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Quilters Find a way to care

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Date: Sat, 22 Mar 2003 21:19:21 -0600 From: Bettina Havig <bettinaqc@socket.net> To: 

YES, The Harriet Powers Bible quilt is one of the quilts that was licensed by the Smithsonian. The quilt is probably one that was produced then...and in China. Bettina Havig

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Date: Sat, 22 Mar 2003 23:59:35 EST From: Edwaquilt@aol.com To: QHL@cuenet.com 

Yes, it is one the Smithsonian reporduced. But some consider the reproduction a collectable. I wish I had purchased one at the time. The reproductions looked authentic when done in the same size as the original. The twin size added borders which the original did not have.

Holice

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Date: Sun, 23 Mar 2003 14:41:08 -0800 From: "jajb" <anne_j@worldnet.att.net> To: 

I finally had time to add a few more myths to my site. I thought I'd share them here in case anyone is interested. As my myths are just brief little blurbs I'd love to know about any sites that have more extensive information so that I could link to them. Judging from some of the emails I've received it looks like teachers are finding this sort of information on my site and other sites. The more places we can get it out the better.

Thanks again for the suggestions some of you sent earlier. I still have more to write with all the suggestions folks sent and I am always eager to hear about more myths.

MYTH #8 Quilters purposefully put a mistake in their quilting.

This myth has various possible origins. One is from the Greek legend of Arachne the weaver. Another is found in Navajo weaving practices. Most likely the quilting version of this myth came from the belief that Amish and Mennonite women put a mistake in each quilt because only God is perfect therefore it would be prideful to make a perfect quilt. In reality all quilters make mistakes, it's almost impossible to make a perfect quilt. In fact it would be prideful to think one could do so. One wonders if reference to this myth is more of an excuse for inevitable mistakes.

MYTH #9 Pioneer women pieced and quilted on their long journey west.

Rarely did a woman work on a quilt while migrating westward. Because everyone, including women and children, walked most of the way quiltmaking was pretty much impossible during the day. Even if one were traveling in the wagon the ride was too rough for fine sewing. In the evening the light was poor and knitting was preferred as it could be done with little light. Pioneer Quilts, Comfort Through Hardship tells more about quilts and the Overland Trail.

MYTH #10 The presence of cotton seeds in the batting indicates an antique quilt.

Cottonseeds are knobby and about the size of a small pea so they were rarely missed even when women handpicked the seeds from the cotton to be used for batting. What people mistakenly think of as cottonseeds is debris from cotton hulls. Debris is even found in some modern cotton batting so it would in no way indicate a vintage or antique quilt.

Anne

America's Quilting History http://www.womenfolk.com/historyofquilts/

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Date: Sun, 23 Mar 2003 20:09:15 -0800 From: Gaye Ingram <gingram@tcainternet.com> 

> From: Judi Fibush <judi@fibush.net> > >> MYTH #8 >> Quilters purposefully put a mistake in their quilting.

Perhaps in some places this is a myth, but I know of numerous examples where it happened---and still happens among older women or their indoctrinated daughters.

And not just in quilts, either. My mother made my wedding dress, after a pattern provided by Priscilla of Boston. It was an intricate, though simple looking, affair. ON my spring break I put the hem in the dress. Just as I was on the last foot of the hem, my mother rushed into the sheet-draped sewing room as if the house were on fire. "You haven't put in the last stitch, have you?" she cried in panic. When I assured her I hadn't gotten that far, she sighed, sat down, and said, "Oh thank God!!!! It is TERRIBLE luck to put in the final stitch. There must be something imperfect, something left undone. Hubris, you know. It would not bode well for the marriage." I laugh now at her not having considered that she herself might have created a slight imperfection somewhere along the way, but the point was the avoidance had to be conscious. An acknowledge of one's limitations.

Growing up, I knew women who planned where they would leave stitches out of quilts or where they would reverse a pattern----usually near the top of the quilt on the side of the bed that was not seen from the door. Same thing with crochet. Somehow the rule did not apply to regular clothing.

I still do this, still knock wood, still say "bread and butter" when walking with a friend and find an object coming between us as we walk. It's that deep in the bones. I never tell a bad dream before eating breakfast, assured it will "come true." And besides, I know I need to be on lookout for hubris.

