Subject: Re new book From: Gaye Ingram <gingram suddenlink.net> Date: Fri, 28 Oct 2011 10:36:29 -0500 X-Message-Number: 1

I just received a copy of the new book pub'd by the Quilters Hall of Fame and titled "The Quilters Hall of Fame: 42 Masters Who have Shaped Our Art," and I hope it will be all right to call it to the attention of our list. I am not on the board of QHOF, certainly will never be recognized by that august body, and do not stand to profit from the sale of this fine book. For some reason, I had not realized it had come out, and I have thought others might be in the same situation.

It is a grand book. A really grand book.

It arrived mysteriously in my mailbox, though addressed to me, and I mistook it for investment information and put it aside for a later reading. When I realized my error, I opened the package and ended up dripping coffee and sitting down and going all the way through it, though not in order (who reads books in order, anyway?). I just could not put it aside.

It was like time travel for me. It called up images that are embedded not merely in my conscious memory, but also in the deep recesses of my mind. Seeing a photograph of a book here or a quilt there brought up very physical recollections. The stolen moments in my library carrel between studying Milton and Shakespeare in graduate school when I would pore over the pages of "The Romance of the Patchwork Quilt," afternoon coffee trysts with clipped photographs of quilts in Florence Peto's collection, hours and hours spent reading and rereading Barbara Brackman's "Clues in the Calico" after long days of teaching literature and writing---so many times and feelings arose as I turned through the pages of this lovely book. It was odd, really, like a happy, non-chronological life review. All the dreams, the changing tastes and understandings, the sheer pleasure all these people had given me surprised me, frankly.

I was moved deeply by a photograph of Gail Van Der Hoof and Jonathan Holstein, barely out of their teens and seated among the glory of a collection that would help change the way quilts were regarded. And Beth Gutcheon's laughter was the laughter of a girl, not a woman. They were so young. When I was so young.

One photograph of Hazel Carter (p.10), smiling confidently, hand on ladder and a quilt by Michael James in the background, summarizes what this book is about---energy, creativity, enthusiasm for beauty and something we don't see as often as we should: the pleasure of recognizing and preserving the contributions of those whose work has sustained us. Not until this beautiful book did I really appreciate the magnitude of Hazel's work or the combined power of the 42 people featured in it.

I think the spirit of those whose work is recognized and the way in which their individual talents infused a longstanding tradition with new directions and vigor is implicit in my favorite quotation from the book. Grace McCance Snyder wrote, "I wished I might grow up to make the most beautiful quilts in the world, to marry a cowboy, and to look down on the top of a cloud." Her life exceeded the bounds even of her expansive dream.

Karen Alexander's chronicle of Hazel's birthing and nurturing of the Hall of Fame is well written and valuable. Merikay Waldvogel's Introduction captures the changes wrought by HOF members admirably. And Marian Ann Montgomery, who edited the book, did an outstanding job of updating, revising, and revisioning the original black-and-white book. Not an easy task for any editor.

I owned the black and white version of this text and I had dipped into it repeatedly, but this strikes me as an entirely new book. The photography is superb (I kept touching Amy Emms' Durham pillow cover), the selection of photographs perfect, and the text well written and crisp, when sentimentality might easily have overcome the editors and writers.

I used to dream of going to Emporia, Kansas to touch the earth that was home to some quilters who had changed my life. I used to dream of seeing the quilts about which Florence Peto had written in the Newark Museum. And now I'm feeling like going to Indiana again (I think I am one of two people who have ever spent a week vacationing in southern Indiana).

Gaye Ingram


Subject: mourning quilts, etc. From: JAN MASENTHIN <quiltsrme sbcglobal.net> Date: Fri, 28 Oct 2011 09:38:27 -0700 (PDT) X-Message-Number: 2

This has been such an interesting stream of posts -- informative and also comforting.  I just have to add my two cents.  My father-in-law died i n November, 1966. At our family Christmas gathering that same year, we go t a beautiful Christmas card from my mother-in-law, but which included a  group of photos of her dead husband in his casket. Being young, and not y et familiar with the traditions of my husband's German Lutheran family, I was horrified! I had spent a lot of time with my father-in-law during his  3-year fight with cancer, and felt very close to him. I wanted my memorie s to be of his life, not his death.  I told my husband I never wanted to  see those photos again.  I never did.   I also have a memory of my great grandmother's death when I was only 6. M y aunt took me to see her body at the funeral home. The casket was open but there was a veil draped over the open section.  My aunt pulled the veil  back and told me if I kissed her I wouldn't miss her so much.  I ran out  crying - no kiss! I still have a very vivid visual memory of that event w hich probably contributed to my associating death with "creepiness" in late r years. However, my memories of some teenage moments in a car parked in a  cemetery at night are not at all creepy. 

