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Quilters Find a way to care

Subject: Lewis and Clark From: "J. G. Row" <JudyGrow@patmedia.net> Date: Fri, 18 Jun 2004 

This is a wonderful weblog which every day presents a very short one paragraph summary of what happened that day on the Lewis and Clark Expedition. In addition a second paragraph tells what else was happening in the world.

I just found it and have some catching up to do; but there is background information and the archives to read.

I am enjoying this and hope you do too.

J. G. Row a/k/a Judy Ringo judygrow@patmedia.net

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Subject: question about dating vintage fabric From: Jennifer Perkins <qltrstore@harlannet.com> 

I don't have an answer for this lady without doing a lot of research. Does anyone know this off the top of their head? Jennifer in Iowa

>>>> Date: Tue, 15 Jun 2004 09:55:48 -0700 (PDT) From: donna rhodes Subject: question about dating vintage fabric To: qltrstore@harlannet.com

i have several bolts of old fabric,(cotton),that is approx. 26-27 inches wide. do you know when the bolts were changed to what we now use,(42-44")? this would help me date fabric . thank you, donna

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Subject: question about dating vintage fabric From: Joan Kiplinger <jkip@ncweb.com> 

Jennifer -- around 1958 through early 70s those widths began appearing. All depends if person is asking about the standard dress cottons like percale, broadcloth and fine plains. Wider widths go back to the early 1800s in many staples and utility cloths.

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Subject: Madison WI quilt exhibit From: Susan K Bleimehl <bleimehl@mailbag.com> 

If any of you will be in the Madison, Wisconsin area this summer, The Elvehjem Museum of Art has an exhibit of quilts called Quilts, Artistry in Pattern from the Helen Louise Allen Textile Collection. It runs through August 15, 2004. You can read more about it and see the quilts online at http://www.lvm.wisc.edu/exhibitions.

I attended the June 6th gallery talk by Mary Ann Fitzgerald, curator of the Helen Louise Allen Textile Collection and exhibition curator and it was attended by 75-100 people. I was pleasantly surprised by this attendance on a nice June Sunday afternoon, especially since this was one of our first nice weekends after getting tons of rain in May. The quilts are a wonderful mix of styles and a joy to look at. Being able to see them in person is so much nicer than looking just at pictures.

There are two more events connected with this exhibit. On Thursday, July 15, 5:30 pm, Jennifer Chiaverini, author of the just-published The Master Quilter will be at a Meet the Author event.

On Sunday July 18, 2:00pm there will be a Gallery Talk by Professor Beverly Gordon, UW-Madison Department of Environment, Textiles, and Design titled Quilts: Windows into America. Quilts made at different times in history reflect their times--the technologies, social situations, beliefs and passions. In the gallery talk viewers will look at a selection of American quilts and what they have to "say" about their respective eras.

Check the website for further updates.

Susan Bleimehl Verona, WI

 

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Subject: Re: qhl digest: June 18, 2004 From: patkyser <patkyser@hiwaay.net>

RE: Lewis and Clark Thanks for this site, Judy. I've long been a L&C buff, went on my first=

Elderhostel last summer, following the trail from St. Louis to the Pacific. I came home and made a small wall quilt to commemorate OUR trip. We saw quilts (not outstanding ones) at the W.H. Over State Museum in Vermillion, South Dakota and at the Custer House at Ft. Lincoln in Nebraska. Did you see the L&C quilts at AQS show in Nashville last summer?

Another note Bets Ramsey, renowned quilt historian from Nashville, TN, will be giving the opening lecture on Sunday, August 8th for Bold Improvisations: 120 Years of African American Quilts, a new exhibit at=

Huntsville Museum of Art. It will run August 8 =96 September 26, 2004 =46rom the Collection of Scott A. Heffley comes 120 years of African-American quilt making. This exhibition explores the influence=

of African roots on these American quilt making traditions and provides=

historical context and traditional comparisons. Several African textiles are included in the exhibition to facilitate this comparison. =

Organized and circulated by Smith Kramer Fine Art Services in Kansas City, Missouri.

Unfortunately I have a family wedding that weekend that will make me miss Bets' talk.

Pat Kyser, Huntsville, AL

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Subject: DAR exhibit From: "Marcia Kaylakie" <marciark@earthlink.net> 

HI All, Will anyone who went to the DAR exhibit in Washington, D.C, contact me = please? It turns out the great great grandaughter of one of the = quiltmakers in the exhibit lives in Conroe, Texas and would like to know = more about the exhibit. The quiltmaker's name is Bryant. Also, if there = is a catalogue of the exhibit, how can we obtain one? Thanks! Marcia

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Subject: Nimble Needle Treasurers annotated index From: Hazelmacc@aol.com D

Good news for historians and scholars from Patricia (Almy) Randolph who edited NIMBLE NEEDLE TREASURERS (NNT) magazine from 1969 until 1975. She has= put together a complete, annotated index to one of the early pioneer quilt magaz= ines published in America. Cuesta Benberry who contributed to Nimble Needle Treasures Magazine has written the Foreword for the Index. She spells out the reasons for this ind= ex in context with the special place NNT stands in the late 1960s quilt history= .  

Cuesta wrote 22 general articles and many more articles on patterns. She contributed 19 items for "Around the Quilting Frame" and submitted 5 Crosswo= rd Puzzles.  The magazine gives a list of pattern collectors from across the USA and from Canada. There is also a list of quilters. In fact, there are 4 =BD page= s of quilters from across the USA. At that time the majority were probably hand quilters. This list should help complete a quilt's history in cases where o= nly the last name of the quilter is known. In the Quilt Frame Patterns listing,=  there are two for machine quilting. Quiltmaking Information includes such topics as borders, geometric shapes, quilting terminology and yardage. 

The=  listing of classified and display ads was interesting because it tells of th= e businesses in those early years of this last quilt revival. The cost of the index is $16.95 plus $3.00 for postage and mailing. To orde= r your copy Write: Nimble Needle Treasures Index, 2769 Bridge Avenue, Ponca City, Oklahoma 74604. More good news - the magazine will be placed on a CD, which will be available for purchase. A web-site is also being set up and Patricia plans= to show excerpts from various articles printed in NNT from time to time. She will keep us inform on the progress of these two projects.

Hazel Carter in No. VA.

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Subject: re widths From: "Charlotte Bull" <charlou@mo-net.com> Date: Sat, 19 Jun 2004 14:07:13 -0500 X-Message-Number: 5

I agree with Joan about fabric widths. But, I can add the info from a Time Line that the dress & blouse/shirt fabrics pre 1916 were usually 24" to 30", the 20s to 40s were likely 30" to 34" and the late 30s to mid 50s tended to be 36" to 39". I was told that the late 50s to early 60s was when the dress fabrics were beginning to be 40" to 42" and that the mid 60s saw fabrics at 44" to 45". Then by the late 1990s you could find some from 54" to 60". This pretty much dovetails with my 50 years of sewing and with the fabrics I have purchased over the years, both "new" and "vintage".

But all sizes could vary! I recall buying quilt print fabrics in the 1980s at Hancock's that were about 40"-42". But the solid color cottons were still 36". The clerk pointed that out to me as a warning when I was buying lots of yardages. I also own mint condition fabrics still on a bolt that are only 21". I was told by the vendor from TX, at AQS show, that it was circa 1880. It certainly exactly matches fabrics of that date in my research books. As I recall, 100 years later I paid $21 a yard for it. Worth more now! But, yes, there were really wide early muslins & percales or, as some called them, sheeting.

So we can make an estimate of dates, but nothing is a "sure thing". However, I definitely remember the very late 1940s or early 1950s when I bought my first dress fabrics that were really wider than 36". I can still envision that memory of discussing it with the clerk. Miller & Paine department store on the corner of 13th & O in Lincoln, NE!!! It cost about 1 cent per inch!!! Opps! I also recall wearing a size 5 shoe in those days, so let's not talk personal dress sizes!!! Or dress prices! Although my lace wedding dress in 1955 cost $55 compared to my grandchild's wedding dress this summer being a sale bargain of $600. I always thought $55 and 1955 went well together!