Gaye

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Date: Sun, 23 Mar 2003 21:28:25 -0600 From: "Barbara Vlack" <cptvdeo@inil.com> To: 

Julianne asked about a "Harriet Powers" quilt she found in a Pasadena flea market.

RESPONSE: Julianne, the dealer is mistaken to say that the cheddar is the clue that the quilt is old. It is a Smithsonian copy. I have one. It has the cheddar. In a quilt such as this, it wouldn't be the cheddar that I would use to date it. There are also lots of prints, which I believe offer a better target for pegging the date of the quilt.

I have a few of the Smithsonian quilt copies and I have to say that in comparison to other quilts made commercially in China, these are the best made ones. For the Harriet Powers quilt, the fabric choices are as about as close as we can come to copy the original. I have books with large pictures of the original, and I have compared. The quilting is good - large and crude, but not too much so. The hand appliqué is very good.

Besides the Harriet Powers quilt, I have two Great Seal quilts. All twin size. I have washed the Great Seal quilts several times with remarkable success. I took a permanent marking pen and wrote directly on the backing of each quilt that it is not an American heirloom quilt.

Barb Vlack cptvdeo@inil.com

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Date: Sun, 23 Mar 2003 22:54:50 -0500 From: Palampore@aol.com To: QHL@cuenet.com 

The photo wasn't a tobacco silk. It was a much better quality. I collect actress tobacco silks so I am very familiar with those. This is the only response to my questions (photo and chintz). Is everyone gone? I love to hear your comments. So far my findings about the teal/brown, and sometimes cheddar quilts is that it appears to be a southeastern USA trend. I have seen photos or been told about quilts of this color in: NC, SC, Ala., Louisiana, Arkansas, Texas, Florida. Did I leave a state out? I will be putting digital shots of the ones I own on my site. Will let you know when they are up and running. I will do it as soon as my taxes are finished! Lynn Lancaster Gorges Historic Textiles Studio New Bern, NC

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Date: Mon, 24 Mar 2003 08:17:51 -0500 From: Judy White <jawhite@infi.net> To: Quilt 

I am looking for a picture of the quilt, "Sconset Girls". I know it is in a magazine I have somewhere and I tried to find it with no luck. Maybe if I could remember the time period, it would be easier. I believe the quilt won a prize or two, maybe even an AQS prize. Does this ring any bells with anyone?

Judy White

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Date: Mon, 24 Mar 2003 06:20:53 -0800 From: Judi Fibush <judi@fibush.net> To: 

Neat quilt. Thanks for pics

Midnitelaptop@aol.com wrote:

>if you go to either >http://memory.loc.gov/ammem/ndlpedu/collections/quilts/history.html >http://memory.loc.gov/ammem/ndlpedu/collections/quilts/file.html >you will see a picture of the quilt....it won the 1994 lands end contest.. >jeanL > > > >

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Date: Mon, 24 Mar 2003 07:41:06 -0800 (PST) From: Ark Quilts <quiltarkmv@yahoo.com> 

I have had several people approach me about finding an appraisor or appraising their "collection of quilts" which are imported quilts. Since there are several appraisors on this list, how do you feel about appraising an imported quilt? Would you do anything beyond saying, this is an imported quilt or probably is an imported quilt? Thanks-Connie Ark

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Date: Mon, 24 Mar 2003 07:56:28 -0800 From: Judi Fibush <judi@fibush.net> To: Ark 

I think appraising "an imported quilt" is an oxymoron and an insult to true quilt makers (particulairy Americans). That's my opinion. Simply "they are imported and I don't do imported knockoffs". I'm VERY biased on this subject.

judi

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Date: Mon, 24 Mar 2003 10:14:10 -0600 From: "Lisa Erlandson" <quilter@cooke.net> To: 

 

I am a certified appraiser and have appraised a couple of imported quilts. My "rule" is I generally don't do written appraisals for a quilt that has less than a $150 value. My other rule is that after I have informed the owner of all the relevant facts, if they want an appraisal anyway, I will do it. It is not my place to determine whether or not they should have an appraisal. It is simply my place to make sure they are making an informed decision about getting the appraisal. After all, I am appraising, not judging their taste! Lisa

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Date: Mon, 24 Mar 2003 08:31:06 -0800 From: "Julia D. Zgliniec" <rzglini1@san.rr.com> 

Dear QHL and Connie, The appraisal of an imported quilt would be approached like any other object. Identify, describe, research appropriate market for the type of appraisal being requested and then write the report.