As you can probably guess, I  wasn't alone.    When my oldest granddaughter was 7, I helped her make her first quilt, a si mple design of squares, for her great grandmother who was in a nursing home .  She sewed it on the machine while I sat by her and helped her guid e the stitches. We tied the quilt and she made a very descriptive label which included a self portrait.  My mom loved it. That same year we we nt to a quilt exhibit at the Kansas Historical Society Museum.  I pushed  mom in her wheelchair with my granddaughter on her lap as we all enjoyed th e quilts. A couple years later my mom died, and that quilt adorned he r casket.  I have it now, and although it is the smallest and simplest  quilt in the house, it is the most comforting quilt.   One more -- there is a joined pair of tombstones in the small town cemetery near where my parents are buried.  They are at the graves of an older co uple who died in an auto accident over 30 years ago. She was a quilter, and the tombstones include 2 colored dresden plate quilt blocks. Perhaps I s hould take a photo and post it.     Finally, I would most certainly sign up for an AQSG Seminar Polly Mello study center on this topic.  Jan Masenthin Topeka, Kansas --0-1137037038-1319819907=:42053--


Subject: Re: Re new book From: CELIA EDDY <celia.eddy btinternet.com> Date: Fri, 28 Oct 2011 19:30:53 +0100 (BST) X-Message-Number: 3

Thank you, Gaye, for your inspiring write-up about this book. I didn't need to read any other reviews but went on to Amazon immediately and, Oh, joy!  - I was able to order it from a UK supplier with FREE Postage!  Can't w ait for it to arrive, in about four days time. I'll let you know my thought s on it when I've seen it. I'll mention it on the UK Lists, as well.    Thanks again Celia    Celia Eddy The Brown House Fleming P lace Maryport Cumbria ----------------------------------------------------------------------

Subject: Re: mourning quilts and saved hair From: Jocelyn Martin <martinjocelyn rocketmail.com> Date: Fri, 28 Oct 2011 14:55:23 -0700 (PDT) X-Message-Number: 4

Carol, My mother kept my braid when I had my hair cut short at the age of 5. I kept my braid when I again had my hair cut short in my 30s...thinking I could make a hair accessory of it. Unfortunately, it really revealed the gradient of color in my hair from scalp to ends, so much that it looked li ke I had bought a hairpiece that matched very poorly.   I also kept fur from a couple of my cats, for crafting, but found out that there's only a  limited amount of time before it becomes un-spinnable. There's a book out n ow about crafting with cat fur, so I may try that again.    Jocelyn  


Subject: Re: Re new book From: Jccullencrew aol.com Date: Fri, 28 Oct 2011 17:56:29 -0400 (EDT) X-Message-Number: 5

Gaye, what an excellent review of the new book. It made me curious while giving so much information that I'm looking forward to reading it even though I'm not a quilt historian or avid quilt maker. I know I just love looking at old quilts or new ones, too, because of the creativity of their makers. And I enjoy being a member of this group for all the knowledge being shared. I've learned a lot from you all. Thank you, Gaye, for taking the time to write the review. Carol Grace --part1_51220.362efd92.3bdc7f0d_boundary--


Subject: RE: Jocelyn's mourning quilt for Custer the cat From: Jocelyn Martin <martinjocelyn rocketmail.com> Date: Fri, 28 Oct 2011 14:56:57 -0700 (PDT) X-Message-Number: 6

Mary,   You got it! That's the patterns I used, I just used different c olors. :)


Subject: Re: mourning quilts and saved hair From: quiltnsharron charter.net Date: Fri, 28 Oct 2011 19:38:12 -0400 (EDT) X-Message-Number: 7

Jocelyn, we have now crossed the line for me. I understand a lock of  hair in a baby book or being carried by a soldier, but I don't like  jewelry made of hair. When I saw "Cats 101" on my PBS channel they  showed a woman who knitted small purses from cat hair. No, no, no. My  all time creepy thing: years ago a woman strung her child's baby teeth  on a necklace.

I am now in the Halloween spirit!!!!

Cool regards, Sharron......in Spring, TX where the temperature will be down in the  40's tonight!!! For those of you coming to Houston for festival, bring  clothes you can layer.....it will probably be back up to the 90's by the  time you get here!


Dear QHL ladies,

What an enlightening group of e-mails on an unspoken subject in our   family.   When I was a kid, people were laid out at home ('40's), My ow n   experience was celebrating Christmas and then having the tree replaced  two days   later with a coffin of a family member. It was difficult for a child to    understand but I remember a lot about it 60 some odd years later.

That's why I found the thread of weaving hair into quilts interesting  in   that after my mother died, I found wrapped in tissue a good length of  her hair   as well as my own hair which I cut at age 13.   For some  unconscious reason   I kept my DD's hair when she cut it, and also my DGD's just  because I had all   the rest. My gram was a sewer and occasional quilter, but they we re more   utilitarian and I doubt she was into weaving hair into the mix.   

I'm just wondering if anyone else has had family members keep more than  a   little lock of hair that you might keep from your child's first haircut  as   a mement?. Perhaps it is a European custom as my gram was from Czechoslovakia.

Thank you for sharing your stories about your own traditions, which I'm    finding fascinating reading.


Subject: saving hair From: Stephen Schreurs <schreurs_ss yahoo.com> Date: Fri, 28 Oct 2011 16:43:05 -0700 (PDT) X-Message-Number: 8

There are cultures where anything shed from the personal body such as hair  and fingernail clipping are considered items which should be disposed of ve ry carefully so that evil-wishers cannot use them to direct malevolent char ms.

I'm with Sharron on the hair thing.  I've seen some very elaborate ones,  but always, my reaction is "ICK".  Susan


Subject: Re: mourning quilts and saved hair From: Jocelyn Martin <martinjocelyn rocketmail.com> Date: Sat, 29 Oct 2011 06:30:07 -0700 (PDT) X-Message-Number: 1

Sharron, But we knit sweaters of sheep hair all the time! And angora yarn is very similar to cat-hair yarn. Plus, the cat's going to donate hair t o you one way or another...you might as well collect it in a hairbrush as o n a lint roller! ;)    Jocelyn  


Subject: Re: mourning quilts and saved hair From: quiltnsharron charter.net Date: Sat, 29 Oct 2011 10:32:43 -0400 (EDT) X-Message-Number: 2

Well, you have several good points there! I did have wool sweaters when  I was growing up in Kansas and I thought I was hot stuff when I wore my  Angora sweater. Maybe the problem is that I've lost touch with heavy  sweaters as they're rarely if ever worn in Houston! So I'll meet you  halfway. I'll concede the cat hair but I just can't go the human hair.  ICK!

