February 8 - 16, 2000 - QuiltHistory

Fabric Identification, Oral History & Documentation, Quilt Dating, Quilt History Resources

These restored messages come from the Quilt History List, an online forum where quilt historians, collectors, researchers, appraisers, and enthusiasts discussed antique quilts and related textiles. The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form at the bottom of the page if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged.

Primary topics of this QHL Digest:

Research Requests and Quick Notes — The digest opens with a run of member queries and short personal notes — Japanese patchwork sources, an antique-quilt restoration question, seam-width dating, and quilt kit identification.
Boutis Whitework Research — A member asks about a new French-language book on boutis (a Provencal whitework technique), sparking a thread on sourcing and identifying the style.
American Patchwork & Quilting’s New Website — Xenia Cord announces the magazine’s new web presence and fields member reactions and questions.
Slave Cloth and “Negro Cloth” History — Members trace documented 18th- and 19th-century evidence — Booker T. Washington’s memoir and Edward Ball’s family research — of the coarse cloth issued to enslaved people, laying groundwork for the underground-railroad quilt-code debate that dominates the next digest.
Does Wool Resist Fading? — A member asks whether wool holds its color better than cotton or silk, opening a dye-fading discussion that carries into the following digest.

Date: Tue, 8 Feb 2000 07:42:10 EST | From: “J. G. Row” <Judygrow@>

Barb Garrett gave a talk to our Amwell Heritage Society last week. She uses her 90 + collection of doll quilts to illustrate a lecture on the history of quilting, 1790 – 1940. She had our audience “rapt.” She stayed at my house overnight and saw my collection of cast metal pincushions in the shape of shoes. So now she is seeing them in antiques co-ops where she never noticed them before. One was recently marked “Pot Metal” and she asked me what that was. I have never really known the definition, and always assumed it was lead- based. So I took out my 2 volume Webster’s New Twentieth Century Dictionary, Unabridged, second edition, the latest copyright being 1964, where I read

“1. Originally a mixture of copper and lead used in the manufacture of faucets and large pots. (Ta dah!!!)
2. Iron from which pots are manufactured.
3. Stained Glass that is colored while molten.”

Now I am going to spend the rest of the evening reading the dictionary. It always happens.

“Pourpoint n. [ Fr., from “pour”, for, and “Poindre;L. “pungere”, to prick] A stuffed and quilted close-fitting body garment, worn in the late Middle Ages so named from the needlework upon it.”
“Pounce, n. [Fr “ponce”; L. “pumex (icis), pumice.]

1. A fine powder, as pulverized cuttlefish bone, formerly used to prevent ink from spreading on paper or to prepare the writing surface of parchment. 2. Charcoal dust, etc. sprinkled over a stencil to make a design, as on cloth. This kind of pounce is used by embroideres to transfer their patterns upon their stuffs, by lacemakers, and sometimes by engravers.
Also called “stamping powder.”
3. a perfumed toilet powder. [Obs.]”

Which led me to wonder what is used today for pounce? Cuttlefish bones? And if cuttlefish, why so and not cod or some other fish bones? Charcoal? What is the blue powder that is used? What is “blueing” made of?
Judy in Ringoes, NJ judygrow@

Date: Tue, 8 Feb 2000 10:53:35 EST | From: EGinebaugh@

Diane,

Honestly, IMHO, I’d leave it two sided. Those kind of quilts are pretty few and far between…….condition would really help determine value, but as a “curiosity” piece, it could be worth more like it is than as two separated tops.
Just an idea.
Laura
At 0551 AM 02/08/2000 -0500, Diane McGuire wrote

>Hi, friends,

>I have to brag that I am the proud new owner of the two for one antique quilt that Kris featured in her SuperBowl sale.

>One side is a goose in the pond in turn of the century fabrics. Several squares have damaged parts. The damage looks physical, like it was mouse chewed or caught in the springs. The rest of the fabric looks in good condition. It is all hand pieced.

>The flip side is a 30ties nine patch with pretty floral/geometric sashing. It is machine pieced and in good condition. The “batting” is heavy flannel and the two quilts are tied to the flannel. It looks like the maker was the 30ties lady as she just folded the slightly larger older top and made it fit as a backing for the newer quilt. It is very heavy!

>Here is where I need suggestions. I want to take it apart and make two separate quilts. I know I can salvage most of the older squares and make a smaller quilt by using the good squares and recombining the damaged ones to fill out the row. What do you suggest? I would use cotton or wool batting and new reproduction fabric for the backing and hand quilt (a new skill to me even though I have been sewing for 40 years) the older top and maybe machine quilt the newer one. I would of course document my changes. Would I make a big mistake using new fabric for the backing? I don’t think either quilt is so spectacular that it is museum quality and worth the expense of trying to find antique fabric.

