May 12 - 21, 2000 - QuiltHistory

Oral History & Documentation, Quilt History Resources, Restoration & Conservation

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:

Small Museums and Quilt Stewardship — A long thread on the challenges local historical societies face caring for and displaying quilt collections, and members’ worries about donating quilts to under-resourced institutions. (see the article on quilt museums)
Textile Conservation Methods — Members debate the merits of fusible interfacing versus netting for stabilizing fragile antique quilts and textiles. (see the article on repair, restore, or conserve)
Reproduction Baltimore Album Cross-Stitch Kits — A discussion identifying a cross-stitch kit quilt from a 1950s-60s Herrschner’s catalog patterned after Baltimore Album quilts.
Quilt History Research Resources — Members share book recommendations, museum exhibits, and websites useful for quilt history research, including an Australian quilt history book and Cornell’s quilt collection.
Mariner’s Compass Design Documentation — A call for member contributions of facts and tidbits about the Mariner’s Compass quilt block for an upcoming magazine article.

Date: Fri, 12 May 2000 08:27:00 -0400 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt@>

A long time ago, we were discussing the age of the earliest quilts. This article isn’t really about quilts – it refers to the opening of a new museum exhibit in Toronto – but it is interesting. They discuss the existence of textiles and woven items in the form of clothing as far back as 27,000BC.

http://abcnews.go.com/sections/science/DailyNews/hats000509.html Kris

Date: Fri, 12 May 2000 10:49:57 -0500 | From: Jennifer Perkins <qltrstore@>

Yesterday an older lady showed me her quilts, and one was really interesting. It was a kit quilt from Hershners-sp? catalog from the late 1950’s and was one of those big cross stitch things, but the pattern was a Baltimore Album quilt! It was really quite beautiful-anybody ever run across one of those before? The border even had the “tooth” design done in cross stitch. Colors were bold reds, yellows, greens and blues. Jennifer in Iowa-rethinking the bus trip to Nashville-anyone still have an extra bed in their room?

Date: Fri, 12 May 2000 19:16:51 +0100 | From: “Celia Eddy” <celia@>

Kris’s rely to my posting about a north country coverlet was fascinating and most helpful

Regarding the difference between a quilt and a coverlet, in UK a textile HAS to have three layers to qualify as a quilt! An interesting difference between UK and US. But anything can be a coverlet, and woven ones are very common here, too.

I don’t know if I can get FineFuse over here but will make enquiries. Sounds as if it would serve my purposes very well.

I’m just off for a week’s holiday in the Scottish Highlands (no computers, no TV, only a mobile phone!) now so shall be interested to read any further comments and information when I get back next week-end.
Celia http://www.quilt.co.uk/heritage/BQtrads.htm

Date: Fri, 12 May 2000 14:12:51 +0400 | From: Xenia Cord <xecord@>

I have one of these in my business’s inventory, and because I am lazy, I paste here the (edited) information that is my price tag: Baltimore Album Cross Stitch Red, green, gold, blue $XXX.00

80″ x 94″ TOP, 1960-85, quilted by (name withheld) in 1986. Possibly a kit from Frederick Herrschner’s, this top was found fully finished and covering the hood of a car in a Naples (Florida) garage sale. Composed of separate motifs arranged like the appliqui blocks in a Baltimore Album, the designs are very nicely cross stitched, with no “tails” showing through the front. The design field is bordered by a cross stitched vine of leaves and red flowers, and the outer edge has a filled design of half squares, like a sawtooth border. The applied binding is white, over a white back. Expertly hand quilted on the marks provided. Unused and unwashed; excellent condition
Xenia, in Indiana