Warm regards, Sharron


--- You are currently subscribed to qhl as: quiltnsharron charter.net.  <javascript:parent.wgMail.openComposeWindow('quiltnsharron


Subject: Washington DC trip From: mopalka <mopalka alaska.net> Date: Sat, 29 Oct 2011 12:37:54 -0800 X-Message-Number: 3

I get to go to Washington DC in a couple of weeks. What museums should I absolutely see?Is the Textile Museum still open? Are there any quilt exhibits now? Please respond, I don't want to miss anything! Thank you, Susan(in Alaska)


Subject: Re: mourning quilts and saved hair From: Jocelyn Martin <martinjocelyn rocketmail.com> Date: Sat, 29 Oct 2011 14:17:19 -0700 (PDT) X-Message-Number: 4

Sharron, I had a friend who had to test the Arthurian legend that one of the knights of the Grail had a swordbelt spun from the hair of his sister (which had been cut when she became a nun). She discovered that if you have a lot of time (as the sister obviously did!) you can spin human hair if it's long enough...but it will not result in something sturdy enough to support the weight of a sword. At least not in the amount that a normal human head would grow. She said it would have to be a whole convent full of shaven nuns' hair to get sufficient strength for a belt. ;)

I think the hair jewelry creeps us out because we KNOW it's from a dead person. At least the cat and sheep donors are still walking around. ;)

Jocelyn -


Subject: Re: wondering.... From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Sat, 29 Oct 2011 19:56:37 -0500 X-Message-Number: 5

Sorry this has taken so long! Wanted to have time and not rush through a quick reply..


My mother, who is 90 years old and a native of Mississippi, would whole-heartedly agree with you. She has often commented that death was a part of life in her childhood. When a member of the community died, the women would gather to help with the laying-out of the body, and the men would gather to help with the construction of the coffin. She remembers a song that was actually on the radio c. 1929, 'They've cut down the old pine tree, and hauled it away to the mill, to make a coffin of pine for that sweetheart of mine, oh, they've cut down the old pine tree.' (Google it!) I have a poignant quote from a pioneer woman who ended up using the box that her Dad gave her to pack her kitchen goods in when she emigrated to Nebraska to bury her child . She remembers running and playing with the other children in the cemetery while the adults visited after church. My kids used to play in a pioneer cemetery up the road from us. We used it as a teaching tool for Nebraska history . they made diagrams and learned about the people buried there, and took responsibility to see that graves were tended. If there were a new grave, the children would often go tell the men that the grave had settled and needed tending- just like children of today might report any other maintenance need in the church. She remembers one old lady who announced that when she died, she wanted a particular deacon to 'step' her grave, because 'he always does it so solemn and respectful-like'. She mean, she wanted him to pack down the dirt on top of her coffin, by walking on top of the grave. In a rural community without power excavation equipment, the only way to pack down the dirt was by stepping a grave. I've never heard that term before. Fascinating . and very logical.

Despite it being a standing joke in our family that we never take a vacation that doesn't end up in a cemetery somewhere, J I grew up without attending funerals (I come from a long-lived family, but all of my grandparents had died before I was born). I simply didn't know anyone who died. My daughter has commented on how many people her age haven't encountered death/dying (she's 25). She said that sometimes she feel so much older than some of her peers because of our family experience (2 grandparents, best adult friend the year her Dad was diagnosed, and then his death 5 years later). God has a sense of humor, because He sent me on a retreat to a Benedictine monastery about 10 years ago. The idea intrigues me a lot. I arrived the night before the funeral of one sister...and during her memorial service that evening, another sister died...and before her burial Mass was celebrated a THIRD sister died. In the course of 5 days, I had to attend 3 funeral Masses.Oh my goodness! To make a long story short, Benedictines know how to do funerals. Outside the chapel at this monastery, is a beautifully illuminated document, listing the members of the community who have entered the Church Triumphant, in order. If you go on an extended retreat there, you will be asked, sooner or later, if you've been to the cemetery. As one sister said, 'We want you to meet the rest of the family!' And so they believe...that that list of names on the wall are important to remember because just as there are sisters tidying up your room and setting out towels for you before you arrive for a retreat, those sisters listed on the wall are helping Jesus prepare a place for you when you leave here to join them.What a wonderful way to look at things. There's no sorrow with the funeral...it's a celebration of the sister's life, steeped in the knowledge (that goes beyond mere belief) that eventually, all of us here will join all of them, and there will be no more parting. And at each sister's funeral, the songs sung by the schola (choir) are the same songs that were sung at her profession of vows, welcoming her into the community. We sang praise music at my husband's funeral and it has ever since made those songs more precious to me personally. There's a sense that the schola here is only an echo of the schola of sisters singing those same songs, to welcome her into the community in heaven.That gives me goose-bumps. Thank you SO MUCH for taking time to share these rich details with me.

I think cemeteries must be a bit friendlier for folks who expect to see those people someday J. I have often said that I look forward to meeting this or that woman who made this or that quilt that I own . I truly do expect that I probably will. But then again, the afterlife is probably beyond anything my pea brain can think up.

I've really enjoyed pondering the things you've shared . thank you again so much.