>I would appreciate any suggestions.

>Thanks,
>Diane in still icy southeastern Massachusetts

Date: Wed, 09 Feb 2000 19:53:08 -0800 | From: Julie Silber <quiltcomplex@>

Hello All,

I am an author of “Hearts and Hands” which had been published by Rutledge Hill Press. We have been informed that Rutledge has “been acquired’ by Thomas Nelson, a publisher also based in Nashville. They are self-described as “primarily publishing Bibles and Christian books.” They told us “Larry Stone will continue to head up Rutledge Hill Press, but as an imprint of Thomas Nelson.”
Julie Silber

Date: Thu, 10 Feb 2000 07:07:52 -0500 | From: Pat & Jim <jimpat@>

Hello Deb

Maybe I am sticking my neck out. I don’t know. But, I saw your listing request for someone who is looking for an individual to finish old quilts. I might possibly be interested.

I am a candidate for master craftsman in quilting through the EGA program and am working on the final quilt, as we speak. I love antique quilts and have quite a bit of experience with them. I would hate to see an old quilt finished by just anyone, and certainly not machine quilted (I shudder to think of it).

At any rate, it is hard to say if I would be interested or not, sight unseen. For one thing, guess it would depend on the size of the quilt, and condition of the fabrics, and how much repair work might need to be done before we can get to the quilting part. Does this person live in the New England area? I am in New Hampshire.

I am a full time professional quilt teacher, designer and writer. If the person was not in a particular hurry to have it done, perhaps I could lend a hand. Please forward my name and e-mail address to her.
Thanks.
Patricia L. Cummings jimpat@

Date: Thu, 10 Feb 2000 08:54:01 EST | From: CToczek@

Okay, I’m curious, has anyone heard of the “mennonite tack?” On page 173 of the book 101 Rotary Cut Quilts by Judy Hopkins and Nancy J. Martin there is a new Rail Fence quilt labeled with the maker’s name, date, and the note, “finished using the Mennonite Tack.” Upon closer viewing I see the quilt is not tied, but looks like it’s been completed with an extra large “big” stitch. We’ve mentioned “big” stitching on the list before and I use it myself on small folk-artsy projects, but the stitches on the quilt in question appear larger than 1/4″ across and spaced a good inch or more apart.

Is there such a thing as “mennonite tack” or is it an adaptation like the “big” stitch….i.e….same thing?
Carla Toczek
West Point, NY

“John Cawley” <cawley@> on 02/09/2000 093837 PM Dear Cinda and QHL,

In a letter that I received several days ago, the publisher of Rutledge Hill Press informed that the company has been acquired by Thomas Nelson Publishers.

” Thomas Nelson Publishers, the fourteenth largest publisher in America, primarily publishes Bibles and Christian books. Its interest in Rutledge Hill is that we bring a general trade ( non religious ) presence to its family of publishing divisions”

This is perceived by Rutledge Hill as a win win situation. I am pleased because one of my favorite publishers will continue.
Julia Zgliniec, Poway, CA
John Cawley wrote

Date: Thu, 10 Feb 2000 15:34:35 -0500 | From: Pat & Jim <jimpat@>

Hello, Deb

All day I have been receiving requests for information on the EGA master craftsman program. I have taken the time to respond to a few but can see where this might start to consume a good part of my time, thus taking me away from what I really need to be doing right now, which is quilting! I thought that I was responding to a person- Deb Roberts, not the entire QHL list, when I wrote about myself in response to the inquiry about someone willing to finish old quilts. Perhaps you could send information to those who have requested it of me. The EGA program is a for-members-only program. One has to join the nat’l organization and then is sent a bulletin called an educational supplement. It has a brief summary of the steps that are required to complete any one of 7 different master craftsman programs color, design, counted thread, crewel, etc. Each program has six steps. The quilting m.c. certification has an extensive reading list. It is a testing program. To get help or recommendations from other people on any given step is against the rules and one can be disqualified. Each quilt is sent off to be judged by a minimum of three national judges. They critique it, and either pass, fail or disqualify it. One has to adhere strictly to the guidelines given for each project. No details are known about the next step until each subsequent step is passed. It is a lengthy and time-consuming process in which the quilter has to prove proficiency in all aspects of quiltmaking. Every stitch must be taken by hand.

Please share this information with anyone with whom you shared my previous letter to you.

My most recent published articles include the following Temperance Quilt repro. in Sept. 1999 Traditional Quilter, Oak Leaf and Acorn block, January 2000 (TQ), Covered Bridge in the Winter in PA postcard size quilt, March 2000. I will have upcoming articles in my “Pieces of the Past” column in the May, July and Sept. issues. Just love those antique quilts!

