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Subject: Blue Resist From: "Cinda Cawley" <lrcawley@dmv.com> Date: Wed, 3 Dec 

http://www.quiltstudy.org/exhibitions/quilt_of_the_month.html "Bold, yet graceful floral baskets and undulating vines create a stunning design in this quilt. Unlike common calico fabrics with white designs on indigo-blue background, this quilt is made of cotton with a blue pattern on a white ground. These expensive, labor-intensive textiles were mostly found in America and are often called "American Blue Resist." Scholars are still searching to uncover the mystery of where and how these extraordinary fabrics were made." The above is from the caption to the new Quilt of the Month from the IQSC. My qestion is whether only the blue pattern on white ground are the mysterious "American Blue Resist." If it's white on blue is it something different? Cinda on the cold Eastern Shore


Subject: Re: Blue Resist From: "Patricia C Crews" <pcrews@unlnotes.unl.edu> Date: 

Yes. If it is a white design on a blue ground, then generally it is a discharge print or a traditional resist 'print,' not one of the so-called 'American Blue Resists.' When it is a blue design on a white ground, scholars believe these were done by an unusually laborious resist process in which all the background areas had a wax resist applied to them so they would remain white; the unwaxed areas became the blue design when dyed in the indigo dyebath. When this unusual resist dyeing process has been done, these rare patterned fabrics are called "American Blue Resist" to distinguish them from the traditional resist dyeing technique. As you can imagine, it is much easier to apply a wax or paste resist in the pattern areas you wish to remain white and then dye the piece of fabric in indigo providing the blue ground. (This is difficult to explain. I hope that I have made myself clear. )

Scholars are still unsure where and how these "American Blue Resists" were produced, though there is some evidence that most were made in the New York area. It does not appear that they were produced in England, Scotland or Europe. Consequently, they are called "American Blue Resists."

Patricia Cox Crews, Ph.D. Cather Professor of Textiles & Director, International Quilt Study Center Dept. of Textiles, Clothing & Design 234 HE Building P.O. Box 830838 University of Nebraska-Lincoln Lincoln, NE 68583-0838 PHONE: 402/472-6342 FAX: 402/472-0640 pcrews@unl.edu


"Cinda Cawley" <lrcawley@dmv.com To: "Quilt History List" > 

http://www.quiltstudy.org/exhibitions/quilt_of_the_month.html "Bold, yet graceful floral baskets and undulating vines create a stunning design in this quilt. Unlike common calico fabrics with white designs on indigo-blue background, this quilt is made of cotton with a blue pattern on a white ground. These expensive, labor-intensive textiles were mostly found in America and are often called "American Blue Resist." Scholars are still searching to uncover the mystery of where and how these extraordinary fabrics were made." The above is from the caption to the new Quilt of the Month from the IQSC. My qestion is whether only the blue pattern on white ground are the mysterious "American Blue Resist." If it's white on blue is it something different? Cinda on the cold Eastern Shore


Subject: more on Flora From: "Cindy Brick" <brickworks@att.net> Date: Wed, 3 Dec 2003 

Hi all, I found the Madame Alexander version of Flora here:


(although she only seems to have one dress -- and yellow gingham, at that!) And a price of $1000-plus!

My memory kept saying that Ms. McFlimsey was also a Dickens character -- but his (modeled after his emptyheaded former girlfriend) is Flora Finching, of Little Dorrit fame. I wonder if the poet was influenced by her, possibly... Cindy

P.S. Judy, I also quilt without a thimble, and use my fingernail, as well as the hardened top of the finger, to push the needle through. Although a layer of leather glove (cut from a fingertip) is also nice for tougher or extended quilting.

BRICKWORKS http://www.cindybrick.com 


Subject: Re: Blue Resist From: "Christine Thresh" <christine@winnowing.com> 

I just purchased a yard of fabric with an indigo blue design on a white background. The selvedge says, "Guaranteed Dutch Wax, Vlisco" and "Veritable Wax Hollandais, Vlisco." There are light blue "crack-type" lines on the white background with nice dark blue figures in the foreground. I purchased this piece of fabric on eBay. Perhaps it was made by coating the entire background area with wax.

Christine Thresh on an island in the California Delta http://www.winnowing.com


Subject: Re: Blue Resist more From: "Christine Thresh" 

I just searched with Google on "Dutch Wax fabric" and found quite a few references. An article about this fabric being made in Africa is here: http://www.rnw.nl/special/en/html/ghana020408.html

Very interesting! Christine Thresh on an island in the California Delta http://www.winnowing.com


Subject: 19th century quilt poetry and prose (Miss Flora M'Flimsey continued.) 