Steph Whitson



Subject: Re: mourning quilts and saved hair From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Sat, 29 Oct 2011 20:00:42 -0500 X-Message-Number: 6

You all got me to wanting to research this a bit ... an interesting link here. http://www.historic-northampton.org/virtual_exhibits/hairjewelry/a1.html

I think I will decide to believe that my hair brooch is an example of a romantic exchange :-).

I have a copy of a "how to" book that was originally published in England and the process and practice and skill involved in this art amazes me.

Steph Whitson


Subject: Re: mourning quilts and saved hair From: Lynne Bassett <lynne lynnezwoolsey.com> Date: Sat, 29 Oct 2011 17:40:46 -0400 X-Message-Number: 1

Hair jewelry was not necessarily made for mourning. It was very commonly made from a live person's hair--given as a friendship or love token. Lots of hair jewelry was made from hair purchased for the purpose, too--it was just fashionable. So, there's really no need to be creeped out about it. I wouldn't assume that a piece of hair jewelry was made for mourning from a dead person's hair unless there's some other element that is associated with mourning combined with it--such as onyx, or seed pearls (representing tears), or black enamel.

Personally, I'm crazy about hair jewelry--I would *love* to have a pair of those wonderful little hair acorn earrings!!

All best, Lynne


Subject: Re: mourning quilts and saved hair From: Lynne Bassett <lynne lynnezwoolsey.com> Date: Sat, 29 Oct 2011 17:52:27 -0400 X-Message-Number: 2

Jocelyn, I think maybe I didn't understand your point. It's 99.99% likely that hair jewelry is made from the hair of someone who is dead NOW (though there are some folks making reproductions from "fresh" hair)--and that's what creeps you out. Sorry to be slow on the uptake. I'm just so used to people being squeamish about hair jewelry and always assuming it's made for mourning.

Reminds me of the early years in my marriage when my husband was totally creeped out by the antiques I brought home (even though nothing--I assure you--was made of any human body parts)--he said "You know, the person who originally had that is dead now." And I said "And your point is...?" Fortunately, he's gotten used to this habit of mine, and actually doesn't mind it anymore. Or at least he has the sense not to complain about it anymore.

Sorry--not quilt related. I'll go back to working on the next /Uncoverings/ now...

All best, Lynne


Subject: Cleaning a Kimono From: DDBSTUFF aol.com Date: Sun, 30 Oct 2011 13:47:15 -0400 (EDT) X-Message-Number: 3

A little off topic but a textile non the less.

Does anyone have experience cleaning a Kimono?

I was asked by a friend how to do it or where to take it.

Any help will be appreciated...

You can email me privately at ddbstuff aol.com


Darwin D. Bearley


Subject: Re: mourning quilts and saved hair From: Jocelyn Martin <martinjocelyn rocketmail.com> Date: Sun, 30 Oct 2011 18:20:14 -0700 (PDT) X-Message-Number: 4

Lynne, No, you had it right the first time. The creepiness factor was thinking it was hair harvested from a dead person. I don't mind the idea of antiques of whatever sort having been made and used by people who are now dead. A hair brooch that I knew was made by a woman with her own hair and given as a gift to a friend doesn't seem as creepy to me. Just like it's never occurred to me that the antique woolens I have are from sheep who are now dead. Although I have thought about the fur objects, and sort of justified it that whether the animal was killed 60 years ago for its fur or not, it'd still be dead today, that buying an antique fur doesn't promote the killing of animals.


Subject: RE: mourning quilts and saved hair From: maureen booksandoldlace.com Date: Mon, 31 Oct 2011 00:08:05 -0700 X-Message-Number: 1

Forgive me if I've missed a related posting, but for years every time I had to go to St. Louis MO I'd try and go to the hair ornament museum, located at the time above a salon and teaching program somewhere outside the city. Sometimes the salon was open but the museum on the floor above never was. I haven't researched this (nor been to St. Louis) in a couple of years. I would have loved to see this person's collection of antique woven hair ornaments and decorative pieces. Any updates from the field? This seems to be the most recent incarnation of the collection (pun intended) http://www.hairworksociety.org/

Maureen in Ashland, Oregon


Subject: hair jewelry, folk art From: Laura Fisher <laurafisherquilts yahoo.com> Date: Mon, 31 Oct 2011 19:05:55 -0700 (PDT) X-Message-Number: 2

Hi all -  Antiques Roadshow tonight was a composite of appraisals from ma ny years' programs in honor of Halloween, and what did they have to feature but...........hair jewelry! A woman who looked to be in her 70s and had no t cut her now-grey hair since she was 13 had what Gloria Liebeman of Skinne r called an incredible collection -various pieces of jewelry, books on ho w to weave it (Peterson's Manual for one),  promotional literature on com mercially- made and sold hair jewelry (who knew?), sample books showing w hat could be done with chains, etc. Hair brooches might contain a (dead) lo ved one's hair and a portrait on the reverse, but not always; it's the love d one part not the dear departed part that spurred the fad for hair jewelry it seems. The intricacy of the weaving can be incredible, especially consi dering the small scale of the work. It would have been a great Halloween  presentation, after the surgeon's field amputation case, the skull tobacco container, the insects collage, etc. if only Polly had been at  a roadshow anytime with a spooky fun quilt. I tuned in a smidge late, bu t don't think there were any memorial textiles, which were a prevalent form of schoolgirl textile folk art in the early 19th century. I think one can  see this episode on the Roadshow website.   Laura

Laura Fisher at FISHER HERITAGE 305 East 61st Street 5th floor New York, NY 10065

212/838-2596 www.laurafisherquilts.com fisherheritage yahoo.com find us on facebook: Laura Fisher Quilts ---851882195-1032364488-1320113155=:13527--


Subject: RE: mourning quilts and saved hair From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Mon, 31 Oct 2011 23:44:40 -0500 X-Message-Number: 3

Maureen shared the hairwork society link and one of the collector's stories mentions Emily Hawley Gillespie of Iowa. If you have not had a chance to read her diary, it has this fascinating entry:

"Finished my sopha cushion cover. Tis indeed beautiful, there are 96,256 stitches on it. Could broider at the rate of 100 stitches per seven minutes, which would take _____ days, providing it was all plain. It was worth at least 15 to 20 dollars to make it. The cost of material was one and one half dollars."