Thanks for contacting me. Happy Quilting! Pat Cummings

Date: Thu, 10 Feb 2000 15:55:39 -0500 (EST) | From: quiltsnbears@ (Textile Historian)

If anyone is interested in EGA see their web site. http://www.needlearts.com80/ega/index.html

Date: Thu, 10 Feb 2000 22:42:32 -0500 | From: “Phyllis Twigg” <ptwigg@>

Thanks so much to all who posted with suggestions of books regarding the 1890’s.
I did discover a small book that no one mentioned

“Wild Women Crusaders, Curmudgeons, and Completely Corsetless Ladies in the

Otherwise Virtuous Victorian Era” by Autumn Stephens, Conari Press, 1992.
It features women radicals and women social reformers, authors, entertainers. The book is just plain fun to read. Each woman gets a two-page biography, most with a picture.In some cases the lifespan of the woman goes as far as the 1930’s. Perhaps the pictures may help identify some of the women featured on cigarette silks, etc.

The back cover states, “Wild Women is a delightful collection of riveting stories about our independent, iconoclastic and utterly outrageous foremothers who refused to whittle themselves down to the 19th century Victorian model of proper womanhood.”
Phyllis

Date: Fri, 11 Feb 2000 07:16:52 -0800 (PST) | From: Kris Driessen <krisdriessen@>

We are looking for information on the Morning Star or Bright Star pattern which is a 9 piece patchwork. We need to know the story or legend behind this quilt for a math project. Could you help us please? Please respond to Mary Gray Leonard, mgleonard@

Date: Fri, 11 Feb 2000 19:08:31 EST | From: KennaleeM@

Hi I wonder if any of you have an old Paragon Needlecraft catalog that would identify No. 01122 Quilt to it’s name and date(s) of manufacture. It is 12 large appliqued paisleys in print fabric and a flower within in solid orange with dark green leaves. Also 2 rows of appliqued scallops. Thanks for any help. Kennalee in So. Calif. (where it actually rained yesterday!)

Date: Fri, 11 Feb 2000 19:52:35 EST | From: [from unknown]

Happened upon a book this week and it is WONDERFUL. The name of it is Silk

Quilts From the Silk Road to the Quilter’s Studio by Hanne Vibeke de Koning-Stapel This book is very thorough in its history of silk which includes pictures of beautiful quilts from all over the world. She also offers new silk quilts to view, and quilt patterns which are rather traditional but which use silk.

I bought it on Tues. Got a call from Pepper Cory on Wed. inviting me to a lecture on —-of all things—-silks being done by a friend of our’s from India. I took the book along and they both loved it too. Prabha’s lecture was extremely informative and it nows makes me see silks in another dimension.

We then had a fun show and tell over at my studio. What a fun afternoon. Have a good weekend. It was 70 and beautiful today in coastal NC.
Lynn Lancaster Gorges, New Bern, NC

Date: Sat, 12 Feb 2000 06:39:54 -0600 | From: Shirley McElderry <tigersoup@>

Kennalee The Paragon quilt kit #01122 is called (guess what?) Paisley; and was advertised in the McCall’s Needlework magazine Fall/Winter 1955/56. The description “Truly spectacular white percale quilt with exquisite colored appliqui embroidery–“
Shirley Mc from Iowa

Date: Sat, 12 Feb 2000 08:08:49 -0500 | From: “Daniel & Diana Dillman” <dillmand@>

Being a retired 1st grade teacher I have a huge collection of children’s literature that I continue to add to. Of course, being a quilter, I also have many quilt related children’s books. While pulling some books for a children’s quilting group I’d like to get started, I began wondering what your favorite children’s quilt related books might be. Please e-mail me with your favorite title.
Dee

Date: Sat, 12 Feb 2000 09:49:44 +0400 | From: Xenia Cord <xecord@>

Hi, all – the folks from American Patchwork & Quilting magazine have just opened a new website. I am flattered that they have used a slightly abbreviated version of my article on 19th century conversation prints as a lead feature, with lots of nice pictures of my fabric samples. If you are interested in looking, or in any of the other information and links they provide, go to http://www.bhg.com/quiltvillage/

I have found that I can also reach it by a simpler address www.quiltvillage.com
Xenia

Date: Sat, 12 Feb 2000 07:49:51 PST | From: “Anne Copeland” <anneappraiser@>

Congrats, Xenia! Well deserved. American Patchwork and Quilting has become one of my very favorite magazines. People like you are really helping the quality! I didn’t know you had a line of fabric out now. I will check out the site, and hope the fabric is available in my area! Cheers, Anne ______________________________________________________ Get Your Private, Free Email at http://www.@