Date: Fri, 12 May 2000 23:59:34 -0400 | From: “J. G. Row” <Judygrow@>

Wednesday night I went to a bicentennial quilt reunion. Of the 42 women who worked on the town quilt in 1975/76, (a different town from where I now live) about 20 attended the reunion. It was held at the local house museum, where the quilt has hung all these years. It turns out that the quilt was never legally given to the museum — it has always been on loan — and we who attended signed a piece of paper giving the quilt to the museum. I gather there had been an insurance problem. The quilt looked just as bright and wonderful as it had 25 years ago, and we were all still proud of the work we had done. But I think we spent more time looking at the changes the intervening years had made in each other than in the sameness of the quilt. This is a wonderful small museum, housed in a center hall 3 story Italianate stone mansion. There are 4 rooms to a floor for the main house, and a period kitchen in the basement. All of the rooms and the halls and stairways are chock full of very nicely done displays of period furniture, costumes, photos, prints and household items of utility and decoration. However, there are virtually no identifying signs on anything. There is a two story 40 year old addition at the rear. The first floor houses an enormous collection of Lenapi Indian artifacts. The second floor has room settings of spectacular period furnishings — the best in the collection.

This museum has a collection of 52 quilts, has been displaying quilts for 60 years we were told, and some were on display Wednesday night, either on beds, or over the backs of Victorian sofas, or on those special quilt hangers, or in a room that has special glassed display cases. I have heard that a member of the Johnson and Johnson family helps to fund this little museum, and just paid for a facility overhaul. It is open 3 afternoons a week, for 3 hours each day.

I will not mention the name of the town or museum, because I am sorely disappointed with the person who serves as the “curator.” I honestly think this person got the post because of longevity in the community, and not for any special abilities or knowledge. The curator gave a tour of the museum, but did not comment on any of the displays, and I heard incorrect information being given out as answers about certain items of which I count myself an expert — including the quilts.

For one, the curator incorrectly placed the Charles Lindberg house in that town, when it isn’t even in that county, and is spreading the misinformation that CL designed the house — I served on the committee that dug out all the information and did the nomination that got the house onto the State and National historic registers. I didn’t make the corrections though, not with all those other people around. It would have been too embarrassing, and would have possibly led to an altercation.

During the NJ quilt documentation days the committee spent one day at the museum photographing the quilt collection. They only got half of them done, but didn’t return. This curator didn’t know that the NJ book was published almost 10 years ago! And that some of the quilts from the museum collection are in it.

I have no idea where the majority of the quilt collection is stored, or how. This museum could be an incredible resource for the community, but I shudder at the misinformation being given out. And, I suppose there are hundreds of small museums like this one throughout the entire country — run by enthusiastic but ignorant (as in un-knowing) people.

For 2 years, until he moved out in January, my youngest son lived in an apartment carved out of another small local museum 2 or 3 towns away. Again, this was run by people who just didn’t take the time to find out the appropriateness of anything, and because it is owned by a Historic Preservation Society, and serves as the meeting place for the Junior League, it has had to accept and display virtually everything that the local folks dug out of their attics or basements and thought better of throwing away — “Oh, the _______ House might want this….” I guess having the house with its motley collections and moved to a different site is better than having it in a landfill somewhere to make room for I-95. But still………… Speaking of which, locally, before my township could act, (they didn’t even know that it was happening because no permits were sought) a pair of brothers who bought an old and historic inn which was in terrible, terrible condition found that the land was far more valuable, and so they tore down the house, not saving any of the parts, and rather than carting everything off to the landfill, they fed it all through a wood chipper and filled in some low spots on the property where their own house was, at the end of my road! When asked where the inn building had gone, I was able to point to 3 or 4 truckload sized piles of wood chips. They have gone bankrupt, or something, and have disappeared, just like the inn.
Judy in Ringoes, NJ judygrow@

Date: Sat, 13 May 2000 15:47:42 +1000 | From: “Kate Knight” <kknight@>

Pardon the inexperience here but I was always advised when restoring or preserving old textiles, to never do anything that cannot be undone. Would not using a fusible material be irreversible ? Any comments ?
Kate kknight@

Date: Fri, 12 May 2000 14:44:12 -0400 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt@>

I just received this press release I thought might interest y’all.
Kris
Subject : Patchwork & quilting exhibition

Many events are announced for the year 2000 in Bassano del Grappa . Among them the Patchwork & Quilting exhibition will open in December with the support of the City Hall .