My assumption is that Emily was making a "crazy" cushion cover. I contacted the Iowa museum (hoping that the daughter who donated the diaries might also have donated some of Emily's handiwork) ... but the sopha cushion cover doesn't appear to have been donated. I don't remember Emily's mention of "hair flowers" .... probably because I didn't realize what she was talking about.

Interesting to see the name pop up this way. Steph Whitson


Subject: goblins in my emails From: Laura Fisher <laurafisherquilts yahoo.com> Date: Mon, 31 Oct 2011 22:31:39 -0700 (PDT) X-Message-Number: 1

Halloween or not the goblins are still are work on my email submissions to  QHL. Maybe someone out there has the ultimate solution to eradicating the signs interrupting all my emails to qhl. It  happens only on these,  and it makes for exhausting reading I know. The email setting is on Plain T ext, but that doesn't matter. Does ANYONE have a different solution?!   Laura Fisher at FISHER HERITAGE 305 East 61st Street 5th floor New York, NY 10065

212/838-2596 www.laurafisherquilts.com fisherheritage yahoo.com find us on facebook: Laura Fisher Quilts --1447482803-2079935578-1320125499=:79069--


Subject: Colonial Williamsburg From: Neva Hart <nevahart verizon.net> Date: Tue, 01 Nov 2011 07:55:21 -0400 X-Message-Number: 2

For your information, Colonial Williamsburg has announced that it will  hold another of its terrific quilt symposiums in 2012.  A call for papers has been issued on the website:


November 8-10, 2012 Influences on American Quilts: Baltimore to Bengal American bed quilts display a variety of design influences. These  influences came from textiles imported from Asia, the Mediterranean,  northern Europe, and the United Kingdom, as well as the diverse groups  of people who immigrated to the colonies and later to the United States.  This symposium will explore these multifaceted influences through a  series of formal lectures, juried papers, workshops, and tours.  Participants are invited to submit 300-word abstract proposals for  illustrated oral lectures 25 minutes in length. Paper proposals are due  to Colonial Williamsburg for peer review by March 30, 2012; acceptances  will be announced by May 1, 2012. Submit abstracts to Quilt Abstracts,  attention Linda Baumgarten, Colonial Williamsburg Foundation, 309 First  Street, Williamsburg, VA 23185 or via e-mail at lbaumgarten cwf.org. For  general information about the symposium, contact Deb Chapman at  800-603-0948 or 757-220-7255 or via e-mail at dchapman cwf.org.

Neva Hart in Virginia AQS Certified Appraiser of Quilts and Related Textiles President, PAAQT www.quiltappraisers.org



Subject: RE: goblins in my emails From: "Jean Carlton" <jeancarlton comcast.net> Date: Tue, 1 Nov 2011 07:48:03 -0500 X-Message-Number: 3

Your emails come through to me just like the others....? Do others report a problem? Maybe it's their computer settings, not yours. jean

> -----


Subject: Re: mourning quilts and saved hair From: Lynne Bassett <lynne lynnezwoolsey.com> Date: Tue, 01 Nov 2011 20:29:43 -0400 X-Message-Number: 4

Whew! Just back from three days of black-out due to the October Nor'easter that hit New England. That was NOT fun. We'll be cleaning up our property for the next year...

Anyway, I'm interested in the link you posted, Stephanie, as I was (many years ago) curator of that collection and I was the one who catalogued all those hair jewelry items. I didn't know they put it in on the web now as a virtual exhibit. I do not agree with all the information they've posted, though (they've placed too much emphasis on mourning, and some of what they say is just plain confusing), so do take care to compare those items with others pictured in recent publications. If you pursue more information on that particular collection, you should know that there was a local hair jewelry maker whose pieces are represented in the collection--plus there's a photograph of Main Street in town from the third quarter of the 19th century that shows her shop.

Have fun with your research!

All best, Lynne


Subject: Re: mourning quilts and saved hair From: "Candace Perry" <candace schwenkfelder.com> Date: Wed, 2 Nov 2011 09:49:50 -0400 X-Message-Number: 1

I agree Lynne -- and it actually has pretty long roots, way before the Victorian era. Plus the larger hairwork pictures should be mentioned-- I have a really elaborate one presently on exhibit. Candace Perry Schwenkfelder Library & Heritage Center


Subject: Victorian Clothes From: Kris Driessen <krisdriessen yahoo.com> Date: Wed, 2 Nov 2011 06:59:54 -0700 (PDT) X-Message-Number: 2

I bought a box lot at an auction that included some Victorian Clothes in average to poor condition. If anyone is interested, I will sell them at my cost. Two of the dresses are in pretty good shape, but I would rather you considered this a lot for study purposes. I would say one is a day dress and one is a mourning outfit but I don't know 19th century clothing that well and I don't want to misrepresent them. E-mail me privately please krisdriessen yahoo.com



Subject: auction quilt for Folk School From: Laurel Horton <laurel kalmiaresearch.net> Date: Wed, 2 Nov 2011 09:54:10 -0400 X-Message-Number: 3

Please excuse this fit of self-promotion, but I donated a small wallhanging to a fundraising auction on eBay for the John C. Campbell Folk School. It features a discharged image of a bunch of grapes on black, a piece I had been saving for years for just the right use. The colors in the photo are a little off--it's actually a dusky pink, not tan; and they didn't give it time for the wrinkles from the mailing tube to relax. The Folk School is one of my favorite places in the world (see www.folkschool.org), and I'm hoping that this one-of-a-kind piece will bring in some money for the school and delight the eventual buyer.