Enjoy your weekend!!! cb

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Subject: Capital Region Quilt Study Group From: Kris Driessen <krisdriessen@yahoo.com> Date: Sat, 19 Jun 2004 14:35:46 -0700 (PDT) X-Message-Number: 6

Nine People attended todays meeting of the Capital Region Quilt Study Group, bringing quilts from c.1840 to c.1950. You can see the pictures at http://www.quilthistory.com/study/CRQSG.htm 

Our first quilt was a blue and white carpenters wheel with a the type of tree border that seems indicative of the Hudson Valley region of NY. Heavily double and triple quilted, it was showing some signs of wear. One of our members commented that old quilts were meant to be viewed by candlelight, so we experimented with lighting while viewing the quilts. This quilt just glowed in the faux candlelight when we turned the lights off.

The same person brought a four patch quilt which caused our meeting to divide into debate groups. One group pointed out that the size, the border and the dark browns in the quilt indicated it was made c 1870. Another group pointed out that the milk chocolate browns, the peach moire fabric and the linen back made it 30 years earlier. You can see the pictures at http://www.quilthistory.com/study/CRQSG.htm  . What do you think?

We also discussed how this quilt was made. Other than the setting blocks and border, the quilt seems to have been made from scraps. Were these scraps left over from dress making? It didn't appear to me to that they were worn clothing, but would dress making in the 1840's - 1870's have leftover pieces of fabric?

Our next quilt was an 1840's double irish chain made using bars. It must take a lot of planning to make a DIC in strips. We compared the fabric in this quilt to the four patch and they did seem similar, which swayed us to the earlier date.

Our next double Irish chain was made in the 1890's using the block method. The blocks were all different fabrics, but the appliqued corners were all the same plaid print. It was in absolutely pristine condition. Seems it was made by Mother Brown in Vermont and given to her daughter in law, who did not like her. D-I -L just packed it up and left it to her heirs to sell at an estate sale. Along with all the cardboard quilting templates. There were also two signed wood quilting templates for a feather stitch. There are pictures on the website. It was signed "Laura Weeks, feather, 1848" in pencil.

One last pre Civil War quilt was shown. This one had a triangle border as part of the design of the quilt.

We also saw two gold and white quilts we decided were 30's or 40's. The first was a twin sized lone star made by Mrs. Dickerhof of Malvern NY and given as a gift to the current owner in 1959. It had a separate pillow sham. One of our members asked if the sham was indicative of a certain time period - anyone care to hazzard a guess? This quilt had a lot of traditional fan and feather quilting in it.

Our second gold and white was a positive/negative block made from a coarsely woven fabric similar to feedsack fabric. It was purchased in Iowa. One block was the donut, the other was the donut hole. It was also heavily quilted by the piece and had a bias binding.

We were also treated to a small crazy quilt. It was dated 1894 and had a lot of commemorative ribbons in it, along with some interesting floral embroidered motifs and some Kate Greenaway figures.

Our last two quilts were tops from the 1940's and 50's. One was a broken dishes pattern made largely of shirting fabrics and the other was a parasol lady in a star setting.

We closed our meeting by examining a pincushion collection.

Our next meeting will be August 7 assuming we can get the room.

Kris

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Subject: Re: re widths From: Gail Ingram <gingram@tcainternet.com> Date: Sat, 19 Jun 2004 

Charlotte,

I've sewed since I was in junior high school, and my experience generally matches what you cite.

Except for 54" fabric. I purchased fine wools and other top-line dress fabrics in this width so early as the 60's. I don't recall finding cottons or cotton blends in that width until much, much later, perhaps the late 80's or early 90's, and I suspect many of these were French and British imports.

Gail

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Subject: Re: re widths From: "Christine Thresh" <christine@winnowing.com> Date: 

I was recently thumbing through the *Singer Sewing Book, Revised, Enlarged Edition* (Second Edition 1954) by Mary Brooks Picken, McGraw-Hill Publishing Company Limited.

On page 16 it said, "Two lengths of 40" fabric, shoulder to floor, will cut a straight sleeveless or short-sleeved dress. Allow 3/4 yard more for long sleeves, three lengths if skirt is full."

Christine Thresh http://www.winnowing.com

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Subject: re widths From: Joan Kiplinger <jkip@ncweb.com> Date: Sat, 19 Jun 2004 21:32:03 -0400 X-Message-Number: 9

I think when asking about fabric widths, the types of fabric and ifber have to be mentioned; for instance wool was made in 54" widths in early 1800s and in going through Sears and Ward's catalogs of the 1890s, most of the wools and wool blends were 45" to 54". In cotton, sheeting was made in wide widths; Jackson sheeting, later renamed Indian Head, was available in 40-50" from the beginning in 1830, as well as many utility muslins and osnaburgs.American percale, introduced in 1860s as the alternative to calicoes which were losing favor due to cheap yarns, has always been 36". Silks and rayons traditionally were 38-40" beginning in the 1930s-50s although some silks were 50" wide -- I have a piece of chiffon from the 1890s in that width. And as I mentioned before, staples such as lawn, nainsook and batiste were available in 40" widths in the 1890s. Cotton broadcloth was one of the earliest to be made in 42" in the latter 50s when it was first on the market as a drip dry; I remember the elation of using that wider width and how much nicer it was to work with than the traditional 36". The drip dry part was a disaster :-D For a recent project I traced fabrics in all fibers from 1880s to 1959 using catalogs, textile glossaries and ads, and it was surprising the wide widths that were available in the latter 1800s. I would share this with the list but it is is for another project to be published later. For the past 6 years or so, 50" to 60" width in cotton has been the norm in the Swisses and is starting to filter down into quilting and dress cottons.

 

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Subject: RE: question about dating vintage fabric From: "Jocelyn Martin" <jocelynm@delphiforums.com>

Jennifer, One of the first things my mother taught me about selecting fabric was to be sure to check whether it was 36" or 45". This would be c. 1965. By the time I started sewing, c. 1970, she had ceased to remind us girls of that, and we were all astounded if someone found a bolt of 36" fabric. In other words- by 1965, 36" fabric was pretty much the standard. :) Perhaps someone slightly older than myself will remember HER mother telling her to watch for 24" vs. 36"?:)

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Subject: RE: Quilting in Indiana in 1830's From: "Jocelyn Martin" <jocelynm@delphiforums.com> 

>>>Where did the ladies get their fabrics and notions? Did they use remnants from other sewing projects or the "good" parts of worn clothing or did they buy material specifically for a quilt?

All of the above!<G> Each quilter made up her own mind as to which to use, and it probably differed from quilt to quilt. For example, my grandmother didn't use worn clothing, saying that by the time a garment was too worn to wear, it was too worn to re-use. Of course, she had a husband and several sons and only one daughter. The menfolks' shirts would be grimy and sweaty from working in the fields- no wonder she didn't want to use them in quilts!<G> Also, they would primarily be solids, and not so interesting to piece, and if she'd made them, she already had leftover pieces that were brand-new to use. I was just thumbing through a book on clothing construction from 1943 (more interesting than getting on with house-cleaning!) and there were instructions about how to re-use dresses, how to make 2 dresses out of 3 old ones, etc. So probably my grandmother's old dresses, with full skirts, were more profitably used in making baby and toddlers' clothing, than cutting up for quilts.

Another source you didn't mention was trading fabric with friends. A source in the 1920s-1930s was Sears- which sold off the scraps from their manufacturing for quilt pieces. My mother remembers my grandmother getting a batch that were all the same shape, apparently the cut-aways from under the arm and along the side seam of a child's dress. She designed a quilt top that used those triangles just as they were, rather than spending the time to cut them into another, smaller, shape. :)

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Subject: RE: English quilt From: "Jocelyn Martin" <jocelynm@delphiforums.com> Date: Sun, 20 Jun 2004 00:13:33 -0500 X-Message-Number: 3

>>I was interested, when I went to the site, to read that the same quilter quilted this embroidered quilt with 13 stitches to the inch and the Round the World quilt with only 8.

Barb, I have a family heirloom quilt that is pieced very roughly. The quilter was a master quilter, but this was one of her last quilts and obviously either her eyesight or her coordination was going. It is a GFG that has each of the outside hexagons fussy-cut, centered over a flower in the fabric. Design-wise, it's gorgeous. But the quilting isn't. It might also happen in reverse, if one were seeing an early quilt made by a child and a later quilt made by a craftsmaster quilter. (we know that's not true of my quilt because of the fabrics, which date to the end of Mrs. Clark's life, not the beginning.)

