Subject: books clarification
From: Andi <>

Laura and others,

I couldn't find what you were referring to. Could you name the books? I
don't think the list will mind. We all like to know what new books are
out there.

I was trying to avoid posting a blatant commercial. AQS recently
pubished four titles of possible interest to members of this list:

/The Catalogue of Show Quilts/ is an annual book. It is produced only
for the Paducah show (not for Knoxville, July 22 -25 or Des Moines,
October 28 - 31). This year, 388 quilts are shown. The quilts are shown
by contest category with the entry number, quilt title, quilt size,
maker's name and maker's location. What may make this of interest is
having the previous show catalogues. This isn't the same as an exhibit
book -- or is it?

2009 is AQS's 25th show. As part of the celebration, we've produced
/Best of Show/, which has all 25 purchase award winning quilts,
including the one just chosen Sunday - thanks to the magic of an amazing
local printer. They are shown in descending chronological order, giving
a snapshot of quilting trends since the show began.

The National Quilt Museum (formerly known as the Museum of the American
Quilter's Society) in partnership with AQS has produced /Collection of
the National Quilt Museum./ This book chronicles what has been called
the Founders Collection plus purchase award quilts and donated quilts to
date. If you have seen the two previous books about the museum's
collection, this one shows the quilts much better. As the museum's focus
is on quilts made in the late 20th century and later, this book
documents quilting trends since the mid-1980s.

When Marsha D. Radtke found an old quilt in the attic of the parsonage
she shared with her husband in rural Maryland, she knew she had a
treasure. It has been dated as c. 1850 by a certified appraiser, and has
two inked names - one signed, one stamped - that are locally known.
Marsha replicated the quilt's 24 patterns and we've published her work
as /A Baltimore Album: 25 Applique Patterns/. (One of the blocks was
duplicated, but our marketing department had to justify showing a
25-block quilt with "24" in the title and opted for "25.") The old
beauty is shown alongside the reproduction and the patterns are classic,
if on the simpler side of BA patterns. I have to say that being around
the original for the time the book was in process has been the highlight
of quilt nirvana to date for me.

Check the "buy Books" section of The Collection
book will be available from the museum at

And to echo Candace, it's a wonderful idea to back up requests for
exhibits with financial support. AQS and the museum may have been
started by the same people, but they are independent entities. The
museum faces the same financial constraints other museums do, which is
why exhibit catalogs are rarely produced. (In fact, the cancellation of
the trips made by the three river steamboats will cut the NQM's income
in half henceforth.) Financial constraint is also the case for the
wonderful Kalona Quilt & Textile Museum in Kalona, Iowa. I know a lot of
us are strapped; perhaps volunteering at a local museum will "pay it
forward" for quilt exhibits elsewhere.

Andi in Paducah, Kentucky, where the show is about to begin!


Subject: Re: bed hangings
From: Patricia Cummings <>

By 1850, Americans had turned to the French bedstead. The primary goal of a
bedroom was that it be "well-aired," for the sake of health. Catherine
Beecher and others stressed that "the importance of well-ventilated sleeping
rooms" was "impossible to overstress." Tidbits of information gleaned from
the previously-mentioned book.



Subject: Re: Speaking of Old Beds
Date: Mon, 20 Apr 2009 22:32:40 EDT
X-Message-Number: 3

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I marvel at that story..of the bed as much as the drunken geese. Brilliant.

And thank you to all who ventured forth with info re four poster quilts.
Now I'm on the lookout.

I like my bed quilts to be long, but do not like the big drape at the
corners. So, I am now curving them to avoid tripping over the extra folds.
Perhaps one day someone will wonder about all those curved quilt corners.



Subject: Poison green
Date: Tue, 21 Apr 2009 06:41:33 -0400
X-Message-Number: 4

There may be another explaination for the term "poison green." Here is a
section from a website (
on Brooklyn's dye industry:
Adolph B. Ansbacher incorporated this company in 1873 with $25,000 in
capital to manufacture dry colors (pigments) for paints and inks. The
company was one of several New York City producers of Paris
green, the common name for copper(II)-acetoarsenite, a highly toxic
bluish-green pigment which was also sold as a rodentcide and
insecticide. Exposure of workers to Paris green caused severe irritation
of the eyes and respiratory system, skin ulcers, and anemia. In 1875
neighbors of the plant complained that Paris green dust drifted into their
yards and homes requiring that windows be shut constantly. Since Paris
green was so toxic and readily available at paint stores and druggists, it
was a popular poison for murder and suicide in the late 1800s.

Sharon Waddell
Hudson Valley, NY

Subject: Re: Poison green
From: Sally Ward <>
Date: Tue, 21 Apr 2009 14:29:41 +0100
X-Message-Number: 5

Out of idle interest I googled for questions asked about 'poison
green' and came upon a forum site peopled by young (geek)
gameplayers. Someone had asked the same question, but of all the
answers I could be bothered to trawl through, no-one mentioned our
concerns about chemical components of dyestuffs and paints. They were
all drawing analogies from nature, from the colouring of poisonous
animals or slimy green stagnant 'poisoned' water, to the colour of
unhealthy and, by implication, poisoned body fluids. Green did mean
poison to them, but in an entirely different context.