This will take a place in two buildings : one on the municipal tourist building in Largo Corona d ‘Italia Square, the other in the prestigious Palazzo Roberti , which gave hospitality to Napoleon , in Jacopo da Ponte ,34street, recently brought to its splendor after an accurate restoration.

Many patchwork pieces of the local 3 Casa Patchwork e Quilting 3 will be displayed.

Although patchwork originated in the North Europe and in the United State , during recent years it developed in Italy thanks to the good performed of 3 Quilt Italia 3 .

The validity of its method is recognized as it presents an artistic – therapeutic purpose; it gives the possibility to the express creativity, achievement and shows what one wants to produce and this, in the end , becomes a mean to relate with others .
The exhibition will be from 2 to 17 Deceber 2000 :
Monday through Saturday 09,30 -12,30 and 15,30 – 19,30
Sunday 10,30 – 12,30 and 15,30-19,30
For information please contact
Giuliana Nicoli Andretta
Capogruppo di “Casa Patchwork & Quilting”
CP 8 Succ. 1
36061 Bassano del Grappa VI tel 0424 502 906 fax 0424 524840 e-mail andretta@ from Italy

Date: Sat, 13 May 2000 08:28:10 -0400 | From: Judy White <jawhite@>

No wonder you are upset. Do you suppose this person is an unpaid volunteer curator? If she is paid money, her attitude is inexcusible. Would you consider writing her a letter and offering her some of your expertise or do you think that would not be well-received? Every small town has one of these museums with artifacts of past town citizens hidden away somewhere inside the museum. My mother-in-law had the good sense to give me a crazy quilt with family names from the middle of the 19th century instead of giving it to the little museum in the town where she grew up.

Anyway it sounds like you are much more knowledgeable than the person giving the tour. Obviously she is not a quiltmaker and maybe not even interested in quilts, and maybe she would accept some help from you if you are so moved to offer. Just my opinion.
Judy White – Ct

Date: Sat, 13 May 2000 08:03:20 -0500 | From: Laura Hobby Syler <texas_quilt.co@>

We always like to try and make repairs and restoration jobs reversable, but sometimes there is not an option. “fine fuse” is a good product. I’ve used it many times, especially on flaking silks or cracking madders. If you make an “upside down bandaid” you are fusing only the fabric, not fabric to batting. That way it is removable, if you decide that you can replace the fabric at a later time. But if you are working on a crazy, with oil painting on it, and the paint is causing the fabric to crack….it may be your only method of securing the pieces to prevent total loss… Just my humble opinion, and what works for me.
Laura

Date: Sat, 13 May 2000 09:14:24 EDT | From: @

There’s also the possibility that despite the Johnson & Johnson money, they have a small budget. Many local historical societies are full of retired, eager, but woefully unschooled volunteers; a friend of mine has fought her own battles over antique dolls at the Easthampton Historical Society. My personal nadir was reached when I walked into a musty back room at the Williamsburgh Historical Society, in Williamsburg, Massachusetts, and saw a 1796 woven and embroidered coverlet spread out on a bed. The room was not climate controlled, the bed could be touched or sat on by anyone, and the sole documentation about the coverlet was a newspaper clipping about it being donated to the musem by a descendant of the maker. There wasn’t even an air conditioner!

The people at the museum were well aware of their facility’s deficiency. They were just as unhappy as I was about the conditions under which they had to display the coverlet. And they couldn’t do anything about it without money, which no one had yet been willing to donate. It was heartbreaking. That’s the problem with local historical societies…no one knows they’re there, and no one cares…:(
Karen Evans

Date: Sat, 13 May 2000 10:23:26 EDT | From: JBQUILTOK@

>My personal nadir was reached when I walked into a musty back room at the Williamsburgh Historical Society, in Williamsburg, Massachusetts, and saw a 1796 woven and embroidered coverlet spread out on a bed.

How about the silk crazy quilt used to cover the high wheel bicycle from sun damage in the small Historic Society my mother is associated with. The owner of the bike still had relatives involved with the society – the quilt maker was long forgotton – so guess what was more important to preserve??? Last yr when I was there, a local judge (who I went to high school with) was feeding them a ton of misinformation about a mill stone that had been dredged out of the creek. I came back out west, dug up the 6th grade report I did on the town & typed up a copy for Mom. When she took it to the next meeting, one of the oldest members remembered writing the original paper I used for much of my research & agreed that Judge was as all wet as the mill stone had been for 100 yrs!