Laurel Horton


Subject: Re: mourning quilts and saved hair From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Wed, 2 Nov 2011 11:58:31 -0500 X-Message-Number: 4

"the one that got away" in all my years of auction-going was a hairwork wreath in a shadow-box type frame. I knew it belonged in a museum ... as far as quality ... but I didn't have the $ to outbid the dealer who went up against me. That was over twenty years ago. And I still remember that wreath and wish I'd been able to "just do it" and bring it to live at my house. Swoosh. Steph Whitson


Subject: Information From: "Vivien Sayre" <vsayre nesa.com> Date: Wed, 2 Nov 2011 20:33:15 -0400 X-Message-Number: 5

I am trying to contact Yvonne Porcella. Does anyone have her email address? Please contact me privately.

Thank you, Vivien in MA


Subject: Question about Anne of Green Gables "wincey" dress From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Wed, 2 Nov 2011 20:08:21 -0500 X-Message-Number: 6

Does anyone know what is meant by the reference to "wincey" that Anne had on when she

first arrived at Green Gables? A friend asked me if I know and of course I don't..but now I'm

curious, too . and wondered if any of your august textile people can clue us in.

The line from the book is:

A child of about eleven, garbed in a very short, very

tight, very ugly dress of yellowish-gray wincey.

Steph Whitson


Subject: Re: [SPAM] Question about Anne of Green Gables "wincey" dress From: xenia cord <xenia legacyquilts.net> Date: Wed, 2 Nov 2011 21:16:03 -0400 X-Message-Number: 7

According to the Shorter OED, "wincey" (1808) is an alteration of woolsey in Linsey-woolsey, through the medium of the assimilated form "linsey-wincey." A very durable cloth having a linen warp and a woolen weft.



Subject: RE: Question about Anne of Green Gables "wincey" dress From: "Janet O'Dell" <janet techinfo.com.au> Date: Thu, 3 Nov 2011 12:18:32 +1100 X-Message-Number: 8

I have heard of winceyette and assumed that wincey was an abbreviation but that does not appear to be the case:

Check this link: http://www.encyclo.co.uk/define/Wincey

For some reason I associate winceyette with cotton flannel pyjamas and baby clothes.

Cheers Jan in Briar Hill


Subject: Re: [SPAM] Question about Anne of Green Gables "wincey" dress From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Wed, 2 Nov 2011 21:15:20 -0500 X-Message-Number: 9

Thanks to all who answered! I didn't even think to check OED....my bad. Stephanie


Subject: Re: Question about Anne of Green Gables "wincey" dress From: Mary Anne R <sewmuch63 yahoo.com> Date: Thu, 3 Nov 2011 05:18:24 -0700 (PDT) X-Message-Number: 1

---2114655128-1583965053-1320322704=:39500 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable

An online dictionary defines it as: "wincey - a plain or twilled fabric of  wool and cotton used especially for warm shirts or skirts and pajamas."      Mary Anne    


Subject: Kimon0 From: DDBSTUFF aol.com Date: Thu, 3 Nov 2011 08:34:22 -0400 (EDT) X-Message-Number: 2

Thanks to those of you who emailed cleaning ideas for the Kimono. I appreciate it.



Subject: Re: Question about Anne of Green Gables "wincey" dress From: lynne lynnezwoolsey.com Date: Wed, 02 Nov 2011 21:32:25 -0400 X-Message-Number: 3

"Wincey - A strong fabric made of cotton warp and wool filling in plain weave or twilled; used in England for winter underwear and men's shirts." Louis Harmuth, /Dictionary of Textiles/ (New York: Fairchild Publishing Co., 1920), p. 211.

Sounds like linsey-woolsey (also sometimes called just "linsey" or "lincey,") modified to "wincey." Even though in the 19th century cotton generally replaced the linen warps in linsey-woolsey, it was still called "linsey-woolsey."

All best, Lynne


Subject: wincey From: "Gale Slagle" <glslag cox.net> Date: Thu, 3 Nov 2011 09:53:53 -0700 X-Message-Number: 4


wikipedia has a good definition for Wincey, too.

is a coarse twill or plain-woven fabric woven with a linen warp and a woollen weft. Similar fabrics woven with a cotton warp and woollen weft in Colonial America were also called linsey-woolsey or wincey.[1][2] The name derives form a combination of linen and woollen. ... much more on the site (listed above), history, etc.

even this Cultural reference: -{Lucy Maud Montgomery uses the term "wincey" six times in Anne of Green Gables[8]: "a very ugly dress of yellowish gray wincey".}


S. Whitson wrote: Question about Anne of Green Gables "wincey" dress Does anyone know what is meant by the reference to "wincey" that Anne had on when she first arrived at Green Gables?