Date: Sat, 12 Feb 2000 11:26:28 +0400 | From: Xenia Cord <xecord@>

Sorry – didn’t mean to mislead anyone. What I meant by fabric samples was this The textiles used in illustration in the article are all from my stash of vintage fabrics, or are included in vintage quilts that I own. (No one else provided any fabrics for the article.)
I do not have a line of fabrics.
Xenia

Date: Sat, 12 Feb 2000 16:45:11 EST | From: Baglady111@

I am heading down to Savannah in March and could use some info..Anything going on quilt show wise? Any quilt shops to check out? Antiquing? And a neat place to stay..a place where I won’t have to mortgage the farm…please email privately and I will share if others are looking too…Jane of The Feedsack Club…

Date: Sat, 12 Feb 2000 16:59:42 EST | From: @aol.com

A couple of weeks ago someone asked if anyone knew of any Jewish quilting traditions, preferably from Europe and not picked up in America. I passed the question along to a friend of mine from a mixed Ashkenazic/Sephardic background if her female relatives recalled a pre-American quilting tradition. Sue’s father didn’t come over from Germany until the 1930s, while her mother’s people came over from Spain and Holland sometime in the 19th century.

The answer on quilting, alas, is probably not. Sue’s maternal grandmother, originally from Philadephia, was an expert seamstress (and a terrific baker – her challah was the best I’ve ever had) and did make a few quilts, but she seems to have learned this as “an American thing,” not a craft imported from the old country. There’s a strong tradition of Jewish embroidery for things like Torah covers, bed and table linens, prayer shawls, and so on, but quilting seems to have been learned in America.
Hope this helps whoever was asking….
Karen Evans

Date: Sat, 12 Feb 2000 17:28:31 -0500 | From: “Wykes Family” <wykesfcn@> (by way of List Mom

<qrs@>)
Dear QHL

So here I am reading a great new article on the BHG website’s new “quiltvillage” about 19th century conversation prints and hoping my printer does well on picking up these beautiful .jpgs of the fabric, but when I get to the end, there’s an author’s name I know Xenia Cord. So go to http://www.bhg.com/quiltvillage/index.html and read her terrific article.
Debbie in Michigan

Date: Sun, 13 Feb 2000 16:16:51 -0600 (Central Standard Time) | From: Mary Persyn <Mary.Persyn@>

I had a chance this afternoon to go through my quilt book list looking for state quilt history books that were not posted in the emails a week or so ago. I found some, many of which are exhibition catalogs, but others of which are full-length books.
FWIW, here is the list
Hawaii –

*Brandon, Reiko Mochinaga, The Hawaiian Quilt. Honolulu Honolulu Academcy of Arts, 1989.

*Jones, Stella M., Hawaiian Quilts. rev. ed.. Honolulu Hawaiian Academy of Arts, 1973 (originally published in 1930)

*Shaw, Robert, Hawaiian Quilt Masterpieces. Hugh Lauter Levin Associates, Inc., 1996.
Kentucky –

*Clarke, Mary Washington, Kentucky Quilts and their Makers. Lexington University of
Kentucky Press, 1976.
New York –

*Hoare, Steve, The Unbroken Thread A History of Quiltmaking in the Catskills. Hensonville,
NY Black Dome Press, 1996.

*Hoffman, Lynn T., Patterns in Time Quilts of Western New York. Buffalo, NY Buffalo & Erie
County Historical Society, 1990.
Pennsylvania –

*Keller, Patricia J., “Of the Best Sort but Plain” Quaker Quilts from the Delaware Valley 1760-

1890. Chadds Ford, PA Brandywine River Museum, 1996. *Pennsylvania Quilts One Hundred Years 1830-1930. Phiadelphia, PA Moore College of Art,
1978.

*Schorsch, Amita, Plain & Fancy Country Quilts of the Pennsylvania-Germans, NY Sterling,
1992.
Texas –

*Prairie Windmill Quilt History & Research Chapter, National Quilting Association, Quilts of the

Texas South Plains A Sesquicentennial Exhibition, Oct. 19, 1986-Mar. 8, 1987. Lubbock, TX

Ranching Heritage Center, The Museum, Texas Tech University, 1986.
West Virginia –

*West Virginia – Canopy for Dreams Historic Quilts from the West Virginia State Museum

Collection. Charleston, WV West Virginia Division of Culture and History, 1998(?).
Outside the U.S. –

*Robson, Scott & MacDonald, Sharon, Old Nova Scotian Quilts. Nova Scotia Museum &
Nimbus Publishing Limited, 1995.