It brought me up short and made me realise the degree to which we
answer questions from our own particular viewpoint.

Sally Ward


Subject: Re: Speaking of Old Beds
From: Mitzioakes <>

Hey, this problem was solved many moons ago, just look at some of the antique quilts at Shelburne Museum and you will see how those quilts had their corners cut out at the making so as not to have a bunch at the end of each 4-poster bed.
Mitzi - Shelburne Museum volunteer,.

In a message dated 04/21/09 08:43:55 Eastern Daylight Time, MargaretFahey writes:
I marvel at that story..of the bed as much as the drunken geese. Brilliant.

And thank you to all who ventured forth with info re four poster quilts.
Now I'm on the lookout.

I like my bed quilts to be long, but do not like the big drape at the
corners. So, I am now curving them to avoid tripping over the extra folds.
Perhaps one day someone will wonder about all those curved quilt corners.



Subject: Measurements
From: "Vivien Sayre" <>
Date: Tue, 21 Apr 2009 10:37:27 -0400
X-Message-Number: 7

I was wondering if you could help me with the sizing of some of the
quilts slated to be hung for the MassQuilts Exhibit.
Do you remember how many areas can take long and wide quilts, and
possibly the approximate measurements? I am about to start the process
of planning the hanging for the exhibit and am wrestling with length and
width restrictions. Any information you can give me would be very



Subject: RE: Bed hangings, and word-for-the-day
From: "Robins-Morris, Laura A" <>
Date: Tue, 21 Apr 2009 08:00:27 -0700
X-Message-Number: 8

Now there's a great word. "Termagant" wife.
Thanks to Gaye and Washington Irving.
Laura, in beautiful spring-time Seattle

>A termagant wife may, therefore, in some respects, be considered a
>tolerable blessing; and if so, Rip Van Winkle was thrice blessed."


Subject: Re: An unusual crazy quilt
Date: Tue, 21 Apr 2009 12:53:19 -0400
X-Message-Number: 9
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I am more of a reader of this group than contributor, but I wanted to inquire about a crazy quilt that I recently featured on my blog. The story is a fascinating one, but the design of this piece looks modern even though it is not. A young girl (age 10) started this quilt around 1890 but never finished it, and it was stored away in an attic on her family farm.? In 2000 it was given to a great granddaughter in pieces, and she finished it. Has anyone seen this design in a crazy quilt? You can view it at

I am considering writing a weekly quilt history story on my blog if anyone has any they would like to share. I think it is a good way to advocate the importance of quilts, old and contemporary as well.

I loved reading the story of Albert Small and the hexagons. Mosaic quilts have always been my favorites.


(I hope this does not come through with the question marks at the end of each sentence as it has previously).


Subject: Re: Measurements
From: "Lucinda Cawley" <>
Date: Tue, 21 Apr 2009 13:19:03 -0400
X-Message-Number: 10

I want to know about the Mass Quilts Exhibit.
Cinda on the Eastern Shore anticipating a trip to New England


Subject: Re: Measurements
From: "Vivien Sayre" <>
Date: Tue, 21 Apr 2009 14:21:05 -0400
X-Message-Number: 11

Hi Cinda,

The exhibit, Massachusetts-Our Common Wealth: The Massachusetts Quilt
Documentation Project, will be at the New England Quilt Museum from July
17th through Sept. 20th. It will contain many of the quilts found in our
book, MASSACHUSETTS QUILTS OUR COMMON WEALTH. There will be lectures and
gallery talks, especially during the Lowell Quilt Festival August 5th
through the 9th. You can get more information about both events at the
New England Quilt Museum's website -

Thanks for asking,


Subject: Re: bed hangings
From: "Stephanie Whitson" <>
Date: Tue, 21 Apr 2009 14:09:32 -0500
X-Message-Number: 12

I can't find the source at the moment but I seem to recall having read in
some of my historical research that there was a time when unhealthy "humors"
were thought to circulate at night and so raised beds and curtains were
meant to protect the sleeping from the ill effects of those "humors." I
believe the same belief was cited as a reason for locating cemeteries
outside the city limits. It wasn't superstition but something the medical
authorities of the day believed. Of course without the resource to cite it's
just so much folklore. I've glanced through some of my old medical books but
couldn't find it. . . Sorry.
Stephanie Whitson Higgins


Subject: RE: Bed hangings, and word-for-the-day
From: Gaye Ingram <>
Date: Tue, 21 Apr 2009 15:22:27 -0500
X-Message-Number: 13

---- "Robins-Morris wrote:
Now there's a great word. "Termagant" wife.
Thanks to Gaye and Washington Irving.
Laura, in beautiful spring-time Seattle

A termagant wife may, therefore, in some respects, be considered a
tolerable blessing; and if so, Rip Van Winkle was thrice blessed."

