imagine what kind of bed it was made for (the Great Bed of Ware at the V&A comes to mind). It has sashing of the most exquisite turkey red stripe and a clunky border that is so awful you have to love it. I find great consolation in the shortcomings of our foremothers. The one quilt that does not belong to the BMA is the John Wesley Quilt. I'm not sure if this is its acknowledged name but an inked portrait of the founder of Methodism is the central feature of the quilt which also has an Odd Fellows block and a couple of wonderful blocks incorporating human figures along with usual florals etc. the quilt was found among the left items at a Methodist retirement home in the Baltimore suburbs. Katzenberg wrote in 1981 that "at least fifty such specimens...have been identified." Now over three hundred are known and surely there are more still to be discovered. 

The Elisabeth Sliver Quilt (1849) is the one with the five glorious baskets which is often included in books and articles on the Baltimore quilts. Its near twin is at the Metropolitan in New York. I never realized until Anita's talk that the four baskets around the large central motif of flowers, basket, book and bird surrounded by swags are labeled: Chinese Basket, Swiss Basket, Wicker Basket Rustic Basket. Why? Were these basket shapes advertised in some publication or an article about flower arranging? So many mysteries. I'm going back to Baltimore soon. I need another afternoon to read the captions and to look and look and look. Another plus is that the BMA has a very nice restaurant, Gertrude's. Pats 2 and 3 of Quilt Nirvana are on my schedule for Sunday and Tuesday. I'll be back! 

Cinda on the Eastern Shore (I'm sure I've told you this before but FYI the western shore (a.k.a. the rest of the USA) is never capitalized. The Eastern Shore is always capitalized.


Subject: Not the UGGR again From: "Ann-Louise Beaumont" <albeaumont@comcast.net> Date: Sat, 15 Nov 2003 07:25:09 -0700 X-Message-Number: 1

Gaye wrote "As for the curator of the African-American exhibit on the State Fair grounds in Dallas, it is well to recall that he was dealing in conjecture. His background is in fine art, and he is new to the study of African-American art forms and the methods of folklife study, as he readily admits. " When I mentioned the curator pointing out the quilt with the geometric markings, I did not mean to imply that the curator linked this quilt to the UGGR. He simply pointed it out as an oddity. He did not speculate at all about its meaning, neither did I mean to link it to the UGGR. It is an interesting object that may or may not have any meaning. I wondered if the designs were already on the fabric before it was cut up for the quilt. In that case, the designs would have extended into the seam allowance. Best Wishes, Ann-Louise Beaumont in Greeley, CO


Subject: 19th century quilt poetry and prose (Ad - the roads of Texas are paved with quilts!) From: <mreich@attglobal.net> Date: Sat, 15 Nov 2003 14:48:28 -0500 X-Message-Number: 2

I wish that I had found this ad before the Dallas Seminar. I would have been more observant as I traveled the highways and byways around Dallas. You, Texas ladies certainly showed us a good time and shared many quilts, but you were holding out on us. sue reich

Appleton Post Crescent Appleton, Wisconsin May 29, 1937

Cotton Quilts Used To Build Texas Roads Austin, Tex. Texans use old-fashioned cotton quilts to build concrete highways. Cotton mats - which official say are nothing more than quilts - are used in "curing" newly laid pavement. It started as an experiment to develop a new use for the state's chief crop but officials found that the mats when wetted and placed on new paving for 72 hours were more efficient than burlap - imported from India - for their purpose. The moist cotton maintains a constant temperature and prevents the surfacing from cracking. The department has used some 20,000 mats. The same mats can be used many times.


Subject: Request for info From: "Lorraine Olsson" <sven@pnc.com.au> Date: Sun, 16 Nov 2003 13:43:57 +1100 X-Message-Number: 3

Hello All, I have been quiet for long while, (with relocating our business, = working on a building development, and having my Dad ill all year and = losing him a just few weeks ago) so I have not had the time to dedicate = to my lovely quilts. I have stayed in touch through all of your letters = though.=20

The letter listed below, came into my mail box today, and as I am not up = to answering the request, I am forwarding it you all of you = knowledgeable folk to work on.

Cheers, Lorraine in Oz

I found you listed on this addy below. I'm doing research and thought I = would write you a line or two in hopes of a few leads. http://www.quilthistory.com/links.htm

I was wondering if you could tell me where I could find historical = information on four topics.

I'm researching wholecloth quilts and was wondering where I could find = wonderful examples of wholecloth or counterpanes and the history of = wholecloth.