Subject: seeking appraiser of african american quilts From: Laura Fisher <laurafisherquilts yahoo.com> Date: Thu, 3 Nov 2011 19:28:19 -0700 (PDT) X-Message-Number: 5

HI all - anyone know of a licensed appraiser who has a specific knowledge a bout the new and cpontroversial world of valuing African American quilts th at I could refer a collector to? Someone wants to donate a collection of th em, some with provenance, some without, and needs a licensed or certified p erson, not just someone who might have handled them. Email me privately so  I can pass the referral along. Thanks   Laura   .Laura Fisher


Subject: African American collection From: Neva Hart <nevahart verizon.net> Date: Fri, 04 Nov 2011 10:08:55 -0400 X-Message-Number: 1

Hi All - re Laura Fisher's post for an appraiser who specializes in African  American quilts, the Professional Assn. of Appraisers-Quilted Textiles  website would be useful:


A list of appraisers in US and Canada can be found on the website.  Several of our members have strong resumes in this quilt style. PAAQT  appraisers are expert on antique and contemporary quilts, art quilts,  and textiles. Lots of additional info on the website, as well.

Neva Hart - in Virginia Professional Appraiser - Quilts and Coverlets


Subject: re Celia and Dr. Dunton From: Gaye Ingram <gingram suddenlink.net> Date: Sat, 5 Nov 2011 13:30:39 -0500 X-Message-Number: 1

Celia, did you note that photo of all the quilts Dr. D had displayed for his "nervous" patients? Enough to have made anyone desire admission to that hospital!



Subject: Monkey and Leopard From: Karen Alexander <karenquilt rockisland.com> Date: Sat, 05 Nov 2011 15:17:17 -0700 X-Message-Number: 2

Would the person who posted these two photos and note to the QHL Gallery please contact me.

<<PPT Image 10 Monkey and Leopard - Bicentenial Project These next 2 images are of a quilt and the coverlet that inspired it named "The Monkey and The Leopard" The theme is from a French fable by Jean de La Fontaine (1621 - 1695). The quilt is made from antique cotton indigos and reds, is hand appliqued, and is hand quilted. Lois K. Ide designed and quilted the piece in Bucyrus, Crawford County, Ohio, during 1986 and 1987. Ide took her inspiration from the extremely rare woven coverlet, circa 1830 - 1840, (possibly done in Ohio) with monkeys and leopards in the border. [Speculation, at this point, would be a weaver of Huguenot origin]>>

Thank you,

Karen Alexander


Subject: Quilts and passages - long From: Karen Alexander <karenquilt rockisland.com> Date: Sat, 05 Nov 2011 22:00:45 -0700 X-Message-Number: 4

I have been away awhile and am just catching up.

When it was revealed that my MIL had ovarian cancer in Feb 1999 and would probably live only 3 more months, each quilt friend here on the island made a heart block and signed her name on the block. She actually lived 6 more months so we got to spend a lot of time with her as we flew back and forth from Virginia. During the last month of her life, she kept this heart quilt at the foot of her bed. The evening she died here at home in her hospital bed in the living room, my husband and I were by her side singing softly to her. After the nurse had come and gone and my husband had gone to bed, I carefully arranged the heart quilt over her and took a photo. I don't think I have ever showed that photo to anyone.

The funeral home would arrive early the next morning on the first ferry to pick up the body. I wanted her body covered with love while it awaited its final physical journey. It was she who got me into quilting. I owed her so much for she was such a blessing in my life.

By the time we moved into this house full-time 5 years later, my father-in-law had also passed on. I felt I needed some kind of ritual to give me permission to believe this was now a new generation's home, not the "house where my MIL had died". I also wanted to acknowledge them both in a special way for all that they had done to create wonderful family memories for all of us in this house. I decided to do something I had never done before. I performed a ceremony using a smudge stick. I knew that various cultures use them to "cleanse and purify". I decided I would use it to bless and sanctify the "passing of a generation" and ask for a blessing on the next generation moving in. I went from room to room, filling the whole house with incense and thanking my in-laws for being such a wonderful gift in my life. It was in the sewing room that I broke down.

At both their memorial services, we took the tools and implements they each had loved so much: quilts -- lots of quilts! Sewing tools, a portable sewing machine, scrapbooks, garden tools, chess board, recipe books, etc. and arranged them around the room for everyone to read and browse through. Wini's quilt friends provided a potluck at both services. Family and friends got up to share their memories and stories which we recorded on video tape.

I was not able to be at my own mother's side when she passed on in 2002, but once we all reached East Texas, we gathered around her open coffin and put our last notes and "love letters" to her all around her in the coffin. Then we created a circle around the coffin, arms around one another's waists, and sang several of the old American folk songs our folks used to sing to us as we drove from Ohio to Virginian and West Virginia to visit family. At the end of the service as the family was lifting the casket into the hearse for its trip to the cemetery and her church friends were filing out, my oldest brother broke into the song she loved to sing as she headed home to West Virginia, "She'll Be Comin' Around the Mountain When She Comes". <....and she was one heck of a mountain driver!!> We all picked it up without missing a beat. The funeral director told us later he had never experienced a funeral like our mothers!

I still have clothes from both of these wonderful women that I hope some day to make into wall-hangings.

Thank you for giving me this opportunity to share.