Laura, thanks for sending me to wiki.

I'd be willing to bet the term was applied to women before the late 16th century (Shakespeare) and Hamlet's famous chastening of the traveling players for overplaying a role (Why, [he] out-Herods Herod) suggests as much.

In the medieval English Church, each spring series of plays (called cycle plays) were enacted to lead up to the resurrection of Christ and Easter. By the time they got good and also popular, they were mounted on wagon-platforms and performed at various parts of the city. These had been performed in the churchyards originally, their secular quality making them unsuitable for the church itself (they had started out as tableaux), and the further they got from the churchyards, the more secular they became. The York and Chester cycles were among the more interesting and important.

Perhaps the most popular was the story of Noah and the Ark. And Mrs. Noah (Uxor Noe) was largely the reason for its popularity. Miz Noah rants and romps and whacks Noah on his backside and just takes over the stage and story at times. She is a nag (read that as aware of time/time management-concerned), she is outraged (she had not wanted to move into a ship in the first place and she had not been aware so many and so curious folks would be her shipmates and guests), she rants at Noah and her sons, at whom anyone on this list would also rant. The more the crowds raved about her performance, the larger her role grew.

Dame Van Winkle is in the line of Uxor Noah----straight line, a stereotype women still battle.

Irving's "Sketchbook" stories are not "dated" in any important sense. The lines I cited could have been written by Mark Twain, in particular. One of the joys of the stories are the many domenstic details of life in the Hudson River valley in the late 18th-early 19th centuries. I've always thought the bounteousness of that life is evident in early quilts of the region. When I first began to see those quilts---long, long ago!---I used to imagine an exhibit that would include readings from Irving's stories with only the reader and the quilt visible. So many pheasants and peahens and horses and cows. Just that Dutch burgher delight in the physical!

"The Legend of Sleepy Hollow" is particularly rich in domestic details. It is also knock-down funny, in my view. The skinny (and hungry) Ichabod sees Katrina Van Tassel in terms of the teeming farm of her good Dutch father. I recommend it. Don't be betrayed by any Disney versions you got for your children. The real deal is a hoot---a rather sophisticated hoot, at that. Irving was the first to recognize that our stories were worth telling in print, God bless him.

James Fennimore Cooper was also from the same region, but his viewpoint was still veddy British. Twain laughed at the lack of realism in his stories in one of the funniest satires I know---"Fennimore Cooper's Literary Offences" <>---ut the Brits loved his work for the picture of America it presented.

But good old Washington Irving got us right, I think. At least a portion of us.

I sound like two girls I knew in high school who every Monday stood beside their lockers and retold the movies they'd seen on the weekend.

With due apologies,


Subject: Tester Beds
From: Gaye Ingram <>
Date: Tue, 21 Apr 2009 15:55:33 -0500
X-Message-Number: 14

My, I'm chatty this afternoon!

In reading the list's remarks on four-poster (and I assume, tester) beds, I've wondered, doesn't anybody still sleep in such a bed?

The comments have suggested they were of another time and place entirely and no longer used or passed down in families or purchased for everyday use.

In the Deep South or Old Southwest, new ones were being created by the beaucoups in the 1840s-1860, and some wonderful examples come out of the Philadelphis area in the 1840s and 1850s, many of them purchased by Southerners. In Louisiana the "apostle" poster beds remained popular almost to the end of the 19th century. I think this is another case of needing to note that trends that died out in the older East remained vital in the hinterlands for quite some time longer. And in this instance, the need for mosquito nets made even crudely constructed models practical.

Curious in Louisiana,


Subject: T Quilts
From: Mary Persyn <>
Date: Tue, 21 Apr 2009 16:13:01 -0500
X-Message-Number: 15

Pat Lyons and I have a friend who has a bed with canopy. We made a broken star quilt top for her several years ago that had cut out corners. She had it hand-quilted.


Gaye wrote:

In reading the list's remarks on four-poster (and I assume, tester) beds,
I've wondered, doesn't anybody still sleep in such a bed?

Mary G. Persyn
Associate Dean for Library Services
School of Law Library
Valparaiso University
656 S. Greenwich St.
Valparaiso, IN 46383
219-465-7830 FAX 219-465-7917


Subject: Tester Beds
From: Joan Kiplinger <>

I had a tester and loved it; had fun making canopy and matching spread.
When I moved a friend persuaded me to sell it to her. It was not scale
with a condo which had smaller bedrooms. Many of my friends have four
posters; they don't care for dust settling on canopies so the cut-off
version suits them fine. If my bedroom was larger, I'd certainly go back
to a tester or 4 poster.


Subject: Re: T Quilts
From: Donna Stickovich <>

I sleep in a 1820 poster bed and use a step to get in. I Love It!