Secondly, I was on the hunt for historical information on = machine-quilted quilts. I know when the sewing machine was invented; = the odd quilt was quilted by machine to save time. However, I seek = leads on historical information and examples anywhere in the world. =20

Thirdly, any historical information on the domestic, commercial = sewing/quilting machines.

Fourthly, any historical information of the origins of the Mariners = Compass quilting block. =20

Thank you, for your valuable time in assisting me in my quest. I look = forward to hearing from you in the near future.

Forever in Stitches

Quilt Dyenamics

C/O Jane Vester=20

10 Bennett Road

Commanda, Ontario

P0H 1J0



Quilt Instructor & Machine Quilting Service


Subject: Re: Request for info From: "batwoman522 aka arlene marin" 

I remember seeing 2 19 century machine quilted quilts at Shelbourne's exhibit this summer. They should be in the catalog which is still back-ordered. I am waiting for notification of sending of mine.

Arlene in NJ -


Subject: RE: qhl digest: November 15, 2003 From: "Sandra Wilcox" 

In 1997 Barbara Brackman curated an exhibit of old and new machine quilted quilts. The catalog for this exhibit contains historical information and a 18 old quilts, although the exhibit was focused more on quilts of the 1990s.

Patterns of Progress: Quilts in the Machine Age, ISBN 1-882880-03-X ISBN1-882880-04-8 (ppbk)

Hope this is useful, Sandy Wilcox


Subject: Restoration, list at Quilthistory, & NH quilts From: "Jan Drechsler" 

Hi Pam, Just so you know, most all of the quilts I restore arrive insured, by next day delivery UPS, and my client and I coordinate the send date & share the tracking number. This way I am home to receive the package and I also give detailed packing guidelines. The quilts arrive from the mid-west, from PA, NY, NJ, MA and Sue Reich has referred many to me from Connecticut.

I never, ever ship by U.S. Mail or Fed Ex. Our UPS driver goes above and beyond and the web tracking is great.

Pam, in the Western Massachusetts Project, we have seen some quilts that have been documented as NH quilts as I am certain you will find Massachusetts quilts that have 'escaped' over the long border the two states share. I don't recall one in particular or any signature quilts but all the info would be at the N.E. Quilt Museum. You would need to talk to the board of the Quilt Doc. project.

Kris, I did go to Quilt history, but couldn't find a restorer's list as Alan suggested. Did I miss it under Member's Links? Where would I look?

Jan -just back from a NY hospital where her elderly father-in-law had a sudden and very difficult triple by-pass --


Subject: Machine-quilted quilts From: Anita Loscalzo <aloscalz@yahoo.com> Date: 

I am an intern at the New England Quilt Museum [Lowell, MA], in conjunction with the masters degree program in Quilt Studies at the Univ. of Nebraska/Lincoln. An exhibit displaying machine-quilted quilts,"Free Motion Masterpieces" will be on display there March 25-May 31, 2004 at the NEQM:


We hope to have a few older examples on display and photos of others.

Another good source besides the Brackman book is:

Suellen Myer. "Early Influences of the Sewing Machine and Visible Machine Stitching on Nineteenth Century Quilts." UNCOVERINGS 10:38-53 (1989).

Anita Loscalzo


Subject: The results of my Speech From: "Pilar Donoso" <quiltpd@mi.cl> Date: 

Dear Friends:

Thank you very much for all your tips about talking in front of a group I didn´t know, about Quilt History.

I took a bus at 8:30 P.M. from Santiago and arrived at 8:00 A.M. to Copiapó. It is a beautiful place that I never seen before. Copper, gold and wine can grow together. The vines of grapes are taking over the desert, creating a Quilt of colors, very difficult and impresive to describe. The people are so nice and thristy to know more about Quiltmaking, something very new for them but very important in their life as miners´s wives.

I was very nervous about my speech and I think in the beginning it was a little bit long, but after 10 minutes I got the people with me and I can see their interest, even if it is about a history not relative to them. I finish my speech reading Pat Cummings letter "Para mis a Amigas", and when I saw the audience, , 2/3 of them were crying. It was a great experience!!!! We made plans to make our first Quilt Congress in October 2004, we set lines and we realize the heavy work we have ahead.

Most of you are used to this kind of experience. I feel a big responsibility to start our own Quiltmaking History. All your help at any time will be apreciated.