I should mention just here, that out of Miss Flora’s Two hundred and fifty or sixty adorers, I had just been selected as he who would throw all The rest in a shade, by the gracious bestowal On myself, after twenty or thirty rejections,, Of those fossil remains, which she calls her “affections,” And that rather decayed, but well known work of “art, Which Miss Flora persisted in calling “her heart.” So we were engaged. Our troth had been plighted, Not by moonbeam or starbeam, by fountain or grove, But in a front parlor, most brilliantly lighted, Beneath the gas-fixtures we whispered our love, Without any romance, or rapture, or sighs, Without any tears in Miss Flora’s blue eyes. Or blushes, or transports, or such silly actions, It was one of the quietest business transactions, With a very small sprinkle of sentiment, if any, And a very large diamond imported by Tiffany, On her virginal lips where I printed a kiss, She exclaimed, as a sort of parenthesis, And by the way of putting me quite at my ease, “You know I’m to polka as much as I please, And flirt when I like – now stop, don’t you speak – And you must not come here more than twice in the week, Or talk to me either at party or ball, But always be ready to come when I call. So don’t prose to me about duty and stuff, If we don’t break this off, there will be time enough, For that sort of thing; but the bargain must be That as long as I choose, I am perfectly free, For this is a sort of engagement, you see, Which is binding on you, but not binding on me.”

Well, having thus wooed Miss M’Flimsey and gained her, With the silks, crinolines, and hoops that contained her, I had, as I thought, a contingent remainder, At least in the property, and the best right, To appear as its escort by day and by night; And it being the week for the Stuck up’s grand ball – Their cards had been out for a fortnight or so, And set all the avenue on tip-toe – I considered it only my duty to call, And see if Miss Flora intended to go. I found her as all ladies are apt to be found, When the time intervening between the first sound Than usual – I found; I won’t say – I caught her – Intent on the pier-glass, undoubtedly meaning To see if perhaps it didn’t need cleaning. She turned as I entered – “Why, Harry, you sinner, I thought that you went to the Flashers’ to dinner!” “So I did,” I replied, “but the dinner is swallowed, And digested, I trust, for ‘tis now nine and more, So being relieved from that duty, I followed Inclination, which led me, you see, to you door. And now will your ladyship so condescend As just inform me if you intend Your beauty, and graces, and presence to lend, (All which, when I own, I hope no one will borrow) To the Stuck-up’s, whose party, you know, is to-morrow!)

The fair Flora looked up with a pitiful air. And answered quite promptly, “Why Harry, mon-cher, I should like above all things to go with you there; But really and truly – I’ve nothing to wear.”

“Nothing to wear! Go just as you are; Wear the dress you have on, and you’ll be by far, I engage, the most bright and particular star On the Stuck-up’s horizon” – I stopped, for her eye, Notwithstanding this delicate onset of flattery, Opened on me at once a most terrible battery Of scorn and amazement. She made no reply, But gave a slight turn to the end of her nose, (That pure Grecian feature) as much as to say, “How absurd that any sane man should suppose That a lady would go to a ball in the clothes, No matter haw fine, that she wears everyday!”

So I ventured again – “Wear your crimson brocade,” (Second turn up of nose) – “That’s too dark by a shade,” “Your blue silk” – “That’s too heavy,” “Your pink,” “That’s too light.” “Wear tulle over satin” – “I can’t endure white,” “Your rose colored then, the best of the batch” – “I haven’t a thread of point lace to match:” “Your brown moiré antique.” “Yes, and look like a Quaker,” “The pearl colored” – “I would, but that plaquey dressmaker Has had it a week” – “Then that exquisite lilac, In which you would melt the heart of Shylock.” (Here the nose took again the same elevation) “I wouldn’t wear that for the whole of creation.” “Why not? It’s my fancy there’s nothing could strike it As more comme il faut” – “Yes, but dear me, that lean Sophronia Stuck up has got one just like it, And I won’t appear dressed like a child of sixteen.” “Then that splendid purple, that sweet Mazarine; That superb point d’aiguille, that imperial green; That zephyr like tarleton, that rich grenadine,” “Not one of all which is fit to be seen,” Said the lady becoming excited and flushed. “Then wear,” I exclaimed, in a tone that quite crushed Opposition, “that gorgeous toilette which you spotted In Paris last Spring at the grand presentation, When you quite turned the head of the head of the nation And by all the grand court was so very much courted,” The end of the nose was portentously tipped up, And both the bright eyes shot forth indignation, As she burst upon me with the fierce exclamation, “I have worn it three times at the least calculation, And that and the most of my dresses are ripped up!” Here I ripped out something, perhaps rather rash, Quite innocent, though; but to use an expression, More striking than classic, it “settled my hash,” And proved very soon the last act of our session.