Subject: Re: T Quilts
From: "Shari Spires" <>
Date: Tue, 21 Apr 2009 17:50:28 -0400
X-Message-Number: 18

Donna, what do you use for a matress. I have an ancient bed also and it is
supposed to support a mattress with rope. If I knew how to lace up a bed I
might try it. In the meantime we have used foam over a base laid on top of
the rope pegs..
Shari in NC
Subject: [qhl] Re: T Quilts

I sleep in a 1820 poster bed and use a step to get in. I Love It!


Subject: Re: T Quilts
From: Donna Stickovich <>

Mine was a rope bed and I had new sides made to lengthen the bed to fit a f
ull size mattress. The new mattress thickness makes it even higher. An olde
r , thinner one would be better.


Subject: Matresses for old beds
From: "Stephanie Whitson" <>
Date: Tue, 21 Apr 2009 17:29:47 -0500
X-Message-Number: 20

For my Victorian bed (narrower & shorter) I had a mattress custom made
instead of changing the bed. It was no more expensive than a good "normal"
sized mattress from Denver Mattress.
Stephanie Whitson Higgins


Subject: Re: T Quilts
From: "Shari Spires" <>
Date: Tue, 21 Apr 2009 19:40:56 -0400
X-Message-Number: 21

Ah, that is a good idea. Nobody wants to sleep in this bed because it is
short and I married into a family of giants,but it fits my little 5 feet
just perfectly. I love getting in this bed, under three or four quilts.
Shari in NC


Subject: T Quilts?
From: Patricia Cummings <>

If you'd like to see some back east quilt historians do "a toe dance," as my
dear mother would have called it, meaning a hissy-fit as performed by a
child, then keep on saying "T Quilt" when you really mean "Quilts for Four
Poster Beds," or "Cut Out Quilts."

Here, in New England, we reserve the term "T Quilt" for "Temperance Quilt."

Just so you know.

Patricia Lynne Grace Cummings

Life is a quilt made up of many shapes, colors, and threads that together
tell one story.



Subject: Re: T Quilts?
From: "Stephanie Whitson" <>
Date: Tue, 21 Apr 2009 21:14:08 -0500
X-Message-Number: 23

New question: Are all "T-blocks" considered to be connected with the
Temperance movement?
Stephanie Whitson


Subject: Re: T Quilts?
From: Patricia Cummings <>

I wouldn't want to make any generalization about that!


Subject: Re: T Quilts?

No, I have a pattern that calls it T for Texas.

Carolyn from North Texas


Subject: Re: Tester Beds
From: "Judy Grow" <>
Date: Wed, 22 Apr 2009 09:50:00 -0400
X-Message-Number: 3

Our c 1840 tall post bed with hook-on headboard and round rails with pegs
has been a bear to figure out. But what we wound up doing was..
1. having angle irons made to hang over the rails. To these we screwed
connecting 1 x 2's, side to side

2. We dropped a double bed size box spring onto these. The top of the box
spring reaches just under the round rails.

3. We bought a piece of foam 6" thick just the size of the space inside the
rails. I made a cover for it and we laid that on top of the box spring.
That brought the level up to the top of the rails. A specialy made bed
skirt is laid over this to hide all the understructure.

4. We then had a mattress made with cut-out corners at the foot end. This
new mattress snugs up to the headboard straight and rests over the rails on
the sides and the foot of the bed.

This turned what was a double bed sized rope bed into just under a queen
size, in both length and width.

I made a quilted sky for the bed, using the carved patterns on the headboard
for design inspiration -- lots of plumes and feathers -- as my pattern with
a circle wreath in the center.

I made one quilt with cut-out corners, and it is the only one where it is
even remotely easy to make up the bed neatly.

DH has made a cornice moulding in the same red paint to attach to the top of
the posts to hold the top of the posts from bowing out. Lots of work, but
we love our bed.

Judy in Flemington NJ
In the midst of closing my 31 year old 3700 sq ft picture framing store and
gallery, and exhausted beyond belief.
Hardly able to notice the height of spring color here in the Mid Atlantic
But am noticing the growing number of empty store fronts everywhere.
So anxious to be able to pick up a needle again.


Subject: RE: history of domestic interiors
From: "Newbie Richardson" <>
Date: Wed, 22 Apr 2009 09:27:20 -0400
X-Message-Number: 4

Jean and list
The change in domestic interiors has been the topic of year long college
courses and of PhD disertations!
The tradition of curtaining the bed started to fade out as "new" opinions
about the value of fresh air and the existance of germs came into being. At
the same time,the industrial revolution mechanized fabric production -
particularly cotton and fabric was no longer as much of a status symbol. The
late 18th into the mid 19th century was a hot bed of social change,there
were vast improvements in home heating and house insulation, etc. It is a
facinating subject with many books discussing aspects of it.