Thank to all of you Pilar

Pilar Donoso I. The Quilt Shop Vitacura 7867 Santiago, Chile Fono/Fax 211 9877 EMail: quiltpd@mi.cl


bject: Old Article From: Edwaquilt@aol.com Date: Tue, 18 Nov 2003 19:23:28 EST 

I am looking for the remaining pages of an article published in "Occupational Therapy and Rehabilitation" magazine in June 1930. The article is titled "Distilling History from Quilt Names" by Thelma Brackett. The article follows the article by William and Edna Dunton titles "Quilts and Quilting". I copied the Dunton article some years from the periodical at the Library of Congress and didn't see to get all the pages of the Brackett article. If no one has this article then I will try and get back to the Library of Congress and get the remaining pages.



Subject: Well done From: "Jan Drechsler" <quiltdoc@sover.net> Date: Tue, 18 Nov 

Pilar, One of your North American quilt sisters has a really big smile on her face after reading your letter. You should be very proud of yourself! It is a big risk to stand in front of a group of people for the first time and succeed.

Now you truly are an expert! Do it again.

Jan --

Jan Drechsler in Vermont Quilt Restoration; Quilting teacher www.sover.net/~bobmills


Subject: My Meaning of Quiltmaking From: "Pilar Donoso" <quiltpd@mi.cl> Date: 

Dear Pat and Friends:

Your letter "Para mis Amigas", not only affected us because of the September 11 events, even if that terrible attack, affected Chile like the rest of the world, beyond comprehension.

I think the reaon why your letter touched our soul, is the fact that many of us Quilters (including myself) have asked ourselves many times: Why this art it is so important to us that sometimes we neglect meals, time, even important relationships in our life? What is the meaning of our love/work/expression called Quiltmaking? What was the meaning of this expression for many people before us? Where did we get this passion that persisted during thousand of years, that crossed many frontiers, many countries, many races and many languages?

I don´t have the answers for everyone, but for me, it is how I want to dedicate my life, it is the way I want to express myself, it is the way I can give and share love and beauty. Quiltmaking not only makes me a better person, but like you said: IT MAKES ME SAVE NINE.

I received in the last couple days many E-mails with great support from all of you. I never imagine that so many of you were reading my E-mails. Donald, your offer on information about articles on the Sanitary Commission quilt plus a Quilt from you, it is more than I ever imagine.

I am overwhelm from your kindness and love. Your energy will keep me going.

Thanks to ALL of you Pilar Pilar Donoso I. q


Subject: What is the "Para Mis Amigas" letter? From: Patricia L Cummings 


Most of you probably have no idea what the letter is all about which I wrote in the aftermath of the tragic

events of September 11, the one that Pilar Donoso just read at a meeting in Chile. Originally, I had written it (in English) to a friend who was so touched by my words, she wanted to publish them in the Appliqué Society newsletter of which she is the editor.

Later, I translated the letter into Spanish (mainly because I could) and because I wanted to make it available to "mis amigas".

It is very gratifying as a writer and as a quilter to know that my thoughts and my feelings are so appreciated and that I have been able to verbalize some of the same, intense emotions that others felt on that terrible day.

Though I'm sorry to hear that the reading of it made some people cry at the meeting, I think that tears can be part of the healing process, and also part of our collective resolve to not allow this kind of event to occur again.

As quilters, many of us might feel as though we are sitting on the sidelines, just watching, as news events unfold. My letter questions (and answers) what it means to be a quilter in light of life and death issues.

Thank you so much for sharing my work, Pilar. We enjoy your enthusiasm and all of your questions and postings to this list. I will presume to speak for others here in saying "gracias" and "bienvenido".

As always,

Pat Cummings www.quiltersmuse.com


Subject: RE: Machine-quilted quilts From: "jajb" <anne_j@worldnet.att.net> Date: Tue, 18 Nov 2003 20:01:22 -0700 X-Message-Number: 5

The Myer article can be found in "Quiltmaking in America: Beyond the myths" as well.


Subject: Will post letter in English From: Patricia L Cummings 

Hello again:

Since I've been receiving requests from members of this list to send them a copy of what I wrote in English, I will post a translation on my website of "Para Mis Amigas", which was originally published as "A Stitch in Time". Since computer translating devices are terribly faulty, I'd like you to be able to see what I really said.

On another topic, I was trying to figure out how a personal piece of (my) mail was accessed for distribution and appeared as a link with my last post. Apparently, when I wrote my last post to the list from a yahoo generated email address, and then found I could not send it because was not from my "official" address for this list, I copied the letter to my other email file, and it brought along some unintended information, namely, the next letter in the file. Ugh! I now understand another member of this list and her frequent problem with posting unintended information.