*Berenson, Kathryn, Quilts of Provence The Art and Craft of French Quiltmaking. NY Henry
Holt, 1996.
Mary from icy Valparaiso, IN

Date: Sun, 13 Feb 2000 16:52:57 -0500 | From: DWhite6417@ (by way of List Mom <qrs@>)

I’m looking for pictorial examples of 19th century quilts with abolition, temperance and political themes for a graduate research project. I was especially looking for examples of a WCTU quilts. Any help would be appreciated.
Thanks
Darcie W. White
DWhite6417@

Date: Sun, 13 Feb 2000 17:54:26 EST | From: QuiltFixer@

I have been honored by being selected to be a lecturer and teacher at the International Quilt Show in Huston in November. As you can imagine, I am so very pleased and I keep going back to read the letter to make sure it really is true. ) Are any of you going? It would be so great to see some of you there.
Toni Baumgard
QuiltFixer@
The Redwork Lady redworkldy@aol www.redworklady.com

Date: Sun, 13 Feb 2000 21:40:42 -0500 | From: “Leonard Millsaps” <lmillsaps@> (by way of List Mom

of List Mom
<qrs@>)

i live in charlotte,n.c. i am looking for a black womens quilters group. if you can help me locate one i would be grateful.
thank you,
Lu’shorn

Date: Sun, 13 Feb 2000 21:43:04 -0500 | From: “Robin D. Kullick” <asackville@> (by way of List Mom

Mom
<qrs@>)
Hi!

I’m trying to research the history of quilting back into the 1500’s and was wondering if you had any info or sources that you could point me to. I saw your article with the brief overview on line and frankly, I’m intrigued. I am not a quilter, myself, but may begin if it goes back far enough. I do historical recreation and can’t use a thing beyond 1600. It’s too modern for that.I will appreciate any help you might be able to provide.
Thank you,
Robin D. Kullick
Bristol Renaissance Faire
Guilde of St. George
Kenosha County Wisconsin asackville@

Date: Mon, 14 Feb 2000 08:40:21 -0600 | From: Laura Hobby Syler <texas_quilt.co@>

Darcie,

The temperance quilts will be easier to come by……We recently had a conversation here on the list as to WCTU quilts. We’ve been told that blue and white were the colors of the group and Drunkards Path, Temperance Tree and Goblet quilts were often used for raffle quilts…..one of those Silent Statements type things. I have blocks and several quilts from the time period in blue and white that may have been made for that purpose. As they are not signed and dated we can only speculate that they are WCTU quilts. I know that there are others on the list with additional information and quilts.

Who has the quilt with the abolitionist print on it? Xenia, is it you? Also, remember that block names served as a theme, even when the block itself held no resembelence to the title. Check in Brackmans Enclycopedia of Pieced Blocks as well as her applique book for block names that would serve the topic.
Laura
At 0452 PM 02/13/2000 -0500, DWhite6417@ wrote

>I’m looking for pictorial examples of 19th century quilts with abolition, temperance and political themes for a graduate research project. I was especially looking for examples of a WCTU quilts. Any help would be appreciated.
>Thanks
>Darcie W. White
>DWhite6417@

Date: Mon, 14 Feb 2000 09:52:31 EST | From: QuiltFixer@

I have a Redwork quilt that has a donkey drinking water and the faint words (not embroidered) “A temperance drink.”
Toni Baumgard
The Redwork Lady redworkldyaol www.redworklady.com

Date: Mon, 14 Feb 2000 16:57:43 EST | From: WileneSmth@

this man and his book has been mentioned so often on qhl that i finally went searching. the first place that i always look for older books is the library of congress card catalog at <A

HREF=”http://lcweb.loc.gov/z3950/gateway.html”>Library of Congress WWW/Z39.50

Gateway</A> http://lcweb.loc.gov/z3950/gateway.html i always go to advanced search. then i choose the circle that says full, and entered his name in the first box and the words underground railroad in the 2nd box. 3 books came up with some fascinating info about him and about the urr. –wilene
Author Bentley, Judith.

Title “Dear friend” Thomas Garrett & William Still, collaborators on the underground railroad / Judith Bentley ;
illustrated with photographs & old prints.
Edition 1st ed.
Published New York Cobblehill Books, c1997.
Description 119 p. ill. ; 24 cm.
LC Call No. E450.B46 1997
Dewey No. 973.7/115 20
ISBN 052565156X

Notes Includes bibliographical references (p. 111-114) and index. Based on correspondence between William Still and Thomas Garrett demonstrating the efforts of these two men to help slaves to freedom.

Subjects Underground railroad — Juvenile literature. Abolitionists — United States — Biography — Juvenile literature.

Garrett, Thomas, 1789-1871 — Juvenile literature. Still, William, 1821-1902 — Juvenile literature.
Underground railroad.
Abolitionists.
Garrett, Thomas, 1789-1871.
Still, William, 1821-1902.
Afro-Americans — Biography.