A few titles come to mind:
- Wright, Laurence: Warm and Snug, A History of the Bed - a paperback first
written in 1962 and then reprinted in '04. It is British - but useful none
the less. I got mine used from
- Garrett, Elizabeth: At Home, The American Family 1750-1850 - a wonderful
history of domestic interiors and their use. Hard back beautifuly
illustrated. You may be able to find one used - if not at the library.
- Nylander, Jane: Our Own Snug Fireside - paperback - a fabulous study of
early New England domestic arrangements which is a must have/read for anyone
interested in the history of American interiors and space use.

There is a wonderful series of paperbacks edited by Richard Balkin: The
Everyday Life in America series of 6 books:
- Hawke, David: Everyday Life in America
- Larkin, Jack: The Reshaping of Everyday Life, 1790-1840
- Sutherland, Daniel: The Expansion of Everyday Life 1860-1876
- Schlereth, Thomas: Victorian America
- Green, Harvey:The Uncertainty of Everyday Life, 1915-1945
- Wolf, Stephanie, As Various as Their Land

These last should be available on the used book sites as they have been
around a long time, but the research is still current.


From: Laura Fisher <>
Date: Wed, 22 Apr 2009 09:49:36 -0700 (PDT)

Hi all - I have a section of my menswear quilt exhibit that includes embr
oidery on suiting swatch quilts, either colorful seam-outlining stitchery,
or the three-dimensional motifs -- stars, circles--called plushwork.
Trish Herr includes examples in some of her books, including the most recen
t one on Amishrugs .

Now that I have beenseen a nice variety ofwool swatchquilts embroi
dered with colorful yarns, I have questions:

*Most of theembroidery is so veryrefined and regular. Rather than sho
wcase a variety of stitches, more often Isee thatthe quilt maker chos
e just one, often a briar or branching stitch, embellishing along every sea
m. unlike crazy quilts that oftencontain many stitch patterns.

And those colors--astonishing intheir brightness--sort of a Mexica
n floral-'y hot pink, green, yellow,etc. And that multicolored rainbow y
arn, I am wild for it.

So,where did the yarn come from? Were there localcompanies that manuf
actured it, especially regional PA where I have located many of these quilt
s??Was it made specifically for the Amish in Lancaster or inPennsylva
nia? Were patterns/instruction pamphlets?

Are there similar quilts that orginatedin other communities across the c
ountry, or are most from PA?

Were there published or exchangedpatterns for the plushwork stars ort
he other designs?

Who made the first example of an embroidery-embellished suiting swatch quil
t---basically I want to indentify whatcommunity, and when and who made
(if it is possible to know) the first one thatinspired the abundance
we have seen since?

Isthis type of workstill being done in PA or elsewhere today?

I have one example on my website--an openwork stars in the Amish/Mennonite

If anyone has any additional information, thanks in advance!

Laura Fisher


From: "Candace Perry" <>
Date: Wed, 22 Apr 2009 13:31:56 -0400
X-Message-Number: 6

Laura -- I think in the case of the quilts the Schwenkfelder owns it's
Berlin wool, which is German, of course. The stars are a bit of a
animal, so I can't speak for them.
Candace Perry

Subject: ephemera for MASTER PIECES show
From: Laura Fisher <>

I just got a wonderful reply from Kim Baird attaching a tintype of a grim s
uited man at the photographer's studioperched on a plushwork stars quilt
draping a chair.

So, that inspires me to ask all of you if anyone collects-- and would want
to loan--ephemera related to the menswear textile industry--swatchbooks and
swatchcards and other promotionalliterature thatpromotes/sells new m
aterialfor suits, shirts, ties, etc.; photos; merchants paperwork--ledge
rs,invoices, We plan to borrow some from the American Textile History Mu
seum and elsewhere, but if any of you are collector-historians of these kin
ds of materials, it would be nice to acknowledge your scholarship in the fi
eld by displaying some of your finds.

Laura Fisher


Subject: question
From: Donna Stickovich <>

I am headed to the DC area Thursday thru Sunday. Are there any quilt related things that I need to see? Thanks Donna


Subject: RE: question
From: "Susan Bleimehl" <>
Date: Wed, 22 Apr 2009 17:11:05 -0500
X-Message-Number: 9

The Textile Museum has an exhibit of Amish Quilts. 2320 S St NW (202)

Here is the web site for further info.
Click on Constructed Color.

I was out to DC over the weekend and I've always reserved a Monday to go to
the museum. I had forgotten that they are now closed on Sunday so did not
get a chance to see it. I'll have to change my routine the next time I'm out
there for a long weekend. Be sure to check the hours. There is no set fee,
but they ask for a donation. Always worth the cost.



Subject: RE: question
From: "Susan Bleimehl" <>
Date: Wed, 22 Apr 2009 17:33:37 -0500
X-Message-Number: 10

Whoops--That should read that they are closed on Monday, as they are open on


Subject: Re: question

The second group of Baltimore album quilts is up at the Baltimore Museum of Art.