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Subject: re: Capital Region Study Group report From: Patricia L Cummings <quiltersmuse@comcast.net> Date: Sun, 20 Jun 2004 02:27:55 -0400 X-Message-Number: 4

Dear Kris:

Thanks so much for the report on your latest meeting. The photos add so much, too! Particularly amusing is the "parasol lady quilt in a star setting". This is the first quilt of this type (that I've seen) in which the lady has "lost her head". Did a double take on that on! Just the chuckle I needed. Thanks.

Pat Cummings

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Subject: Re: re widths From: "Sally Ward" <sallytatters@ntlworld.com> Date: Sun, 20 Jun 2004 11:10:52 +0100 X-Message-Number: 5

I seem to recall both 36 and 45" widths on the shelves when I was busy dressmaking in the 60s UK. One way to guage the arrival of different widths might be to look at vintage dressmaking patterns to see when the yardage tables started to give requirements for alternative widths.

And wasn't it the more exotic fabrics, jerseys, wools etc., that came in even wider widths?

Sally W

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Subject: Re: re widths From: "Marcia Kaylakie" <marciark@earthlink.net> Date: Sun, 20 Jun 2004 05:55:56 -0500 X-Message-Number: 6

HI All, Jumping in on the discussion about widths, here's one that will confuse eceryone. Mission Valley Mills fabrics from New Braunfels were making their fancies (unusual style cottons with embroidery and other items) in 60" wide from the 1950s on. So if you lived in Texas and bought locally, you might have seen wide widths in cotton very early! Marcia

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Subject: question about dating vintage fabric From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 20 Jun 2004 06:55:07 -0400 X-Message-Number: 7

Jocelyn -- like Charlotte Bull, I started sewing in mid-1940s. Most cottons were 36", occasionally 34" & 35" were to be found; however, depending on manufacturer and type of fabric, 36" width could include variances in selvage width of 1/4" to 1". For instance good voile then and as today has sevages of 1" to 3/4", lesser grades will be the standard 1/4" or shuttleless edge. So one had to take those differences into consideration. I don't recall any widths less than 34" at that time and 24" to 26" width range probably ceased after WWI for the most part. Catalogs tend to bear this out. Your mother was wise to make you aware of differences; I was giving the same advice about that time to friends who were beginner sewers. It was equally important to make sure patterns contained 36" width layout as well if that was width of fabric selected.

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Subject: : re widths From: Joan Kiplinger <jkip@ncweb.com> Date: Sun, 20 Jun 2004 09:09:57 -0400 X-Message-Number: 8

Marcia -- I read something recently about Mission Valley MIlls -- is this the area where the National Cotton Museum is located? Re the wide fabrics -- do you recall if they were more for home use? Many linens and other fancy cottons suitable for light to medium-weight drapes and home decorating came in exceptionally wide sheeting widths which I recall in the 40s and 50s. Your comment reinforces the need to identify fabric category when asking about widths in any era.

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Subject: quilts on the Lewis and Clark Trail in southeastern South Dakota From: mswaller

I was surprised to read Pat Kyser's post mentioning quilts she saw at the W.H. Over State Museum in Vermillion, South Dakota while following the Lewis and Clark route last summer. I live in Vermillion.

Pat's absolutely right, the Over Museum usually has about a half-dozen quilts on display and they are not outstanding ones. Most are 1930s and later; what's on display may include one or two quilts pre-1900. To the best of my memory, the one or two c. 1850 pieces are not outstanding and have been displayed once in the twenty years I've lived here during a quilt exhibit. Definitely nothing from the L&C expedition time. There's usually a 1930s quilt in the claims shack; don't bother telling them it is not appropriate to the era, they like it there.

Don't be disappointed by the quilts; go for the Lewis and Clark and Native American exhibits. Two of the best Native American artists have works in the Over Museum; there's a diarama Oscar Howe worked on and one of Oscar's best-known students, Bobby Penn, painted the background for the family life exhibit. If you are interested in real Native American art, beadwork and quilts, plan to spend time in the museum's gift shop.

If you're in Vermillion, be sure to visit the Oscar Howe Gallery in Old Main. If you are interested in Native American or Western American history or ornithology, research the Chilson Collection at the I.D. Weeks Library before you leave home to see if they have anything you want to see. If you like Native American art, wander around the I.D. Weeks Library; there's always a lot of it on the walls, especially on the second floor.

If you are into music history, you'll want to see the National Shrine to Music museum. For more art, check the exhibit at the Fine Arts school's main gallery. All of these are on the University of South Dakota campus within five blocks of each other. FMI, http://www.usd.edu/museums.cfm.

There are also a few quilts in a glass case at the Dakota Territorial Museum in Yankton, South Dakota. If you go to Yankton, go another 30 minutes north to Heritage Hall on the campus of the Freeman Academy in Freeman, SD. There is a wonderful collection of Native American items, collected by Kent Wintersteen, that includes a wonderful child's star quilt in excellent condition.

In Pierre, SD, visit the Cultural Heritage Center. There are usually several quilts on display there.

Mary Waller Vermillion, SD

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Subject: Nimble Needle Treasurers Index From: louise-b <vlbequet@mcmsys.com> Date: Sun, 20 Jun 2004 09:25:59 -0500 X-Message-Number: 10

How wonderful to see that there is going to be an index & a CD of the magazine. After reading Gwen Martston's book on Mary Schafer I definitely wanted to find those magazines and now it will be possible.

On the widths of material, I remember 36" widths for cottons when I started sewing in the late 40s and early 50s. I remember some Botany woolens from the early 50s that I think weren't the 54" width but not sure now.

Louise Bequette -- in mid-Missouri

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Subject: fabrics differ From: "Charlotte Bull" <charlou@mo-net.com> Date: Sun, 20 Jun 2004 09:20:55 -0500 X-Message-Number: 11

Thanks, Joan, for added comments. To be very open and honest with you all, I shall admit that I only think of COTTON fabrics for quilts or for little kids dresses and my own square dance dresses. I really did not do much with wool or rayon. I am so single minded that, to me, Fabrics are created and purchased for future Quilts! Sorry! I abjectly apologize! But I did make a sport coat for my husband out of gray cashmere wool he'd bought when on duty in England. I drew the line after making a pair of slacks for him out a nice navy wool. I declared that I was not a tailor! I would condescend to make his Western shirts out of cotton plaids because the leftover scraps were useable!!! For doll dresses or Quilts! So do not expect me to know anything about other fibers! : ))) Oh yes, the sails I made for his sailboats were cotton! I did extend myself to make down jackets and sleeping bags out of nylon fabrics because he begged!!!

We speak of Kits and we think of embroidery, applique & pieced quilt kits. We bought Kits to make the jackets, mittens and sleeping bags and they included packets of down. Yes, we camped in the New York and Colorado Winters! cb

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Subject: Re: Capital Region Quilt Study Group From: "Laurette Carroll" <rl.carroll@verizon.net> Date: Sun, 20 Jun 2004 07:48:38 -0700 X-Message-Number: 12

> Our next quilt was an 1840's double irish chain made using bars. It > must take a lot of planning to make a DIC in strips.

Hello and thanks for sharing the photos of your group meeting. You can make a Double Irish Chain by piecing it in blocks. See Brackman's Encyclopedia, #2028 for what appears to be the exact pattern used in the quilt shown. Notice how the points where the blocks meet are not exactly like the center of the of the block (in the quilt photo).

Laurette Carroll Southern California

Look to the Future With Hope

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Subject: Dbl. Irish Chain From: Patricia L Cummings <quiltersmuse@comcast.net> 

Hello and thanks for sharing the photos of your group meeting. You can make a Double Irish Chain by piecing it in blocks. See Brackman's Encyclopedia, #2028 for what appears to be the exact pattern used in the quilt shown. Notice how the points where the blocks meet are not exactly like the center of the of the block (in the quilt photo).

Laurette Carroll Southern California

My first large bed quilt (queen size) was a Double Irish Chain constructed with the strip method, a la Eleanor Burns method.

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Subject: A heron/huron query From: Gail Ingram <gingram@tcainternet.com> Date: Sun, 20 Jun 2004 10:15:59 -0500 X-Message-Number: 14

Dear Charlotte,

Carolyn Miller has heard of a quilt museum at Rogers, Ark. Is it good? REALLY good? Worth a trip, when we could be in Gawgia? Carolyn lives in Dallas area, I in N. LA. and could make a weekend visit to Rogers if it a) exists b) is open on weekends. Address?