The key here with the imported quilts is the market to research. If the value being sought is for replacement then the value would be for replacement of "like and kind" - like and kind being other imported quilts. In the case of the early Smithsonian reproductions - have they acquired any "collectable " status that has influenced their "value" in the marketplace? What have/are the Harriet Powers Bible quilts selling for? Comparable value is what the appraiser researches.

I think, in the case of the Bible Quilt, they have acquired a certain amount of collectablilty.

Regards,

Julia Zgliniec, Appraiser, certified by AQS

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Date: Mon, 24 Mar 2003 12:13:03 CST From: jocelynm@delphiforums.com To: 

On Mon, 17 Mar 2003 07:07:24 -0500 Debby Kratovil wrote:

> Evidentally, the Kansas City Star believes they have precedence over > the McKim family for republication of these patterns, > Debby, They probably do have copyright. It's relatively common, even in these days, for an employer to keep the copyright over an employee's work, when the work was created on company time and as official job duties. I doubt anyone in those days ever dreamed that the grandchildren of quilt designers could get money for the designs their grandmothers had made. After all, as late as the 1960s, television actors were not given residuals for re-broadcast of their shows- everyone figured that each show would be shown twice, in the same season, and that was what they were paid for.

Jocelyn

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Date: Mon, 24 Mar 2003 12:15:13 CST From: jocelynm@delphiforums.com To: l

On Wed, 19 Mar 2003 14:47:47 -0500 "Cinda Cawley" wrote:

> The blue-gold star banner was around during WWI.

Cinda, They're also shown in Normal Rockwell's works. I was under the impression, though, that they were paper banners. Any evidence that they were miniquilts?

Jocelyn

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Date: Mon, 24 Mar 2003 14:35:22 -0500 From: "pepper cory" <pepcory@mail.clis.com> 

Hi Friends-My sister Lili found amongst my mother's possessions the blue star banner she'd hung in the window when my father was overseas in WWII. It is machine stitched and made from flimsy cotton, the almost cheesecloth texture you'd find in inexpensive bunting. Lil lovingly washed, ironed, and mended it and has it hanging on her wall next to my dad's picture as a young man in North Africa. He's standing next to his B-25 that he'd christened 'Honey Chile' after his cocker spaniel dog! Dad himself was a 'Gold Star' child since his father was killed in WWI. Every November 11 he'd be hoisted onto a float in his hometown of Memphis, TX and be in the Veterans' parade. Since November 11 was in truth my dad's birthday, he was a teenager before the truth of the celebration hit home! There is a Drunkard's Path variation called The Road Home that I've seen with appliqued blue stars in the plain blocks that result when the squares are set side-by-side. Maybe the quiltmaker was thinking of her absent soldier and wishing for him a safe road home. Here's for all the soldiers to find their way home soon. Pepper Cory from the windy Carolina coast

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Date: Mon, 24 Mar 2003 16:10:37 -0500 (EST) From: Teri Klassen 

I agree with Gaye that the humility block is not a myth, although a lot of mistakes, of course, are not made intentional. But I have a couple of quilts where I don't believe the one changed block could have been accidental. Also humility blocks are mentioned as an occasional practice in a book about Kansas Mennonite quilters, which includes interviews with several quilters. sorry I can't remember the name of the book or the author! Tomlinson, maybe? Teri Klassen

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Date: Mon, 24 Mar 2003 18:24:45 -0800 From: "ChrisA" <chrisa@jetlink.net> To: Can anyone name the fabric company that made the "The Soleberry Collection," about a year ago?

Thank you.

 

Date: Mon, 24 Mar 2003 21:16:25 -0600 From: Jo Morton <jomorton@alltel.net> To: Quilt History List <QHL@cuenet.com> Subject: Solebury Collection Message-ID: <3E7FCA09.4090303@alltel.net> Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit

This collection was printed by Chanteclair and designed by Judy Roche and Corienne Kramer. A wonderful group! Hope you have some for your personal collection.

Jo Morton Nebraska City, NE

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Date: Tue, 25 Mar 2003 00:03:33 -0500 From: Joan Kiplinger <jkip@ncweb.com> 

Enjoy the column below.