Karen Alexander


Subject: Re: Dr. Dunton ( a bit OT!) From: CELIA EDDY <celia.eddy btinternet.com> Date: Sun, 6 Nov 2011 15:16:35 +0000 (GMT) X-Message-Number: 1

Yes,Gaye - but note how the quilts were displayed, none of the swish hangin g methods seen in 'proper' exhibitions. In fact, rather like what happens w hen I get all my quilts out! I think they look much more use-friendly like  that, although the colour illustrations of two of his collected quilts are  stunning.   But what a man! He used common-sense and his imagination  to treat his patients. I just think it amusing that people think that we ne ed research to tell us that P&Q are good for us. I have enough evidence jus t in my own quilting groups, which include two people who have been bereave d and found consolation in a creative activity (one of their quilts is labe lled 'My Salvation'), and a lady suffering from depression who, after joini ng the classes, told her psychiatrist that she feels O.K. now and wouldn't  need further treatment. Then there are those who felt lonely and isolated a nd enjoy being part of a friendly, inclusive group, not to mention a lady w ho had a serious weight problem and swears that she lost weight easily beca use when she was quilting she didn't have time to eat!   It's got eve rything, hasn't it? - fun and pleasure of creativity, working with colour a nd geometry to stimulate the brain, learning new skills AND a supportive so cial group of like-minded people with whom to exchange ideas - and gossip!. Add to that the delights of quilt study, taking us into the realms of soci al history and putting us in the context of a continuous tradition and you  realise that this subject is inehaustible.  I'm delighted  to say tha t my 9-year-old grand-daughter is also enthusiastically learning. I was a b it nervous about letting her loose on my 'best' sewing machine, but she too k to it straight away and is a whizz on it now. Probably understand how it  works better than I do. Get 'em young, I say! Celia    Celia Eddy  The Brown House Fleming Place Maryport Cumbria CA15 6ES Tel: 019 00 814959


Subject: Another book recommendation From: CELIA EDDY <celia.eddy btinternet.com> Date: Sun, 6 Nov 2011 15:36:19 +0000 (GMT) X-Message-Number: 2

The Age of Homespun Objects and Stories in the Creationof an American Myth  by Laurel Thatcher Ulrich.Published by First Vintage Books, 2002. I'm sure  that some QHLers will have spotted it before, but just in case............. ..   Ullrich takes fourteen domestic textile items from pre-industria l America  and  places them in the social and cultural context in which they were made.  For example, she uses an Indian basket to explore the u nseasy co-existence of native and colonial Americans, a  piece of silk em broidery reveals racial and class distinctions, and two old spinning wheels illuminate the connections between colonial cloth-making and war.  Alt hough there is mention of  quilts, they play a minor role. But this  ex amination of textiles in general gives a broader context to the  history  of patchwork and quilting and its development in America since the early da ys settlement.   I bought the book on Amazon for about =A312.(Don't k now what that is in dollars!) Celia      Celia Eddy The Bro wn House Fleming Place Maryport Cumbria CA15 6ES Tel: 01900 814959 --0-1406923669-1320593779=:49943--


Subject: From the Eau Claire Leader, October 19, 1909 - "JACK FROST" GIVES A SURPRISE PARTY From: suereich charter.net Date: Sun, 6 Nov 2011 18:51:10 -0500 (EST) X-Message-Number: 3

After 8 days, power and communications have been restored to my part of Connecticut. We are very grateful to the crews who traveled here from the middle portions of our country to assist with this early winter storm clean-up. This outage gave me some time to file old newsprint. I kid you not, this was one of them.

Eau Claire Leader Eau Claire, Wisconsin October 19, 1909 Page 6 WASHINGTON "JACK FROST" GIVES A SUR- PRISE PARTY--DID YOU SEE THE CRAZY QUILT? The unexpected arrival of young winter took many by surprise and found most people unprepared. Gar- den and field potatoes were in many case ungathered, some were badly frosted, others that were deeper in the ground were less harmed. Gar- den vegetables were injured to a great extent as much remained still unhoused. The ladies aid was entertained by Mrs. L Steadman. The ladies are preparing for their annual sale and supper, one of the events of the season, and this one promises to out shine all former occasions. There will be everything to eat and wear both fancy and substan- tial. You should buy a number on the crazy quilt. It is only 10 cents and the fortunate person who draws it will be lucky indeed. The good ladies who built this quilt are not crazy as the name of the quilt might suggest to some unlearned masculine mind, no not at all. (The ladies are all right.) so is the quilt. The name crazy refers to the pat- tern or rather the lack of pattern in its make up. The quilt itself is a thing of beauty and will unques- tionably be a joy for a long time, especially in the climate of frigid winters. It is built in one respect after the manner of the "Deacons Wonderful One Hoss Shay." That is nothing poor or old has been al- lowed to enter all blue, no indeed but as many colors are combined in its formation as are to be found in the rainbow, some claim there are more. Upon this subject, how- ever each of the good ladies enter- tains her own private opinion all in a quiet way and whether there be just so many colors, or if there be one or several more, the good lad- ies being (strict church women) do not indulge in the luxury of quar- reling over the matter. Upon one point however they are all of hearty agreement and one accord that it is as beautiful as a dream, as soft and light as down and as warm as the Cook-Peary controver- sy. Buy a number on it, major, and you will not be accounted crazy, but one of the wise men of your generation, and if you should be lucky and draw the prize, you will be famous as one of the most fortunate.

Sue Reich Washington Depot, Connecticut www.suereichquilts.com http://coveringquilthistory.com/ http://www.majorreichaward.com/


Subject: RE: Another book recommendation From: "Stephanie Whitson" <stephanie stephaniewhitson.com> Date: Sun, 6 Nov 2011 20:34:41 -0600 X-Message-Number: 4

Thanks for sharing that about Dr. Ulrich's 2002 book. I wasn't aware of it. Heard her speak recently about quilt-related research she is doing now ... fascinating woman. Stephanie Whitson.