One more query of import: Do you know of examples of Whig's Defeat quilts in your area? Are they block or the older, set-in types?

How are the cows and Wal-Mart types up your way?

Gail

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Subject: Re: re widths From: "Laura Syler" <texas_quilt.co@airmail.net> Date: Sun, 20 Jun 2004 10:56:58 -0500 X-Message-Number: 15

Marcia, I remember as a young child, playing under the bolts of fabric at the old Jem Fabrics store on 2222 in Austin- for what seemed like HOURS (gosh-MOM!!!) while my mother sorted through patterns, then fabric and then judiciously studied the back of the pattern packet to figure out the conversion charts. She and the sales lady always had to rework the yardage's when ever she (which seemed most of the time) purchased fabrics from Mission Valley. She always remarked how wonderful it was to find such wide fabrics, and made just down the road a piece- when making two dresses - for me and my NOT twin sister (17 months apart!) Laura Hobby Syler Richardson, Texas --

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Subject: apologies From: Gail Ingram <gingram@tcainternet.com> Date: Sun, 20 Jun 2004 12:43:44 -0500 X-Message-Number: 17

Folks,

I apologize for posting to the list an email intended for Charlotte Bull.

And if you work for, love, hang out at in pink lycra pants (!) Wal-Mart, please don't be insulted. Charlotte understands. The rest of you probably don't.

As for cows, I make no apologies, esp. since they have been the subject of such fond comments on this list lately, though I have to say those down around Brenham, TX, that produce Blue Belle vanilla ice cream have always dearer to my heart than most. Even dearer than the ones that produce Blue Belle chocolate ice cream. Wonder what those dear ladies would do for the dye industry today.

Gail

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Subject: QHL Quilted Petticoat From: "Susan Wildemuth" <ksandbcw@geneseo.net> 

I recently acquired a quilted petticoat on a trip back home from Bloomington, Illinois at an antique shop along the way. It is made from muslin/or muslin-like material and is machine quilted. The quilting starts about 4 inches down from the waistband and it is quilted horizontally every two inches. The quilting pattern used is simple -- like someone put a piece of masking tape around the entire body of the petticoat and the quilter quilted on both sides of the masking tape; repeating the same technique all the way down to the hem. The waistline is 22 inches. The petticoat has two button holes -- one at the waistband and one about 3 1/2 inches down on the main part of the petticoat.. I am unable to tell if the button hole openings are machine or hand done as some the stitching is close, but not what my sewing machine would do today. The buttons themselves are missing. I'm 5 foot 3 and the hem hits just above my ankle and the hem is crocheted (33 inches from the top of the waistband to hem). It is in good condition. I do not have a picture of it yet, but it looks similar to this petticoat http://www.1860-1960.com/xa1273p0.html , but it does not have the tie in the back -- mine has buttons. I was assured it was not a reproduction piece, but the "Real McCoy." Any ideas on how I can date it? Are the buttons a clue to it's age? Were most petticoats tied at the waist instead of buttoned? What years were petticoats in vogue? Any books on the subject? Any help you give me would be greatly appreciated?

Thanks, Sue in Illinois

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Subject: U.S. Sanitary Commission Quilts From: Donald Beld <donbeld@pacbell.net> 

A while back Kim Wulfert wrote in about the U.S. Sanitary Commission Quilt on public display at the Lincoln Shrine in Redlands, California and talked about the name of the block.

Brackman's closest block is the Old Italian Block, but she attributes that to Nancy Cabot--long after the period of the Civil War..

I, also, have always been curious about the block name. I know it is the block used in two of the existing Sanitary Quilts and that it was a popular block both before the Civil War and during.

The name I always associated with it was simply "The Album Block".

I came across another name for it in The American Quilt, 1993, Roderick Kiracofe, where he uses the name Album Crosses, on page 89 for a quilt dated c. 1840.

For those of you interestedin current quilting, I am spear heading a drive by my guild, Citrus Belt Quilters, in REdlands, Ca (home of the Lincoln Shrine) to make replica U.S. Sanitary Commission quilts based on the Shrine's quilt to give to the families of War Dead in Riverside and San Bernardino Counties--to honor them and link them to our nation's past. Currently we have lost 17 service persons in Afghanistan. Don Beld

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Subject: Re: U.S. Sanitary Commission Quilts From: Jccullencrew@aol.com 

Dear Don, Your plan to make Sanitary Commission Quilts in rememberance of those lost in Afghanistan is a lovely thing to do. The relatives, I'm sure, will find comfort in holding on to or wrapping themselves in the quilt. Did you come up with a pattern for the quilts based on the ones you have seen? Or were they made according to each seamstresses specifications? And what type fabrics were used? Anything that was available or were they only darker colors? Were they one piece of fabric that was tied in quilt fashion? No doubt there was little time to fuss over the quilts since so many were needed at the time. I remember this topic coming up before and I was very curious about those quilts. Can you fill me in on the above please? I know I can get correct answers from you. We lost two soldiers in Iraq in our town in the past couple of months and I'm thinking that perhaps I could find several quilters who would be willing to do this also. I'm looking forward to hearing from you. Kind regards. Carol Grace

 

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Subject: That ole' log cabin question From: "Sally Ward" <sallytatters@ntlworld.com> Date: Mon, 21 Jun 2004 08:53:19 +0100 X-Message-Number: 1

Since I was unable to back up my early log cabin silk purse claim a few weeks ago I have been trying to track down where I actually got the reference from. Two emails and three phone calls to the V&A have (very frustratingly) elicited no response, and I've checked every book I can think of to no avail. So I have to hold my hand up and admit to giving unsubstantiated information.

My last hope is a new book published by quilt historian Jan Rae which I gather is to be launched at the Festival of Quilts in August here in Birmingham, UK. the blurb says :

<Rae, Janet and Travis, Dinah, Making Connections Around the World with Log Cabin (RT Publishing, Chartham, 2004) Includes historical development of one pattern from 100AD, its spread to Europe and the British Isles (including Scotland), North American and 'Down Under'. Work by contemporary quiltmakers in Japan, Australia, Europe, North American and UK is also included as well as design development projects based on traditional quilts.>

I guess if my vindication isn't in there, it won't be anywhere. I'll let you know.

No affiliation etc.

Sally W

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Subject: Re: That ole' log cabin question From: "Karen" <@charter.net> Date: Mon, 21 Jun 2004 06:16:54 -0400 X-Message-Number: 2

Janet Rae did mention it in Quilts of the British Isles...it'll be interesting to see the book. Do you know if it's scheduled for publication in the United States?

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Subject: Italian Quilting From: "Celia Eddy" <celia.eddy@btinternet.com> Date: Mon, 21 Jun 2004 12:19

We usually describe Trapunto and corded quilting as Italian but are = there any books which cover the whole history and tradition of quilting = and/or patchwork in Italy? Thanks Celia

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Subject: Re: That ole' log cabin question From: "Sally Ward" <sallytatters@ntlworld.com> Date: Mon, 21 Jun 2004 12:34:08 +0100 X-Message-Number: 4

> Janet Rae did mention it in Quilts of the British Isles

Indeed, but that reference just leads back to Seligman and Hughes' 'English Domestic Needlework', and my edition doesn't give an illustration. I can't figure out why I think it was in the V&A.

...it'll be > interesting to see the book.

Very!

Do you know if it's scheduled for publication > in the United States?

I don't, but I can ask.