Date: Tue, 15 Feb 2000 04:22:39 EST | From: JBaumg5539@

Hi ,

For the few ( ?) who read French ,I would like to say that a new book on boutis has just been released and that it is a wonderful one .Not only are the pictures gorgeous and different from the ones in the K.Berenson’s book ,but the text is very interesting . It is called Boutis des villes ,Boutis des champs (Boutis from the towns ,boutis from the fields ,after a the title of a 17th c poem we all learn in school wich was written by Jean de La Fontaine ) It is published by Edisud and written by Francine Nicolle .She studies the fabrics ,some of the workshops where the boutis were made, the symbols of the patterns .What I think most interesting is that some of the boutis are photographed with a strong light behind them so you see the work in trasparency wich gives one a much better idea of the pattern and of the work involved . And the how to at the end of the book is really good too ,with very good close ups showing the different stiches and the way to stuff the coton in the quilted areas through pictures done while she is actually working .It helps to see the position in wich her hands are while working .Much better than a drawing .
Hope this interests at least one of you ! LOL
Daniele in Paris

Date: Tue, 15 Feb 2000 09:26:27 -0800 | From: Elaine Baglo <ellymaequilts@>

While reading this mornings newspaper, there was an article saying that a ‘slave collar’ has shown up at an auction house up here. It’s engraved but no one seems to know the origin of it or if it’s authentic. I thought I’d ask all of you, since we seem to be talking a lot about the underground railroad and finding out about this sort of thing is almost impossible in Canada. Anyway, the collar is engraved with the following ‘W.A. Phillips, NP; St. Andrew’s, CE” and the back has a tag with a date, 1879 and the number 392 and the initials C.T.P.

I know this isn’t quilt related, but there seems to be a lot of you out there who know about the history of this time period. I’m curious how anything like this got up to Canada and especially on the west coast which is so very far away from the south.
Any help would be appreciated.
TIA
Elaine ellymaequilts@
Victoria, B.C., Canada

Date: Tue, 15 Feb 2000 17:59:46 -0500 | From: “Phyllis Twigg” <ptwigg@>

I am excited that Marcus Brothers Fabrics contacted me regarding producing my redwork quilt on a small scale as a fabric in their new line of red and white. You can see the quilt at www.radix.net/~jtwigg). They took a small section of the quilt and made a checkerboard-sized fabric which will be available this spring. So far I know that JoAnn’s will carry it. Marcus Brothers saw the quilt on my web page, ordered my book, and then suggested the fabric idea.
Phyllis Twigg

Date: Tue, 15 Feb 2000 22:13:57 EST | From: QuiltEvals@

Perhaps many of you know about this or similar sites – but just in case there are those of you who don’t – If one purchases the book Boutis des villes, and is interested in the content of the text, there is one of several free online language translators at http://www.translate.ru/eng/other.asp All you have to do is choose French to English, type in the text, and VOILA, it appears in English. A lot of work, but probably worth it for an eager textile scholar.
Deb Roberts

In a message dated 2/15/00 65539 PM Pacific Standard Time, QHL-Digest-request@ writes
<<
Hi ,

Date: Tue, 15 Feb 2000 22:16:55 -0600 | From: Jocelyn <Jocelynm@>

> While reading this mornings newspaper, there was an article saying that a ‘slave collar’ has shown up at an auction house up here. It’s engraved

but

> no one seems to know the origin of it or if it’s authentic. I thought I’d ask all of you, since we seem to be talking a lot about the underground railroad and finding out about this sort of thing is almost impossible in Canada. Anyway, the collar is engraved with the following ‘W.A.

Phillips,

> NP; St. Andrew’s, CE” and the back has a tag with a date, 1879 and the number 392 and the initials C.T.P.

Elaine,

First of all, by 1879, all American slaves had been freed. Secondly, I don’t recognize the initials NP or CE. Could they be Canadian? Thirdly, the number and initials C.T.P. make me wonder if they were an ID tag. While I doubt there were many slaves who had first, middle and last names, how about prisoners? Perhaps this was a restraint collar for an inmate, #392, with the initials CTP. Or perhaps it was from a mental hospital.