Polly Mello


Subject: Re: question
From: "Lucinda Cawley" <>
Date: Wed, 22 Apr 2009 19:25:08 -0400
X-Message-Number: 12

The DAR museum (closed Sunday) always has some quilts on display. The
current featured exhibit is Seven Deadly Sins. I haven't seen it yet, but
they always do a wonderful job.
Cinda on the Eastern Shore


Subject: bed lore
From: Pepper Cory <>
Date: Thu, 23 Apr 2009 08:07:25 -0400
X-Message-Number: 2

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For twenty years I've slept in a high-back walnut bed which came down
through my mother's family. Unlike a lot of Victorian furniture it is a
simple design since my great-great grandfather made the bed himself, just
after the Civil War, as his marriage gift to his new bride. When it came to
me, I could see a faint crack in the headboard and asked about it. Mom told
me, "I put that crack in it-" meaning it had happened when she had been born
in the bed. Seems it was a hard long labor and the doctor, who'd had too
much to drink, told my great-grands that he might could save the baby OR the
mother but not both. Whereupon my grandfather punched him and threw him out
of the house. He was a young man and simply said, "I always was good at
lambing-" and went into the bedroom and shut the door. Twenty hours later my
mother was born and there was a new crack in the headboard. Now I'm passing
on the set (bed, dresser, and mirror) to a niece along with the story.I wish
I had the quilt that was likely on that bed too but then again, I've been
making them all my life so a quilt from me is going with the family

Pepper Cory
Teacher, author, designer, and quiltmaker
203 First Street
Beaufort, NC 28516
(252) 726-4117


Subject: question
From: Barbara Burnham <>
Date: Thu, 23 Apr 2009 10:28:12 -0700 (PDT)
X-Message-Number: 3

In addition to the current BMA (Baltimore Museum of Art) exhibit of Baltimore Album Quilts, nearby MHS (Maryland Historical Society) in Baltimore, has 8 of their antique Baltimore Album quilts on display.
Barbara Burnham


Subject: New educators resource with quilt and textile references
From: Marsha MacDowell <>
Date: Thu, 23 Apr 2009 16:35:46 -0400
X-Message-Number: 4

Hello all,
Since many of you are involved in educational activities and because
this resource contains some references to quilts and Hmong textiles,
I am shamelessly sending this to the list...


PS: One CD version of this resource is being sent to every state arts council.


The Michigan State University Museum has published a new resource for
educators designed to bring young people in touch with their
communities, their ethnic identities and the authentic cultural
expressions of their own families. "Folk Arts in Education: A
Resource Handbook II" is a compilation of best practices in the field
of educational efforts using community-based traditional knowledge
associated with a wide range of expressive arts forms. Volume editors
Marsha MacDowell and LuAnne G. Kozma, folklife specialists at the MSU
Museum, worked for over four years with a national team of advisors
to select and secure sample curricula from over 50 exemplary programs
for youth in educational settings in K-12 schools, youth-serving
organizations, arts and humanities councils, museums, and cultural
heritage and folk arts non-profit organizations. Programs combine
direct participation and ethnographic methods using photography,
video, radio, audio recordings, exhibitions, festivals, and
residencies with tradition-bearers. Among the sample resources
recommended by the national team of advisors are excerpts from the
MSU Museum's own FOLKPATTERNS, a partnership program with Michigan

The MSU Museum, home of the Michigan Traditional Arts Program, is a
national leader in collecting, documenting, preserving and sharing
traditional cultural practices and expressions. A forerunner to "Folk
Arts in Education: A Resource Handbook II" has been in use by
educators in K-12 schools and community programs since the 1980s.

"We hope that this resource will be used in the classroom and beyond
in ways that inspire curiosity and learning about distinctive folk
traditions, which are a very vibrant part of community life," notes
Kozma, who is also a Michigan State University Extension specialist.

The 260+page book is available for sale in hard copy (loose-leaf
binder) for $47.95 ($39.95 without three-ring binder) and CD version
for $15, plus applicable taxes and shipping fees. In order to extend
the accessibility of the publication, the MSU Museum has also made it
available as a free download at
"Folk Arts in Education" was funded by a grant to Michigan State
University Museum from the National Endowment for the Arts through
the Michigan Council for Arts and Cultural Affairs.

The MSU Museum is the state's natural history and culture museum.
Accredited by the American Association of Museums, the MSU Museum
became the state's first Smithsonian Institution affiliate in 2001,
linking to the world's largest museum and research complex in
Washington, D.C. The MSU Museum, located on West Circle Drive on the
MSU campus, features three floors of special collections and changing
exhibits and is open seven days a week free of charge (donations are
encouraged). For more information, call (517) 355-2370 or see_


Subject: UGRR Mythology
From: Patricia Cummings <>

I attempted to post a message here this morning, but it never showed up. In
the meantime, I wrote to a woman who will be presenting a class on how to
stitch needlework blocks using the purported Underground Railroad quilt
blocks. She claims to have studied all the "pros and cons" of the matter,
and is convinced by a new book, unnamed, that this really happened in
Michigan, where she lives because as she says - how else would slaves have
communicated? Indeed ... ???