Sally W

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Subject: Re: Down kits and sails From: patkyser <patkyser@hiwaay.net> Date: Mon, 21 Jun 2004 07:55:02 -0500 X-Message-Number: 5

Ah, Charlotte, your note brought back memories. I, too, made dozens of down jackets from those Frostline kits from Colorado. They were wonderful, miraculous in that if you did each step and checked if off in the booklet, you ended up with a very professional looking jacket.I did several where I appliqued patchwork designs on the final shell. The hardest one I did was a rain slicker and pants with so many zippers that I think you could have fallen overboard in a North Sea storm and stayed dry. And, I, too, have made sails for my husband's sail boats. My first ones were from lovely Egyptian cotton. Because Nassar had declared an embargo on their cotton, we had to scour the nation to find enough, finding some in Maine and some in New Orleans. (Remember, this was late fifties, eons before the internet!) There was no "pattern" but only a book written in England with many phrases I did not understand. I had to figure out the "pattern" by working with math and the height of the mast, depth of the keel and had to build "belly" in for when the wind first filled the sail and stretched it. We cleared our den of furniture and laid it out with masking tape on the oak floor.I made them on a 1950 Featherweight using an ancient attachment that allowed you to make a zig zag stitch by jiggling the fabric back and forth. Hard to sew a straight line with that fabric jerking back and forth! I was SO PROUD when those sails first were raised. I had never even seen a sail boat up close until my husband finished building the first one and we launched it. I was an idiot to tackle the taskwith my dearth of knowledge , but too in love to tell my husband I couldn't! I still have the "sailor's thumb" I wore for the hand work. For later boats I made dacron sails and I hated working with that slippery fabric. Pat in Alabama

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Subject: Re: Italian Quilting From: MSNeedleArts@aol.com Date: Mon, 21 Jun 2004 09:11:11 EDT

In a message dated 6/21/2004 6:24:49 AM Central Daylight Time, celia.eddy@btinternet.com writes:

We usually describe Trapunto and corded quilting as Italian but are there any books which cover the whole history and tradition of quilting and/or patchwork in Italy?

Funny, I always think of corded quilting as French, since it was produced in such large quantity in Marseille and Provence. Of course, that is probably colored by my deep interest in Boutis! :-0

Rissa

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Subject: Re: That ole' log cabin question From: Judy Schwender <sister3603@yahoo.com> 

Janet Rae, in Quilts of the British Isles, writes that the pattern originated in the British Isles and was taken to America by emigrants. She asserts that the origin of the pattern in England may date back to at least the 1600s based on a surviving example of a perfume bag featuring a Log Cabin style pattern that is dated 1650. A black and white picture of this perfume bag is found in G. Saville Seligman and E. Talbot Hughes, Domestic Needlework, (London: Country Life, 1926), Plate 58. I found a copy of this through interlibrary loan (I think it came from Iowa State) when I was doing research for my exhibition of 19th century Log Cabin quilts that is currently at the University of Nebraska-Lincoln. There was no reference to where the pictured article was located. My reaction was that it was a pattern that sort of looked like the Log Cabin pattern, but it is not pieced. (It actually reminded me more of Native American quill work [done with porcupine quills.] But obviously that is not the technique used!) I've seen the new Janet Rae book and she mentions the above reference, as well as a mid-1600s casket with embroidered designs reminiscent of LC. Actually, in Seligman and Hughes there is a embroidered box (plate 90) that also has this type of embroidered pattern. I will say that the structure of these embroidered pieces is not the same as the structure of pieced LC blocks. Different mediums, different methods.

Sally Ward <sallytatters@ntlworld.com> wrote: Since I was unable to back up my early log cabin silk purse claim a few weeks ago I have been trying to track down where I actually got the reference from. Two emails and three phone calls to the V&A have (very frustratingly) elicited no response, and I've checked every book I can think of to no avail. So I have to hold my hand up and admit to giving unsubstantiated information.

My last hope is a new book published by quilt historian Jan Rae which I gather is to be launched at the Festival of Quilts in August here in Birmingham, UK. the blurb says :

Around the World with Log Cabin (RT Publishing, Chartham, 2004) Includes historical development of one pattern from 100AD, its spread to Europe and the British Isles (including Scotland), North American and 'Down Under'. Work by contemporary quiltmakers in Japan, Australia, Europe, North American and UK is also included as well as design development projects based on traditional quilts.>

I guess if my vindication isn't in there, it won't be anywhere. I'll let you know.

No affiliation etc.

Sally W

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Subject: Re: That ole' log cabin question From: Midnitelaptop@aol.com Date: Mon, 21 Jun

if you go to google click on images put mummified cats in the search box you'll see several pictures of an egyptian mummified cat on pages 2 and 3 that looks like he/she was wrapped in a log cabin papyrus. jeanL

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Subject: Restoration CDs From: "Marcia Kaylakie" <marciark@earthlink.net> Date: Mon, 21

HI All, Can anyone refresh my memory as to where to purchase the quilt = restoration CDs? I think they are by Nancy Kirk. Thanks, Marcia

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Subject: re bulls & cows From: "Charlotte Bull" <charlou@mo-net.com> Date: Mon, 21 Jun 2004 11:02:00 -0500 X-Message-Number: 10

I surely do not mind if a letter to me gets read by all of you! But I knew the intended joke. And the Jokester! And I was smiling before I even read the letter! Thanks!!! Friends don't need to sweat the small stuff - especially here in the humid Ozarks!

I have a really funny joke to share with you ALL. My guild has a Challenge kit each year. The colors this year were purple & red. So the Committee asked some Red Hat ladies to visit in their Purple dresses and Red hats. They mentioned that there was a Red Hat club called the Purple Cows and I asked if I should move there & join since I was a Purple Bull. They roared. Hey I've lived for 49 years with my husband's last name. Not an easy one for a substitute teacher in ranch & farm communities!!! No explanation offered if you miss the joke! Sorry! <VBG>

We are all friends. I was telling someone the other day that it was folks like you and your emails that brought me through a tough 2 years. You know, we all cherish our Fabric Stash. Well I also cherish my Friends Stash!!!

By the way, if any of you want to join in and share info about the ARK museums, please feel free to do so. There are several in the Rogers, AR area but it's been a while since I visited them. However, all were very small. I will take a special Girl's Day Out Visit to them IF it ever stops being rainy/stormy/muggy!!! I'll pick up brochures & send the info out. I do recall seeing nice quilts, but very few quilts, as they are not the emphasis of the museum, except when a specific exhibit is held. But things do change. I do know there are a few lurkers out there who live in that specific area. I think you should speak up!!! And you do know who you are!!! You also belong to MOKA, the new quilt study group!!! (MO, OK, KS, AR)

I'm going off the computer to restore 2 quilts! goodbye all.....cbull

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Subject: Re: Restoration CDs From: Dana at Material Pleasures

Hi Marcia, http://www.kirkcollection.com/ 

I think they are wonderful, a lot is common sense, but made me more confident hearing it from a professional, but I did learn a lot too.

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Subject: Re: Restoration CDs From: Kris Driessen <krisdriessen@yahoo.com> Date: Mon, 

Well, sure, just go to http://www.kirkcollection.com.

You can also find them on http://www.quilthistory.com on the "Quilt Restoration" tab.

Kris

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Subject: RE: DAR exhibit From: "Gibson, Nancy" <ngibson@dar.org> Date: Mon, 21 Jun 2004 13:29:06 -0400 X-Message-Number: 13

I forwarded your query on to the exhibition curator, Alden O'Brien and = she will respond as soon as she returns from a vacation.

Nancy Gibson Media Relations Manager DAR 1776 D Street, NW Washington, DC 20006 (202) 879-3238 (202) 412-3246 mobile

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Subject: study trip From: QuiltEvals@aol.com Date: Mon, 21 Jun 2004 14:33:59 EDT X-Message-Number: 15

Hello all,

Before 9/11 I sent out information regarding a fabric study trip to France and England. After 9/11, many people withdrew from the interest list, enough so that I postponed the trip indefinitely. Since that time I have had several inquiries about the tour. Having just returned from safely studying and playing in both countries as well as finding people who are associated with early fabric collections to be overly friendly and helpful, I have decided once again to undertake the task of forming a fabric and quilt study tour to these areas. As the preliminary work is just beginning, I am forming a new interest list. If you are interested in further information as it becomes available, please email me privately and I will keep you updated.

I hope everyone is having a wonderful summer.

Deb Roberts

--part1_19e.25ccaa71.2e088417_boundary--

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Subject: Candace Wheeler's book Development Of Embroidery in America From: "Candace Perry" <candace@schwenkfelder.com>

I'm glancing through this ancient book in our library, and I find this interesting tidbit: " The patchwork quilt wan an instance of much of this effort. It was unfortunate that an ecomnomic law governed this species of work, which prevented its possible development. The New England conscience, sworn to utility in every form, had ruled that no material should BE BOUGHT for this purpose." Huh. Is that true? Does she mean it was an actual law or is she just commenting on Yankee thrift? Candace Perry

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Subject: Re: Italian Quilting From: Hazelmacc@aol.com Date: Mon, 21 Jun 2004 15:26:45 

Averil Colby's book "Quilting" is a great source....Hazel Carter

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Subject: Re: That ole' log cabin question From: Judy Schwender <sister3603@yahoo.com> 

I forgot to give the name of Janet Rae's new book- my apologies!