Joan column now live: Indian Head Remembered history, mill owners, dating aids http://www.fabrics.net/joan.asp

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Date: Tue, 25 Mar 2003 10:34:30 -0500 From: Beth Donaldson 

Dear Group, A quilt kit owner in Michigan is looking for information on "Classic Quilts" company from Cedar, Michigan. He has just finished a kit from the company made in the 1970s and is seeking more documentation. He describes it this way: "These polyester kits were sold at various craft shops in Michigan, and came complete with instructions, precut materials (including backing), but not fiber fill. The kits came in colors: dark green, dark blue, maroon, and brown. You will recognize many of the subtle fabric patterns used in the quilt. The basic design was "Sunshine and Shadow." He further described the fabrics as 100% cotton for the patchwork and cotton polyester for the borders.

Thanks Beth

Beth Donaldson Quilt Collections Assistant Great Lakes Quilt Center at the Michigan State University Museum 201 Central Services East Lansing, Michigan 48824-1045 quilt line: 517-432-3800 quilts@museum.msu.edu http://museum.msu.edu/glqc/index.html

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Date: Tue, 25 Mar 2003 11:12:28 EST From: Litwinow@aol.com To: 

The local ribbon supplier/maker has announced that they will start making blue star banners here in the Quad-Cities (Davenport, Bettendorf, Rock Island, and Moline -John Deere country) in the morning paper. Catherine Litwinow

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Date: Tue, 25 Mar 2003 10:00:41 -0800 From: "ChrisA" <chrisa@jetlink.net> To: 

Once again QHL rises to the occasion. Thanks you all! And I appreciate the corrected spelling : Solebury, not berry.

I noticed on some of the other pieces of Solebury blues and the Creams that it doesn't say Solebury, but says Chanteclaire and Judy and Corienne, whereas the fabric that led to the question had Solebury in the selvedge of the piece I have. It is gold and red and didn't come from the blues or the creams I don't think.

If the fabric selvedge says Chanteclaire, does that mean it is designed by Judy R. and Corienne K, or does Chanteclaire have different designers, and the Solebury collections are of their design?

It is a great line and very authentic looking. I was fortunate to find a piece of the original for sale this summer from a dealer back east. It is the serpentine floral garland in a pale blue/green color. I didn't know who made but there was no doubt it was the source for the design.

Kimberly Wulfert, PhD www.antiquequiltdating.com Email: quiltdating@jetlink.net

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Date: Tue, 25 Mar 2003 10:03:48 -0800 From: Laura Robins-Morris 

What a fascinating site. You could spend all week there, following all those links! Laura in Seattle

>if you go to either >http://memory.loc.gov/ammem/ndlpedu/collections/quilts/history.html >http://memory.loc.gov/ammem/ndlpedu/collections/quilts/file.html >you will see a picture of the quilt....it won the 1994 lands end contest.. >jeanL

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Date: Tue, 25 Mar 2003 12:26:21 -0500 From: "Quilters Studio" 

Chanteclaire has many designers including Darlene Zimmerman who designs most of the 1930's repro. prints. Usually if it just has Chanteclaire on the selvedge it was designed by an in house designer. If it was designed by an independent (teacher, pattern designer, historian, museum) it will have their name on the edge also. I think Chanteclaire is owned by A.E. Nathan Co. and does business under the name of Jaftex Corp.

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Date: Wed, 26 Mar 2003 19:12:17 -0500 From: Vyvyan L Emery <vyquilter@juno.com> To: qhl@cuenet.com Subject: looking for history of quilt 

Hello all,

I'm hoping someone can help me. I have been researching the origins of a particular quilt design for quite some time. Last summer I wrote to Cindy Brick, (thank you, Cindy, for your reply) but my computer was down for months so I have not been able to do any further research until just recently. I now have a digital image of the quilt, which is an appliquéd dogwood quilt, I believe from the 1930s and possibly from a kit. I am attaching a picture of this quilt to see if any of you recognize the pattern and can give me some information on it. I don't know if this list accepts pictures, so if it doesn't go through, if any of you are interested in seeing it and maybe can help me, I will e-mail it privately. I bought this quilt an antique shop for $12 and I very much want to reproduce it, as the original is a tattered rag, but I think the pattern is beautiful. Thank you very much.

Vyvyan in Western N.C.

 

 

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