Her other "proof" is having seen a Log Cabin quilt with black centers. That
nails it right there, don't ya think?

Patricia Lynne Grace Cummings - get a dose of my daily thoughts

"Live free or die." Gen. John Stark, NH


Subject: Re: UGRR Mythology
From: Mitzioakes <>

Ho Hum - the UGRR is raising its ugly head many years now?????
Mitzi from Vermont where there are UGRR stops - BUT no quilts....

In a message dated 04/23/09 20:00:27 Eastern Daylight Time, writes:
I attempted to post a message here this morning, but it never showed up. In
the meantime, I wrote to a woman who will be presenting a class on how to
stitch needlework blocks using the purported Underground Railroad quilt
blocks. She claims to have studied all the "pros and cons" of the matter,
and is convinced by a new book, unnamed, that this really happened in
Michigan, where she lives because as she says - how else would slaves have
communicated? Indeed ... ???

Her other "proof" is having seen a Log Cabin quilt with black centers. That
nails it right there, don't ya think?

Patricia Lynne Grace Cummings - get a dose of my daily thoughts

"Live free or die." Gen. John Stark, NH


Subject: Re: qhl digest: April 23, 2009
From: "Janice" <>
Date: Fri, 24 Apr 2009 07:29:22 -0400
X-Message-Number: 1

What a great story about the family bed Pepper!

Does anyone personally know someone from the list being affect with losses
from the Myrtle Beach fires? Was watching them on the news this morning.

I learned of the Weldon books when I was an active knitter. Are there
Weldon books that focus on patchwork?

We have a nice exhibit of beautiful quilts by two local guild members at the
Hall of Fame right now. If you are traveling and near Marion, stop and say
hello and see the exhibit. Website is to check for

Marion, IN
Home of Quilters Hall of Fame


Subject: Quilts Only a Mother Could Love
From: "Susan Wildemuth" <>
Date: Fri, 24 Apr 2009 08:23:15 -0500
X-Message-Number: 2

I was a recent beneficiary of a 1930s quilt that is in "only a mother could
love" shape. Some dear soul took the time to create a quilt to honor a
crossword puzzle contest that took place in Illinois in the 1930s to honor
George Washington's birthday. It is what some people would term as
"dumpster" shape.

I also have a few other quilts that have been given to me as the caregiver
in this shape that I just can't send on to their great reward. One is a
1870s signature quilt with "inked" signatures - again "sad" shape, but I can
document the history of the quilt.

I only keep the ones that I can document their history and the others I
share with quilts friends who are interested in the vintage fabric.

First thing I do when I get one of these quilts it to bag them up and freeze
them, thaw them out and freeze them again. I collect quilts with two types
of motifs and I NEVER put these "savers" with my good ones.

One time -- I was so fond of the pattern -- I made a reproduction of the
quilt and kept the original inspiration -- then when I show them, I show
them both.

I'm going to write an article about this and these kinds of quilts for my
web site and maybe even open up a spot for people to send me photos of their
"only a mother could love" quilts that can be linked to Illinois, but my
question is do any of you have quilts like this tucked away that have seen
better days, but you can't bring yourself to set them out on the curb. Or
is it just me?

Sue in Illinois


Subject: Re: UGRR Mythology
From: Barb Robson <>
Date: Fri, 24 Apr 2009 15:24:54 -0300
X-Message-Number: 3

Here is a link to an article in our provincial paper just this
morning, perfect timing given the posts in the latest

Barbara Robson
Fox Point, Nova Scotia


Subject: India Merchants Exhibit - Hist. Soc. of PA
From: Jan Thomas <>
Date: Fri, 24 Apr 2009 16:14:17 -0600
X-Message-Number: 4

This looks really interesting. Does anyone know if there will be a catalog?

India Merchants: Philadelphia and the Quest for India After the Revolution
Lecture and Exhibit Preview

Tuesday, May 19 at 6 P.M.
Historical Sociey of Pennsylvania
1300 Locust Street, Philadelphia

The Historical Society of Pennsylvania with the Council of Indian
Organizations in Greater Philadelphia invite you to join us for a lecture
and opening preview of the India Merchants exhibit.

The exhibit will explore the challenges faced by Philadelphia merchants
who made the journey to India, and the role the city played in enhancing
mutual understanding between the countries. Featuring a lecture by Susan
S. Bean, author of Yankee India: American Commercial and Cultural
Encounters with India in the Age of Sail 1784-1860 and curator of South
Asian and Korean Art at the Peabody Essex Museum.