Making Connections: Around the World with Log Cabin

Janet Rae and Dianh Travis

RT Publishing

Great Britain

2004

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Subject: Trapunto or Marseilles? From: "J. G. Row" <JudyGrow@patmedia.net> Date: Tue, 22 Jun 2004 01:39:29 -0400 X-Message-Number: 1

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem

Trapunto or Marseilles? I vote for the latter.

Age?

J. G. Row a/k/a Judy Ringo judygrow@patmedia.net

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Subject: Re: qhl digest: June 21, 2004 From: Jane Hall <jqhall@earthlink.net> Date: Tue, 

Regarding the Log Cabin pattern, I am lucky enough to have a copy of Janet Rae's new book and it is fantastic. She spends a great deal of time on the history of the design, then has pages of good drawings and photographs of all the variations you could possibly think of, classic and innovative.

Janet's earlier book had some of the history in it, but this one delves muc= h deeper. She covers the Mummy theory, the land distribution idea, and goes back into early Greek and Roman geometric designs as possibilities for the origin of what we call Log Cabin. She does have a photo of the embroidered casket or small box from the 1700's and mentions the silk sachet of the sam= e era. I am convinced that the design itself is very old. There are only so many ways to arrange geometric shapes, and since this patterning has appeared in so many different areas at different times, it seems logical to me to put it in the same class as the Flying Geese, Square-in-square, 8 pointed star patterns we have seen in ancient tiles and textiles all over the world.

In reading everything I can get my hands on, I cannot find a reference to the pattern being made in a quilt until the early 1800's...and it is a real hunt to figure out where it was done first. We Americans seem to think this is OURS. The British are equally convinced, and they do have quilts made before our earliest documented one (1869). The Manx also claim they made th= e first one (!) It was also made extensively in Scandanavian countries.

Get Janet's book! It is not available in the US yet, but it is on Amazon UK for =A318.95. Unfortunately, the dollar is quite a bit down, but the book is worth every penny. Jane Hall

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Subject: Re: Trapunto or Marseilles? From: "Karen" <@charter.net> Date: Tue, 22 Jun 2004 07:44:28 -0400 X-Message-Number: 3

Oh, yes. I vote Marseilles.

Karen Evans

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Subject: Re: Trapunto or Marseilles? From: Kris Driessen <krisdriessen@yahoo.com> 

I always thought a Marseilles quilt/bedspread was woven. However, before I posted I did a google search and came up with this site http://www.osv.org/pages/Prints&Piecing.html which says, "...Marseilles work--intricately quilted, corded, and stuffed textiles, including bed quilts, petticoats and waistcoats, as well as yardage, produced in southern France since the 1600s. Marseilles quilting was taught as fancy needlework to privileged young ladies in the 1700s and was also imitated by professional embroiderers in England and India.

In the 1760s a process was patented to create woven imitations of Marseilles work. It made use of a traditional draw loom, operated by two workers, to reproduce the effect of hand quilting. Loom quilting was further improved in the early 1800s with the adaptation of the punched-card Jacquard mechanism to replace the second weaver. With this improvement, machine-made Marseilles quilts became affordable for many families. Inspired by Marseilles bed covers, all white, hand-stitched quilts were greatly admired from the early 19th century through the 1860s."

Now, what about the Marseilles from the 1900's - 1920's?

Kris

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Subject: Re: Trapunto or Marseilles? From: MSNeedleArts@aol.com Date: Tue, 22 Jun 2004 10:32:08 EDT X-Message-Number: 5

You may have been confusing Marseilles with Mattelasse, which is woven, and was designed to look like Marseilles work.

Rissa

Rissa Peace Root, President Mississippi NeedleArts Chapter - EGA

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Subject: Re: Trapunto or Marseilles? From: Xenia Cord <xenia@legacyquilts.net>

...and an added note: when Jacquard invented his punch-card loom attachment in 1803 he was stoned by those who feared for their livelihoods! The rocky road of progress!

Xenia

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Subject: Some say trapunto/ Some say quilt From: Gail Ingram 

I passed the Marseilles/quilted query on to a longtime dealer in fine linens who knows her "stuff." Her reply follows. Gail

Interestingly, I just acquired a particularly pretty bedcover that I was trying to fiure out, too. But you guys are the quilt experts!

I think a trapunto piece would be stuffed much fuller and would have a design that lent itself to being stuffed. The pieces that I have seen feature fruit designs... plump cherries and grapes.

The French and American Marseilles machine-made spreads are usually really beautiful, and you could swear they are handmade because they are slightly puffy. The design on the ebay piece is the most boring bedcover I have ever seen... handmade or not. But I don't think anyone would bother to handmake a design like that.

I vote Marseilles, too, either french or domestic.

anyone have a definition of matalasse?

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Subject: Re: Some say trapunto/ Some say quilt From: Joan Kiplinger 

Gail -- per textile glossaries -- matelassé siif French meaning to cushion or pad, hence a quilted surface produced on the loom. A figured or brocaded cloth havng a raised pattern as if quilted or wadded. The effect is also produced by chemical blistering on a special heated drum or roller, reducing the price to make cloth but giving same appearance. At one time was made only in silk but is found in many other fibers and filaments today.

Gail Ingram wrote:

> >anyone have a definition of matalasse? > > > > > >

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Subject: =?iso-8859-1?Q?definition_of_Matelass=E9?= From: "Major Maam" 

Matelassé is a double-cloth fabric woven to create a three-dimensional texture with a puckered or almost quilted look. Matelassés are made on jacquard or dobby looms often with crepe yarns or very coarse cotton yarns. When finished, the shrinkage of the crepe yarn or the coarse cotton yarn creates the puckered appearance. It is used in apparel as well as in furnishings. -Textiles 7th Edition 1993 Kadolph et al, Macmillan Pub. Co. NY,

Becky In the High Desert of California

Never put off for tomorrow what you can do today... It might be fun today, and then you could do it again tomorrow!

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Subject: RE: Italian Quilting From: "Velia Lauerman" <velialive@hotmail.com> Date: Tue, 22 Jun 2004 12:40:57 -0400 X-Message-Number: 12

The word trapunto can be broken into trapo (cloth) and punto (point) which is Spanish. Grandma and Mom used this method in Texas when they made batting from cotton left over in the fields edge. Mom and Grandma and Tia Maggi would get the family together to wet down the cotton and place on a table for batting . For the trapunto design the cotton was put thru a large eye needle and pushed into the fine fabric. (Something like the picture of the 1933 winning piece.) The students in Taylor,Livonia, Westland, Michigan have had lots of fun with doing trapo punto using this method which I love and shown from memory. Also instructing a tape lace with faggating on silk bias strips which was popular in the 1920's and 30's. Currently putting down on paper several patterns.Velia

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Subject: Re: definition_of_Matelassé From: Judy Schwender <sister3603@yahoo.com> 

Kadolph was the text used in my intro to textiles class at UNL. If you want a good basic book about fibers, weave structures, and yarns, this is it.

Major Maam <majormaam@sbcglobal.net> wrote:Matelassé is a double-cloth fabric woven to create a three-dimensional texture with a puckered or almost quilted look. Matelassés are made on jacquard or dobby looms often with crepe yarns or very coarse cotton yarns. When finished, the shrinkage of the crepe yarn or the coarse cotton yarn creates the puckered appearance. It is used in apparel as well as in furnishings. -Textiles 7th Edition 1993 Kadolph et al, Macmillan Pub. Co. NY,

Becky In the High Desert of California

Never put off for tomorrow what you can do today... It might be fun today, and then you could do it again tomorrow!67--

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Subject: crazy quilt help From: "Melissa Newell-Smith" <zekeman@infionline.net> 

Hi all,

I am seeking any insights you might have concerning a crazy quilt that was recently salvaged from the long unused upstairs of my grandfather's house in Maysville KY. No one in my family knows anything about who the quilt belonged to or how it got there. It has some damage to it, especially on one half that seems to be the half that was exposed to light, while the other half was folded under and more protected. It has embroidery all over it, especially many numbers that I have no idea as to their meaning. There is one large embroidered 1899 that I take to be the date of the quilt, though the nines are stitched backwards and look like letter P's. All over the rest of the quilt, both on the borders and the inset pieces, are several other numbers that are repeated in many places. The number 100 (representing the turn of the century, to 1900?) the number 518, the number 872, over and over again. There are three large initials in a center patch, the first two appear to be cursive capital S, the last one looks like no capital letter I can figure out, but kind of the shape of a lower-case cursive b, though it is embroidered at the same size as the capital S's. These must be the quilter's initials? 