“Fiddlesticks, it is sir? I wonder the ceiling Doesn’t fall down and crush you – oh, you men have no feeling. You selfish, unnatural, illiberal creatures, Who set yourselves up as patterns and preachers, Your silly pretense – why what a mere guess it is! Pray, what do you know of a woman’s necessities? I have shown you and told you I’ve nothing to wear, And its perfectly plain you not only care, But you do not believe me, (here the nose went still higher,) I suppose if you dared you could call me a liar. Our engagement is ended, sir – yes, on the spot; You’r a brute, and a monster, and – I don’t know what.” I mildly suggested the words – Hottentot, Pickpocket, and cannibal, Tartar, and thief, But this only proved as a spark to the powder, And the storm I had raised came faster and louder, It blew and it rained, thundered, lightened, and hailed Interjections, verbs, pronouns, till language quite failed To express the abusive, and then its arrears Were brought up all at once with a torrent of tears. And my last, faint, despairing attempt at an obs- Ervation was lost in a tempest of sobs.

Well, I felt for the lady, and felt for my hat, too, Improvised on the crown of latter a tattoo. In lieu of expressing the feelings which lay Quite too deep for words, as Wordsworth would say; Then without going through the form of a bow, On door step and sidewalk, past lamp-post and square, At home and up stairs, in my own easy chair: Poked my feet into slippers, my fire into blaze, And said to myself, as I lit my cigar: Supposing a man had the wealth of a Czar Of the Russians to boot for the rest of his days, On the whole, do you think we would have much to spare If he married a woman with nothing to wear?


Subject: from paris From: "Galinette" <galinette@noos.fr> Date: Thu, 4 Dec 2003 

hello, i'm will vidinic from paris, i quilt since 1978, and most of the time i = copy antique quilts. i will be a lurker most of the time , my english is not so good. my interest at the moment goes to rough and primitive utility quilts = and i made a few woollen quilts. although i buy reproductionfabrics, i love to buy at garage-sales, and i = live just a minute away from the march=E9 st. pierre , world famous for = fabric from very cheap to very expensive, and close to the fleamarket = also. i will carefully read your posts and learn from all your exiting = experiences!

will from paris ------=


Subject: Re: from paris From: "Judy Grow" <JudyGrow@patmedia.net> Date: Thu, 4 

Welcome to the list, Will. There are a great many of us who envy your proximity to the great Toiles. Please share your experiences with us as well. Let us live in Paris vicariously.

Judy in Ringoes, NJ judygrow@patmedia.net


Subject: Paris quilter! From: Debby Kratovil <kratovil@his.com> Date: Fri, 5 Dec 

Hello, Will. I remember meeting you in Paris at Le Rouvrey (Patchworks de Rouvray) almost 3 years ago. What a delightful experience that was. Your shop "just happened" to be across the street from the hotel my husband and I were staying in, under the shadow of the Notre Dame church. I don't believe you work there anymore, but it was wonderful to see what quilters were doing in that little corner of France. I still have some of that French Provencal fabric I bought in the shop and the little hexagon papers - was it you who made that marvelous grandmother's garden quilt that was on display in the shop window? Please don't think you have to lurk because of your English - most of us don't speak ANY French. We just love to have people share about their passions for things historical, and to let us hear stories of historic finds as they relate to quilting (even remotely). So glad you wrote! Debby -- Debby (with a "y" and not "ie") Kratovil http://www.quilterbydesign.com http://www.ipriority.com 


Subject: New European member From: Margareta.Faust@cec.eu.int Date: Fri, 5 Dec 

Hi, I am very happy to have joined the list! I might know some of you from = the British quilt list or we may even have met in person, as I try to = attend at least some quilt history-related events. I am a Swedish translator, based in Luxembourg, and I spend most of my = free time travelling to France, Britain and Germany, looking at old = textiles, learning from museums, checking flea markets for interesting = items=E2=80=A6I also collect quilts and would like to learn more about restoration. Being European AND fond of quilts, I am particularly interested in historical textile links between Europe and America. Looking forward to participating in the discussions! Margareta


Subject: re From Paris From: "Ann-Louise Beaumont" <albeaumont@comcast.net> 

Welcome, will vidinic. Your English is better than my written French. Please don't hold back if you have something to say. I'm sure we will find your perspective very interesting. Best Wishes, Ann-Louise Beaumont in Greeley, CO.