All I can say is to please check my website within the next few days and the letter (now of international fame), very big grin, will be available to ALL my "friends".

Thanks for your patience and understanding.

Pat www.quiltersmuse.com


Subject: hidden in plain view websites From: "Alice Kober" 

Hi, I'm doing a presentation for a class on historiography. I'd like to report on inaccuracies in the book "Hidden in Plain View." I have found a couple websites, but would like to get suggestions from you on historians and quilters who question the authenticity of quilts used to give guidance to slaves on the Underground Railroad.

--- Alice Kober --- apkober@earthlink.net


Subject: Quilt Nirvana part 2 (long, of course) From: "Cinda Cawley" 

I don't have enough superlatives to give you the true picture and I think my brain has shorted out from beauty-overload, but I'll do my best. Part 2 on Sunday was "From Palampore to Baltimore" courtesy of Debby Cooney and Polly Mello. Hazel Carter and Bunnie Jordan, organizers of the Fabric Dating Club, arranged for Debby and Polly to reprise the chintz study they did for AQSG in Williamsburg two years ago. As always at AQSG there were more wonderful things than a single person could do and having a chance to see what I missed by choosing the Williamsburg textile facility was really a thrill. I'm trying to remember all this four days latter so I welcome corrections and additions from any of the lucky thirty who were there. We spent three hours up close and personal (wearing white gloves) with two collections of glorious quilts dating from the late 18th century to 1860. We gathered around four library tables that had been pushed together with the quilts spread out on top of each other, earliest on top and worked our way through 75 years of American quilts. . We started with palampores and saw not one of these rare beauties, but three. You can see the first on p. 38 of "Quilts: The Fabric of Friendship" (the York County, PA documentation book). It is two panels of palampore uncut and unembellished (just as they came from the fabric printer). The next two quilts were fancied-up palampores with the elements separated, rearranged and added too. One of the trees of life grew huge roses! 

There were wholecloth chintz quilts that took my breath away. It's such a treat to see huge expanses of such glorious textiles. One of these quilts, from Maine, was tufted with yellow wool balls. There was what I think of as a Merikay Waldvogel motif (the oval basket of flowers) decorated with chintz swags appliqued to the background, all enclosed in a delicate interlocking chain of a lovely pink floral print. Polly Mello loves bird fabric and she had a lot to show us. Some in quilts as glorious as what you see in Calico and Chintz and just to make it more interesting she could whip out a large piece of the same print in a couple of different colorways from a seemingly bottomless box of treasures. Polly pointed out that on many of the quilts set on point the triangle filler fabrics on the edges were complimentary to, but slightly different from the chintz borders, which makes the simply pieced blocks float yet adds something else interesting to look at. If one pattern is good, twenty is much better. We saw my favorite Delectable Mountains quilt in the whole world. It's on p. 112 of Stella Rubin's "How to Compare and Value American Quilts." It has a lovely chintz border and a huge variety of 1840s fabrics in the mountains. It's awfully had to pick a favorite, but I was charmed by a very French-looking modified Nine Patch (the block with a large square in the center and smaller ones on the corners) which had a delicate chintz border that looked like pink feathers, setting blocks on a pink floral straight out of Madame DuBarry's boudoir and pieced blocks of every imaginable color combinations. Of course there was applique as we moved to mid-century. The show stopper was a set of Mary Brown Baltimore-style blocks. To see an example of Mary Brown's work go to "A Maryland Album," pp. 130-133. Mary Brown lived in Cecil County at the head of the Chesapeake Bay and she seems to have made quilts on commission. Some of her blocks are instantly recognizable, esp. the sunflowers and the parrot. Particularly interesting among the blocks we saw were some that had obviously been worked, much later, by a not very accomplished seamstress who had acquired Mary Brown's fabric stash and attempted to make more blocks using the same fabrics. 