There are also many other embroidered designs, one that is a green tree with red balls on the end of the branches (like a Christmas tree or a holly?) and lots of rows going every which way that have an up-across-down-across-up-across- down-across pattern like the top of a castle wall. These seem to have crow's feet, or plant-like patterns growing out of them. I am really interested in finding out anything at all about this quilt. I'm not really concerned about its value (or lack thereof, being damaged in places), and it's not really sentimental to my family as I have no idea who made it and will probably never know. The initials and numbers make no sense to me in terms of ancestors' names or dates. The numbers all seem to be 3-digit ones, which couldn't designate years. I am just really, really curious and fascinated and would appreciate any help. 

The quilt was left out in one of the rooms, so it is also very dusty and dirty and I think animals (cats) laid on the exposed top half possibly. It really needs to be cleaned and I have no idea how to do it. I took it to a local quilt person for a verbal appraisal and she said she had never seen numbers on a quilt to this extent, and didn't know what they meant. The person whom she had been using for cleaning is no longer able to do so, so I still have no recommendations in that area either. If it were even just surface-cleaned, or moderately cleaner than it is now so that I could enjoy it as a keepsake and take it out to look at and show to others from time to time, I would be happy. I love the colors and all the fancy embroidery. I just think it's really pretty, and would love to know more. I was told that the top pieces are almost all wool, or wool blends, and the back is cotton. There is a third piece of fabric between the two, no batting. Any suggestions you could give me would be greatly appreciated. Thanks!  Melissa

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Subject: crazy quilt help, p.s. From: "Melissa Newell-Smith" 

p.s. I should mention that I did read the cleaning section of the quilt history page, but since my quilt does have a lot of embellishments, and is damaged in some spots, I'm not sure what I should attempt to do first. Its dustiness seems to go way beyond what vacuuming through a mesh screen would help. I was considering spot cleaning some of the patches with a damp sponge and mild detergent, and not touching the damaged areas at all, but all of this is brand new to me at this point, and I just feel like I need some feedback from someone who has actually used some of these methods. Thanks again.... Melissa ------=_NextPart_000_015B_01C458CB.1262B280--

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Subject: Re: crazy quilt help From: Dana at Material Pleasures 

Hi Melissa, I would leave it alone. Nothing can be done to the area that has light damage. I would also not use any kind of spot cleaning on a crazy quilt made of silk and other delicate fabrics. Like a friend on this list once told me..."go lay day on the couch until the urge to clean the quilt passes". I found that her advice works wonderful for chocolate cravings and whenever I want to wring my husband's neck I would love to see pics of the CQ. Maybe someone can help you with the mystery letter. Can the numbers be an address? My best, Dana

Material Pleasures Affordable Vintage Linens, Lace, Textiles, Buttons & More! www.material-pleasures.com

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Subject: Re: crazy quilt help From: "Sally Ward" <sallytatters@ntlworld.com> Date: 

Don't underestimate what a gentle vacuum under gauze can achieve. I've used very a low suction museum vacuum on a quilt back from display which didn't look very dirty, and been amazed at the results.

Sally W

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Subject: Marseilles From: "BOBBIE A AUG" <qwltpro@msn.com> Date: Wed, 23 Jun 2

I think I mentioned this one time before when we had this discussion, = but the trapuntoed quilts were made in Provence, France. They were = associated with the city of Marseilles as that was the shipping port at = which they were exported. Therefore, they were called Marseilles quilts = or coverlets. But, they were not made in Marseilles. They originated = in Italy but fell out of favor sometime in the 1400's. As mentioned, = the woven coverlets, made to resemble the trapuntoed quilts (no batting, = just two layers of cloth with stuffing and cording), were manufactured = after the invent of the Jacquard loom in France, in the early 1800's. = These are being manufactured today still. I have one that was made in = the 1850's that has the pattern identification number woven into each = end.

All white quilts and coverlets do not photograph well or we would = probably get to "see" more of them!

Bobbie

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Subject: signature blocks From: "weemsjm" <weemsjm@earthlink.net> Date: 

Hello list.

I recently acquired a treasure box of old family quilt blocks and tops = in the making and one beautiful quilt ( Dresden Plate from 30's - 40's ) = at a family members auction. I also got three really ratty quilts that I = will photo before they crumble to treads one of which has an old quilt = as batting.

I also had to watch two family quilts sell to non family members, and = one beautiful 1910- 1920 nine patch go to a family member who's home = smells like a bowling alley on league night. That one is a goner. Two others thank goodness went home with family members that will treat = them with respect.

Most of the really nice work came from my great aunt but I found five = signature pieced blocks that have no family link. Four are stitched names and the fifth is just pencil.

My aunt lived in southern Illinois and I have been told she was in more = than one quilting bee or guild. Her first name was Nettie I do have her full and maiden name if that = would help email me off list.

My aunt lived from 1891-1958 mostly in Marion county this should help = date the blocks.

I would love to see these blocks make it back to descends. I will list the names on the blocks and if anyone can show me a link to = one of these ladies I will get the block to them.

The one in pencil : Harriet M Burkett The stitched ones: Nellie Stevens, Harriet Burkett, Vera Burkett, Josie = Keller.

I did not get any blocks with a family members name on them. I do not as of yet even have a photo of my great aunt. I do have one of her quilts it is a 30's - 40's Dresden Plate mentioned = before and at least 200 blocks with fabrics back to at least the turn of = the century.

I come from a lot of quilters on both sides and took it up myself in = 2000. I am the only one in my generation. I am also trying to document as much family quilting history as I can. I hope someone can help. I really enjoy reading this list and have already been helped from it.

I hope you ladies do not mind a man in your list.

Thanks

Jeff

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Subject: Re: signature blocks From: "Pepper Cory" <pepcory@mail.clis.com> Date: Wed, 23 Jun 2004 13:19:11 -0400 X-Message-Number: 8

Welcome Jeff. We are not sex-exclusive here and welcome ALL quilt scholars. Neat that you're saving/documenting family history--people will thank you later. Good luck on your hunt- Pepper Cory

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Subject: Re: signature blocks From: "Patchwork Secrets" 

Jeff just a few thoughts here on those blocks. Recently I have been researching and documenting some local church raffle quilts so I am coming at this from that perspective... I have discovered most of the "name quilts" of this ilk, at least locally here, were along the lines of the blocks made by 1-3 persons then the quilting done by the "ladies of the congregation". The first lady would make the blocks..People would pay a fee to get their name on the quilt which ranged from 10 cents to $10.00 and she would embroider their name on the block as she finished them. Once all the blocks were "sold" she would finish piecing the top and it would then be quilted. So while the blocks might not have your aunts name on them if the writing is similar in all the blocks I would compare it to some of her writing because it could be she made the blocks and was embroidering names on each block for a special project. If some of her contemporaries are still living I would contact them and see if they recognize the names or have an idea what the blocks were intended for. I have also found that some ladies were well known for their piecing skills and often were called upon to make or over see the making of tops for other congregations they were not members of. So don't limit the asking to just her personal friends. If they aren't sure trying the phone book.

Sharon in NC

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Subject: Re: signature blocks From: Jo Horsey 

Jeff- welcome to the list! It was very interesting to hear about the auction and the family quilts and blocks. My question is, how did the non-family members get into the family auction? I am sure somebody will have good ideas to help you with your search. best regards, Jo, in Newnan

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Subject: Re: signature blocks From: "weemsjm" <weemsjm@earthlink.net> Date: Wed, 23 Jun 2004 15:46:47 -0500 X-Message-Number: 11

> Sharon in NC Thanks you had some great info.