Subject: 19th century quilt poetry and prose (Miss Flora M'Flimsey #5) From: 

Since that night, taking pains that it should not be bruited Abroad in society, I’ve instituted A course of inquiry; extensive and thorough, On this vital subject, and find, to my horror, That the fair Flora’s case is by no means surprising, But that there exists the greatest distress On our female community, solely arising From this unsupplied destitution of dress, Whose unfortunate victims are filling air, With a pitiful wail of “nothing to wear.” Researches in some of the “Upper Ten” districts Reveal the most painful and startling statistics, Of which let me only mention a few: In one single house on the Fifth Avenue, Three young ladies were found, all below twenty-two, Who have been three whole weeks without anything new In the way of flounced silks, and thus left in the lurch, Are unable to go to the ball, concert, or church. In another large mansion near the same place, Was found a deplorable heart rending case In neighboring block there was found, in three calls, Total want, long continued, of camel’s hair shawls; And a suffering family, whose case exhibits The most pressing need of real ermine tippets; One deserving young lady almost unable To survive for the want of a new Russian sable; Another confined to the house, when its windier Than usual, because her shawl isn’t India. Still another, whose tortures have been most terrific Ever since the sad loss of the steamer Pacific, In which were engulfed, not friend or relation, (For whose fate she perhaps might have found consolation, Or borne it at least, with serene resignation,) But the choicest assortment of French sleeves and collars, Ever sent out from Paris, worth thousands of dollars, And all as to style most recherché and rare, The want of which leaves her with nothing to wear, And renders her life so drear and dyspeptic That she’s quite a recluse, and almost a skeptic, For she touchingly says this sort of grief, Cannot find in Religion the slightest relief, And Philosophy has not a maxim to spare For the victims of such overwhelming despair. But the saddest by far of all these sad features Is the cruelty practiced upon the poor creatures By the husbands and fathers, real Bluebeards and Timons, Who resist the most touching appeals made for diamonds By their wives and their daughters, and leave them for days Unsupplied with new jewelry, fans or bouquets; Even laugh at their miseries when they have a chance, And deride their demands as useless extravagance; One case of a bride was brought to my view Too sad for belief, bur, alas! ‘twas too true, Whose husband refused as savage as Charon To permit her to take more than ten trunks to Sharon. The consequence was, that when she got there, At the end of three weeks she had nothing to wear,


Subject: Quiltie Ladies Toile From: Barb Garrett <bgarrett421@comcast.net> Date: 

Since quilt history can include the making of contemporary quilt history, I wanted to share with you a little about a small quilt guild in southeastern PA -- The Variable Star Quilters, aka The Quiltie Ladies. This group of 15 ladies has been very active, publishing 2 quilt/cookbooks -- The Quiltie Ladies Scrapbook and The Quiltie Ladies Garden Journal -- and a wonderful reprint portfolio of the WPA Quilt Project posters from 1939. They have a quilt show every 2 years -- next one is this coming March, and their quilt Polly and Edith (sharing pickles) won First Place in one of the NY Folk Art Museum Pier Quilt Shows in the early 1990s.

The Quiltie Ladies can now be seen on fabric -- at least facsimiles of them <grin>. Andover fabrics has printed a toile -- Quiltie Ladies by Sallie Astheimer -- a member of the group. This is the first time that the guild is aware of that a quilt guild has been featured on a fabric and the line has been named for them -- thus making quilt history <grin>. The toile made it's first appearance at market in Houston in October.

A portion of it can be seen at this site -- not an ad, just the only picture I can find on the net. Type Sallie Astheimer into the search line and click -- http://equilter.com/cgi-bin/webc.cgi/st_search.html

I have also seen it pictured in Connectng Threads and Keepsake Quilting paper catalogs.

While I fortunately can't claim "no affiliation" to the above, I can say that the only thing members get from any of our endeavors is the joy of 20 plus years of quilting friendships. All proceeds go to women and children's charities.

Hope you like the toile, Barb in snowy southeastern PA, Snowbound with my computer <grin>


Subject: Whig Rose From: Donald Beld <donbeld@pacbell.net> Date: Fri, 5 Dec 

Hi, here is a questions for quilt pattern experts--Bill Bascom and I have been have a discussion about the differences between Whig Rose, Democrat Rose, and Rose of Sharon--is there any? Inquiring minds want to know.

Also, Rose of Sharon was a support quilt for the candidacy of James Buchanan for President in 1856. Does anyone know what the connect was between the title and James Buchanan? He never married and his fiance"s name (who apparently committed suicide after they broke off their engagement) was Ann; so what does Rose of Sharon have to do with Buchanan? Thanks, Don Beld


Rose of Sharon TreeSubject: Re: Whig Rose From: "Maurice Northen" <3forks@highstream.net> Date: 

Information in The Romance of the Patchwork Quilt in America, by Carrie A. Hall and Rose G. Kretsinger pages 112-113 shows 9 Rose of Sahron, with notation: no design has more variations on pages 114-115 is Whig Rose, In Pennsylvania, 1845 it was called Democrat Rose On page 116-117 Mrs. Kretsinger's Rose= original Whig Rose and page 211 is whole quilt shown of same.

Joan of the South






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