It was not uncommon, until well into the 20th century, for what was then called ‘lunatic asylums’ to chain their unfortunate charges. I worked at a state hospital (formerly known officially as Lunatic Asylum #2) where there were still rings embedded into the basement walls, where they had formerly chained unruly and noisy patients…

Date: Wed, 16 Feb 2000 07:47:00 EST | From: aol.com

Can’t be Canadian, either, since the British Empire abolished slavery several decades before the United States did (and slavery was very rare in Canada, anyway). My vote is for something from a chain gang. Either way, this item is very much mislabelled if they’re trying to sell it as a “slave collar.”
Karen Evans

Date: Wed, 16 Feb 2000 07:48:34 -0600 | From: Laura Hobby Syler <texas_quilt.co@>

Here is the information from Cecile at Quilt Creations in France on the Boutis book……………

>Huh huh, everyone is talking about this book. I’m selling it, but it was

not on

>the US web site version, as I thought it was not much interesting for you

girls…

>It’s a very nice book, almost an art quilting book. But it’s quite

expensive and

>heavy too… The book is 295 FF + prioritary shipping 120 FF = 415 FF

(approx

>US $ 63)

>Hope this helps

>Cecile, in France http://www.quiltcreations.com

>Laura Hobby Syler a icrit

>> Hi Cecile,

>> I don’t remember if you are on the Quilt Hertiage List….the following message came over a while ago. Do you have this book? Is this the one

that

>> I bought from you in Houston? Can you give us ordering information? From you or another source?

>> If you want to reply to me I’ll send it on to the QHL list. Members of PAAQT, the Appraisers Association list is also interested in it. Laura

>> >Hi ,

>> >For the few ( ?) who read French ,I would like to say that a new book

>> >boutis has just been released and that it is a wonderful one .Not only

are

>> >the pictures gorgeous and different from the ones in the K.Berenson’s

book

>> >,but the text is very interesting . It is called Boutis des villes

,Boutis

>> >des champs (Boutis from the towns ,boutis from the fields ,after a the title of a 17th c poem we all learn in school wich was written by Jean de La Fontaine ) It is published by Edisud and written by Francine Nicolle

.She

>> >studies the fabrics ,some of the workshops where the boutis were made,

the

>> >symbols of the patterns .What I think most interesting is that some of

the

>> >boutis are photographed with a strong light behind them so you see the

work

>> >in trasparency wich gives one a much better idea of the pattern and of

the

>> >work involved . And the how to at the end of the book is really good

too

>> >,with very good close ups showing the different stiches and the way to stuff the coton in the quilted areas through pictures done while she is

actually

>> >working .It helps to see the position in wich her hands are while

working

>> >.Much better than a drawing .
>> >Hope this interests at least one of you ! LOL
>> >Daniele in Paris

Date: Wed, 16 Feb 2000 13:33:04 EST | From: JBaumg5539@

Hi !

Sorry for the double post .I do not know what happened ! The ISBN for the book is 2-7449-0120-2and if you want to get a copy you might try the American book shop in Paris at www.brentanos.fr Daniele in Paris

Date: Wed, 16 Feb 2000 18:23:18 -0500 | From: Alan Kelchner <quiltfixmail.jax.@>

This post came across the Textile Conservators list (very slow list, mostly a professional’s thing, I lurk – I also don’t recommend it as a learning tool, which I had hoped it would be – you’ll be better off getting books out of the library – I hang around cause some of the things are interesting to me). I asked her if I could post it here because there are so many people with such a wide range of textile interests, and she agreed. So if you’d write her and also either copy myself or the list, I’d appreciate it. I’m curious on other’s ideas regarding the questions. Thanks. Oh, this lady is “down under”.
The post is

I wonder if you could help me with some information. I am part of the North Shore Embroiderer’s Guild here, and a group of us have been asked to advise the Auckland City Council on the replication of a theatre curtain. We will almost certainly be asked to do the actual replication as well.

The curtain was made in 1923 for the Civic Theatre. The theatre is an ‘eastern’ extravaganza with golden elephants, a ceiling with twinkling stars and drifting clouds, panthers with glowing eyes. It was a wonderful

1920s movie theatre, dance venue and live theatre. It has since fallen on hard times, but luckily was not demolished in the 60s or 70s. The Auckland

City Council has completely refurbished it as part of their Millennium activities.

One of the things they have not done yet is the curtain. The original was sold in the mid 70s, but is still available for study, although pieces have been cut off it. It is on cotton velvet, and measures about 13mx10m.
It was always hung straight, on a flat. It depicts flamingos in a lake, with trees and bushes on either side. The shapes that form these are of various fabrics – flannel, silk, velvet etc. -, some of them have been painted, and are appliquid onto the velvet curtain. There is never more than two layers of fabric (1 of curtain, and 1 of applied fabric). There is brown paper between the shapes and the velvet. The shapes are applied by what looks like a machine made chain stitch (chain on top, straight stitch underneath), worked around the edge of the pieces in a It is quite irregular.

We would be most grateful if you could help us answer our questions, which are is it likely that the chain stitch was machine made, and what sort of machine would have been used?

we think that the brown paper was used as a pattern to cut the fabric shapes. We think that it was glued to the fabric, cut around, glued to the curtain in position, then sewn around. It has been suggested that shellac might have been used as glue. Is shellac a suitable glue, or are there better modern equivalents?

what sort of a sewing machine can reach about 2 metres into the centre of fabric. I have approached sail makers, but the ‘throats’ of their machines are only 1 metre, and we do not wish to ‘screw up’ the velvet to fit it into this width.