I have one person to speak to and she is not close and can't talk well enough the speak on the phone.

I had not though about the blocks being Nettie's work.

You may be right about the writing it does look a lot alike on each block. I also looked more closely at the one in pencil. I had thought it looked like it had been erased and rewritten to center but the erased name is a different name.

I have also looked in the last ten minutes at work I contribute to Nettie side by side with the signature blocks the stitching is very close. Every sixth and seventh stitch are almost on top of each other. I can't check against a finish quilt without hurting a quilt but I have a lot of blocks hand pieced that do the same thing. She was very very consistent with her stitch when quilting but this overlap of every sixth or seventh stitch while piecing seems to serve as a signature on her piece work.

I had not noticed this before. Really cool. I think I can now ID some blocks and parcel tops as for sure her work that I was not for sure about before.

Thank you Sharon!!!

Jeff

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Subject: Re: signature blocks From: "weemsjm" <weemsjm@earthlink.net> Date: Wed, 23 Jun 2004 15:46:14 -0500 X-Message-Number: 12

The auction was open to the public sorry if I was not clear. I just meant it as an auction of a family member. 

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Subject: Walkaround Sue, UNL, More From: "Teddy Pruett" 

HI all. One of my fellow guild members is seeking a diagram, pattern, layout, or photo of the walkaround sunbonnet sue pattern. (I know she should be capitalized, but I just can't bring myself to do it.......) A google images search brought up hundreds of sues, but no walkarounds. Please e-mail me if you have ideas for her.

And I must take this opportunity to mention the past week at the University of Nebraska. Our own dear walking encyclopedia, Xenia, taught the post-grad summer class. Many of the students were well schooled in textiles, but not quilts per se, so I think she left their po l'il heads spinning. They will never look at a quilt the same way, I can assure you. Those of you planning programs really need to make a note of this offering - if she can give the class once, I suppose she can give it again. But don't even THINK of trying to shorten it -- can't be done. (XC did not approve of this message - it is my own commercial.)

It is my personal intention to have an "adventure" every time I leave home, and I tried to add experiencing a tornado to that list of adventures. We came dangerously close to fulfilling that adventure near Des Moines. Xenia is usually very supportive of my quirks and foibles, but this is one time she did not support my quest for adventure. Go figger.

Many of you may remember that I recently mentioned a quilt that I bought that I suspected had milll samples. I took it all the way to Xenia's, and she took one look at it and chuckled. She left for a moment, and returned with my quilt's twin sister. Well, as luck would have it, Xenia had several large fabric sample boards as part of the visual aids for the class. As I peered intently at one of the boards, fabrics from my recently purchased quilt began to jump out at me. Eureka!! My fabrics are from the Arnold Print Works, and are from Massachusetts as expected. Doncha just love it when that happens??? As if that wasn't enough, I also found a fabric from Lori East's quilt. We had been on a mission to identify it, so that mission was accomplished quite readily. Ah, the power of this network!!

I know this is long, but I must tell you that I saw more corn than I knew existed in the entire world. We drove through Indiana, Illinois, Iowa, and Nebraska. The scenery never changed - it was mile after mile and county after county and state after state of corn and beautiful white farmsteads. I'm sure this is not news to many of you, but I was just mesmerized. Every time we stopped I expected baseball players in antique uniforms to come stepping out of the cornfields.

Teddy Pruett, in stormy, wet, hot Florida.

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Subject: Re: signature blocks From: "Christine Thresh" 

Speaking of signature blocks. Remember back in August, 2002 when members of QHL made signature blocks for Kris after the fire?

Here is the URL for the pattern: http://www.threshpublications.com/kris.html and an explanation of the project.

If anyone knows where these signature blocks are, please let me know. I am willing to put together this long overdue quilt for Kris.

I believe someone contributed backing fabric for the quilt and sent it to one of the women who were collecting the blocks. If the fabric can be located that will be a big help.

If this quilt is not put together soon, someday someone will run across these blocks in an attic and wonder who they were for. They will post an inquiry on a list something like QHL and ask for help locating the people who signed the blocks.

Christine Thresh http://www.winnowing.com

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Subject: UNL and Walnut, IA From: Xenia Cord <xenia@legacyquilts.net> Date: Wed, 23 Jun 2004 20:50:28 -0600 X-Message-Number: 16

Thanks to Teddy for the kind words about last week's seminar at UNL; what she modestly did not say was that she was a major support for me, supplying information I forgot or did not know, giving us a southern voice when it was needed (like when I slanted all the information on the Civil War from the northern viewpoint), and generally contributing valuable insights.

UNL makes a terrific venue for seminars like this; the class got to "play" (read "stand and gaze in awe") in the collection of the International Quilt Study Center, assembled and donated largely by Robert and Ardis James. Nothing like having prime examples to validate the learning experience~!

I will not apologize for not allowing Teddy to experience a tornado; we came close enough to thrill and terrify all but the completely inexperienced!

On the way home from Lincoln, as a reward for our good behavior, we visited Walnut, Iowa, just off I-80. For most of the year this 8 block town must be like Mayberry, but on one weekend a year the streets are clogged with antique booths, food booths, musicians, and people people people. We were directed to our parking place in a field by a mounted cowboy; how cool is that! We (Teddy, Peg Whitmore, and I) tromped the streets for several hours, looking at textiles of all sorts, including a great many quilts. There was also beautiful country furniture, lots of glassware and crockery, including early crocks and jugs, and all manner of other antiques. And of course some of this stuff followed us home, so we were happy. Might have been willing to take one of the cowboys home as well, were it not for my own cowboy waiting at home for me!

Xenia

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Subject: Strawberry emery From: louise-b <vlbequet@mcmsys.com> Date: Wed, 23 Jun 2004 22:39:30 -0500 X-Message-Number: 17

Believe someone asked recently about pincusions made in the shape of tomatoes and strawberries used for the emery shape. I was reading again the collection of stories gathered by Cuesta Benberry and Carol Crabb that has been recently reissued as "Love of Quilts; a treasury of classic quilting stories" and an 1845 story, "The Patchwork Quilt," mentions the strawberry emery as part of her sewing kit - so they have been around for a long time, it seems.

Wonder if the tomato shape was easy to use or came into being as the tomato was being accepted as a food - and then became a shape to use for pincushions.

Louise Bequette

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Subject: Trapunto? From: "Kathy Moore" <KathyMoore@neb.rr.com> Date: 

I vote with Gail's friend on this one. I'm looking through my Kathryn = Berenson book, Quilts of Provence, and the quilt in question doesn't = really look like her examples. Maybe the picture is deceiving, but there = should be much more cording and elaborately decorative design work.

There are several good articles in past issues of Uncoverings that = clarify the differences between hand quilted Marseilles pieces and the = loomed varieties. Based on dates in both resources I'd have to question = the validity of designating this piece Marseille.

It looks and sounds more like trapunto.

For what it's worth...

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Subject: Marseilles or Trapunto -- answer from dealer From: "J. G. Row" 

Would that all sellers on E-bay were as open to new information as this seller, Randeen.

I have sent him/her the input from folks on this list about his/her listed item and received a positive reply, which I see has also been placed at the bottom of the listing. The wording is a little confusing, but I think there is a heart in the right place.

>First of all thank you so much for your input. I have dealt with antique quilts of >many types and also jacquards, but never one like this and the only whitework I >could find that fit was trapundo in all may books. In reading your and your >friends info, I got a very good mag glass and I see both cording and stuffing. The >stiches and the weaving parts all appear hand woven/hand sewn, they are >extremely well done but are of small differences in length and placements. It >looks to me like it is a combination of hand or loom weaving with hand stitches. >Does that make sense?? I will go to this site (www.osv.org/pages/Prints&Piecing.html and also do some more research on >Marseilles. I think you are right, I now need to place it to handwork and >hopefully some idea of age. I am always so grateful for well meant, sincere input >as it is wonderful sharing of knowledge. We try very hard not to make mistakes, >but take every opportunity to correct any we make and learn from the process. >Thanks and I will also put this note in the Ebay ad until I get it figured out!! Any >and all help is appreciated!

To view the item, go to: http://cgi.ebay.com/ws/ebayISAPI.dll?ViewItem&item=3731340817

J. G. Row aka Judy Ringo judygrow@patmedia.net

 


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