Subject: Re: qhl digest: April 23, 2009
From: "Marlene O'Bryant-Seabrook" <>
Date: Fri, 24 Apr 2009 12:04:11 -0400
X-Message-Number: 5

I have no questions about the veracity of the existence of the Underground
Railroad - the name given to the collective large network of hiding places
and brave people who helped enslaved persons escape to the North U.S. and to
Canada. I've always had doubts - disbelief, really - about most of the
claims made in recent years about quilt codes, etc.. I am trying to
understand why some people feel so strongly about the mere mention of the
acronym, UGRR I have been in settings where the discourse was quite

I am seventy- five years old and my "UGRR counterpart" was Columbus
"discovering" America. I questioned in elementary school how he could
discover a place where people were already living and never got a
satisfactory answer. If I take a wrong turn and end up in an unintended
location, lost may come to mind, but, not discovery. I probably colored
more pictures of Columbus, the Pinta, Nina, and Santa Maria than there have
been UGRR blocks made by any one child. I never understood or believed
what I considered to be a myth then and nothing has changed.

October 12 is designated on my 2009 calendar as Columbus Day and I just
googled the name and read the following:
"As a reward for his valuable discovery, the Spanish crown granted Columbus
the right to bear arms. His new Coat of Arms added the royal charges of
Castile and Leon and an image of islands to his traditional family arms."

I don't feel "psychologically damaged" by my "Columbus" experience and am
not worried that the lives of the children who hear and read the UGRR
stories will be negatively affected. It is my hope and belief that they
will, in time, either totally forget them or make the "true or false"
assessment for themselves. Of only one thing am I certain, neither story
is "going away".

Marlene O'Bryant-Seabrook, Ph.D.
Educator, Lecturer, Fiber Artist


Subject: pepper cory in spokane
From: ikwlt <>
Date: Fri, 24 Apr 2009 20:40:32 -0700 (PDT)
X-Message-Number: 6

yesterday i had the pleasure of being at a lecture by pepper at washington state quilters in spokane. i thoroughly enjoyed her stories, and especially some of the antique tops that she brought. i can't believe that i didn't have my camera with me, but do hope that my celphone camera at least caught the overall effect of some of the designs. i laughed when she made us stand up at the end and recite that we would never say, "it's JUST a scrap quilt." scrap quilts are and have been my favorites since i was introduced to quilting many years ago. her personal stories were interesting and touching and i'm looking forward to being in her class tomorrow.

she had the opportunity to view an exhibit at the MAC, i would have loved to have tagged along on that one! the MAC (northwest museum of arts and culture) also has featured a quote from kimberly wulfert on their wall near one of the entrances.

i'm back to lurking but just had to say how much i enjoy the wealth of information so freely given by this group. even tho i seldom post, i read the digests, go to suggested links and check out recommended books. thanx so much for your willingness to share.

patti, just north of spokane


Subject: Storage question
From: Sally Ward <>
Date: Sat, 25 Apr 2009 18:54:17 +0100
X-Message-Number: 1

Thanks to all who replied to my storage question both on and off
list. I now have much to think about, and plenty to take back to
those I work with for discussion.

As always, this list is a wonderful sharing resource.

Sally Ward


Subject: The New Age of Information
From: Patricia Cummings <>
Date: Sat, 25 Apr 2009 14:21:49 -0400

I have been thinking about the comments about Columbus, and I have been
wondering how the misnaming of him as the Discoverer of America could have
crept in, and persisted for so long a time. I have not delved into the
history of the subject ... yet.

When we are discussing errors of history that happened in the distant past,
we have to be somewhat more forgiving of those who made the errors. After
all, the people did not have the types of widespread communication that we
have today, particularly if they lived on other continents. That is true,
even up to and including the recent past, in pre-Internet days. For any of
its pitfalls, it is still a very quick way of communication.

As always, politics influence the way that people think, although this is
not a political commentary, per se. There are politics within all human
endeavors, even when it comes to picking who will be a cheerleader in high
school. As we all know, various segments of the government have endorsed the
"secret quilt code" as the truth. I don't need to rehash any of that, for if
you've been paying attention, you already know the story.

The trouble with remaining silent, when we know the difference, that is,
that history is being misrepresented, is that we become part of the problem,
not part of the solution. I, for one, am not going to lie down, roll over,
and play dead in the face of deception. Becoming older has given me the
courage to speak my mind, with authority, when I know that I have done my
homework and I am right.

Sometimes, the result is nasty encounters with those in academia and
elsewhere who would just as soon I shut up so that their peers, their
students, or their favorites can look good, even though they have made
egregious errors and disseminated them widely.

Anyone who knows the difference and does not MAKE a difference, by speaking
up, is being a wimp, and not being true to himself/herself.

We are being sold down the river in so many ways in this society, with
broken promises, written or unwritten, to employees and to those who have
trusted the system to do right by them. In quilting and quilt history, we
can change minds, even if it is one person at a time, and bring new
awareness to situations, based on our own scholarship. No one said it is
easy to stand up for what you think. I have chosen to speak up, and you know
what? I am not sorry. No, I am never sorry for speaking up.

Patricia Lynne Grace Cummings