Of course, we saw several complete Baltimore-style quilts (it amazing that we just don't become totally unbearable, we are such a privileged group-VBG!). We had a serious discussion about how many "designers" there were (we think many) and of the importance of distinguishing between a true Baltimore Album which you need to have proof was made in the city of Baltimore and the many Baltimore-style quilts made elsewhere in MD (I like to think of them as the "suburban" quilts). There were some super 4-block appliques, a charming mini-North Carolina Lily made of blocks about 7" square. I don't remember the block design of one quilt because I was stunned by its amazing reverse applique border: a double-blue running feather. Debby and Polly are curating a show at Paducah next year. That's your chance to see some of these quilts. Cinda on the Eastern Shore who will send part 3 separately


Subject: Quilt Nirvana part 3 From: "Cinda Cawley" <lrcawley@dmv.com> Date: 

The next installment of Quilt Nirvana was in Lititz, PA at Judy Grow's Studio Quilt Study Group field trip to the Lititz Quilt and Textile Museum were Judy Kelius (Judy Sue) gave us a look at the collection of Pennsylvania quilts she in gathering for a new museum. The collection focuses on PA quilts of the 19th and early 20th century. It will compliment the Lancaster Amish quilts recently acquired by the Lancaster Heritage Center from the Esprit Collection. The two museums are not affiliated. Lititz is a charming Moravian village in northern Lancaster Co. It was a homecoming for me. 

The very first quilt I saw was a very "Dutchy" Rolling Stone, red, green, yellow, double pink, double blue, inscribed in fraktur, dated 1853. The day was off to a great start. Just around the corner from the Rolling Stone is the unique Peacock Quilt which is on the cover of "Plain and Fancy" by Anita Schorsch. Another cover quilt is the identical twin of the cover of "Quilts and Coverlets" by Sheila Betterton, the catalogue of the American Museum at Bath. It a pristine Mariners Compass set on a patterned background. The blue, green, red and yellow Compass blocks are enclosed by turkey red sawtooth sashing with Oak Leaf blocks at the intersections and a swag border. The prize for great quilting probably goes to either an simply pieced mosaic variation in which concentric circles of pieced hexagons alternate with 6" hexagons finished off by a fabulous burnt orange chintz border; much of the quilting is stuffed. Judy has provenance for an 1812 date. Candidate number 2 is a Honey Bee variation applique in a variety of chintzes (lots of indigo) with setting blocks quilted in different motifs and an indigo border of bowknots and swags (absolutely lovely). There was a crib sized chintz applique. The edges of the whole quilt are framed by an appliqued outline cut from a pillar print. I've never seen anything like it. There were two Baltimore-style quilts. One of them had very unusual airy applique motifs and lots of birds. One block is a wreath of birds (you have to see it). 

There's a pictorial applique from Michigan made for a Civil War soldier which shows incredibly detailed buildings from his home town in different blocks and a lovely and unusual red and green applique of papercut blocks with an exotic bird in the center of the quilt. There is an exquisite silk Broken Dishes quilt with the pieced triangles set in concentric squares--very elegant. These are quilts that might have been made almost anywhere the heart of the collection could only be from Pennsylvania. There's a Quaker sampler quilt (Quaker because the family is known) with the most unusual motifs, loots of tools for instance (plows, harrows, hammer). Two Joseph's Coats will knock your socks off. We saw four Bowmansville quilts (two stars, a Philadelphia Pavement and a Trip Around the World). 

Bowmansville is a little town in Lancaster County where the quilters loved to make complex designs using only small squares (see p. 146 of "Quilting Traditions" by Trish Herr). There were two Amish quilts from Lancaster, a lovely Nine Patch and a Trip Around the World. A Basket quilt in PA German colors had a quirky almost Deco-looking setting block (orange cartouche shapes) and a chintz border. At the other extreme was a real sampler quilt, by which I mean a quilt put together from all the unrelated blocks a woman had made to play around with. Of course, since they were made in PA many of these quilts has great fabric on the back, some of the backs are made in strips which I always love to see. The most interesting was a collection of about 10 quilts from the same family (the Cready family). 

One woman made at least three quilts featuring commemorative bandanas as the center focus and a complex star-like design of large triangles with alternating light and dark points. The earliest quilt shows the Centennial Exhibition in Philadelphia, the second is the Garfield-Arthur campaign scarf (188) and the third has Washington and Benjamin Harrison marking the 1889 centennial of the presidency. Many of the same fabric appear in each of these quilts. A fourth quilt, very crudely made with an images of Washington cut from a larger textile is clearly another person's attempt to duplicate the first three--much like the Mary Brown blocks in Quilt Nirvana part 2. In addition to all the quilts we had a very nice lunch in the soon to be opened restaurant at Lititz Junction (that's the name of the complex that includes the quilt museum. Check out www.lititzjunction.com I'm going to need some time in rehab after the last week. I think I'll stay home at least until Thanksgiving (G). Cinda on the Eastern Shore




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