If you cannot help, can you suggest anywhere else I could ask.
Regards
Susan Brookes
Business Information Service
Auckland City Libraries
P O Box 4138, Auckland, New Zealand
Phone (09) 307 7754 Fax (09) 307 7791
Email sbrookesauckland-library.govt.nz

Date: Wed, 16 Feb 2000 19:41:01 -0500 | From: “Jan Drechsler” <quiltdoc@>

I give up. ‘Boutis’ is not in my old Encyclopedia of Textiles. Is it like trapunto? On white fabric, woven colors or what? When was boutis being made. And was it made in a localized area of France? Can you enlighten me,
Danielle or anyone else?

Elaine wrote about a collar presumed to be a slave collar… the collar is engraved with the following ‘W.A. Phillips, NP; St. Andrew’s, CE” and the back has a tag with a date, 1879 and the number 392 and the initials C.T.P. … how anything like this got up to Canada and especially on the west coast which is so very far away from the south. Elaine, either the 1879 is not a date, or it is a date from another country since slavery in the U.S. did not exist in 1879.
—
Jan Drechsler in Vermont
Quilt Restoration; Quilting teacher http://ourworld.@/homepages/bobmills/jan.html

Date: Wed, 16 Feb 2000 21:38:28 -0500 | From: “John Cawley” <cawley@>

The program at the meeting of the Bayside Quilters today was a trunk show of Susan McKelvey’s collection. Susan is the master of writing on quilts, author of several books on the subject (one with Pepper Cory). One of her quilts was a Rolling Stone dated 1869 with calligraphy by William Gross who signed it in the dedication block. Last summer I told you about the Rolling Stone quilt dated 1862 inked by Wm. Gross; the dedication block is almost identical. Another such quilt, similarly signed, is owned by the Kemmerer Museum in Bethlehem, PA. Susan and I plan to get our quilts together for close comparison at next month’s guild meeting. =20
Pretty neat, don’t you think?
Cinda on the Eastern Shore

Date: Wed, 16 Feb 2000 18:49:57 PST | From: “Anne Copeland” <anneappraiser@>

I once read somewhere that some slaves escaped into Canada. But it has been a long time, and I don’t really unfortunately remember the specifics.
Who’s to say? Anne

______________________________________________________ ate Thu, 17 Feb 2000 08:05:43 EST
From: JBaumg5539@
Hi !

I called Brentano’s today and they said that you can order from them .The book is 295 and surface postage 46 fr . wich is about $ 61 ,and worth the price IMHO . It is a good companion to Berenson’s book Quilts of Provence .
A new book is expected in May .It is the catalogue of the exhibition of Fortunes de France in the Mulhouse Museum . Last time I was there they told me they were expecting Mrs Berenson’s article and a few others in order to print .

Boutis is a technique where you take two pieces of fabric , you quilt a design (very often a grid of some kind in the back ground , long corded lines called vemicelles and flowers birds ,baskets as foreground ) and then you careful stuff with cotton threads or cotton wad (? i am not sure of the word ,in french it is bourre de cotton ,wich means stuffing of cotton more or less

LOL) Of course all these motifs are symbols of love ,wealth ,happiness etc…The point is that once the work is finished and washed one should not be able to distinguish the front from the back so you have a reversible work

.. Boutis wich probably came to France from Italy and India was made mostly in the south of France both east and west ,but mainly east in Provence . Along with boutis ,they also made lots of quilted items ,heavily quilted or not with what is called Provencal fabrics .A lot of the fabrics were indeed made in Provence .But what the very interesting exhibition in The Mulhouse (Alsace ) shows is that a lot of the items wich we still have in our possession were made with very high quality fabrics from the Royal Manufactures and others mills from Alsace and Rouen (Normandy are ) showing how important these items were in the life of those who made them and who were ready to pay a high price for the fabric .Very often they also made bed covers (courtepointes ) with one fabric on the top and one fabric on the back and quilted it .Some of them are also made with silk in wonderful tones of yellows and purples and deep reds etc.. . Later during the 19th c. they also use neckerchiefs as centers and added borders around them to make them big enough .These are also shown in the book

Boutis was mostly done with white fabric .There is a strong revival in France and lots of my friends are making wonderful boutis . Several books were published by women who collected designs from old boutis or created new ones

. A friend of mine also collects boutis needles ,generally a long neeedles with a round end (like a small beads ) so that you would not go through the fabric .

Hope this helps and sorry I cannot express myself as clearly as I would like

……But quilters always understand in a way or another ,don’t they ?
Daniele in Paris