Position & respect sometimes mean more than facts, and I guess it depends on how passionate we feel about the truth & the audience whether we risk confrontation. Had the pompous fool been speaking to school kids, I’d have found a way to correct him on the spot. When he was addressing an older audience, I was willing to wait till I had proof to back my position. If they had been a sr citizen tour group passing thru, I probably wouldn’t have cared whether they thought the grain mill was before the saw mill or vice-versa.
Janet

Date: Sat, 13 May 2000 19:38:42 -0300 | From: Barbara Robson <robsonbh@>

This is a gem of a museum and if you are ever in downtown Toronto, Ontario, Canada plan a visit. They have great exhibits and a wonderful shop as well as a very informative interactive display.
Their web site is http://www.museumfortextiles.on.ca/
Barbara Robson
Fox Point,
Nova Scotia, Canada

Date: Sun, 14 May 2000 13:27:26 -0400 | From: Judith Knorr <jknorr@>

Jennifer,

I bought one of those kits from Herschner’s in the late 1960s (probably 68 or 69). I bought the thread kit that went with it in blues, purples and orchids. I remember that it also came in reds, blues, greens and yellows. I worked on it off and on for several years and then finally put it away without finishing it when I started doing more fabric piecing. I bought the kingsize version!!! It had three panels. The two side panels had a strip of blocks and the border. The center block had two or three strips of blocks. My mother took it about 10 years ago to finish the cross stitch for me, but I don’t think she has done much on it either. I had two of the three strips finished. Right now it’s still a UFO, but I know where it is and maybe it will get finished one of these days. I think the top was about $10 or $12 and the thread kit was $8.
Judy

Date: Sun, 14 May 2000 18:11:36 EDT | From: StanfieldA@

Re “blowing off steam” . . .

I certainly understand your frustration with an unknowledgeable curator and a local museum that is not quite up to standards. Believe me, there are plenty of wonderful local history museums. The problem these days is that anyone can open the doors of an old building and call itself a museum. But there are standards in the industry–overseen by the American Association of Museums. Any reputable museum would try to come close to these standards, particularly where the care of collections is concerned. For any of you out there considering donating such items, I suggest you look into these standards and question the prospective institution to which you hope to make the donation. Non-profit museums are public trusts. Municipal and university museums have similar responsibilities. But collections care is, above all, our most important function. It is what makes us unique.

The public should not only demand professionalism from its museums (especially non-private ones), but become involved. You shouldn’t complain unless you can help find a solution. Granting agencies and funders look at participation/collaborations/partnerships when granting funds to a museum. It is in that institution’s best interest to work with the public. And any museum worth its salt would welcome your expertise and suggestions. On the other hand, you may offer suggestions that aren’t in keeping with museum standards and you should be prepared for such suggestions to be turned down. I have no idea what your community is like. Are all of the quilters form the reunion nearby? Could you be a support group for the museum? Could you offer to write information sheets for the public and/or the staff? Could you train their volunteers in your area of expertise? Be prepared to flaunt your credentials as scholarship should be of utmost concern to a reputable museum. Remember, and this is important, that most museum staff members are overworked and underpaid. They do their jobs out of a love for the objects. Offer your services as extra non-paid professional help for them, as someone who realizes their limitations. It’s easy to get angry and feel hurt, but dwelling on those negative qualities may just bring out defensive behavior from the underpaid (and possibly volunteer) museum staff.
Good luck!
Alyson B. Stanfield
Director of Education
Wichita Art Museum, Kansas

Date: Sun, 14 May 2000 22:42:26 -0400 | From: Alan Kelchner <quiltfix@>

I have to admit, when Kris suggested the fine fuse, I cringed (sorry Kris!). But that reaction was based on the fact that, to my knowledge, the quilt hasn’t been posted in the ‘net.

But I have to agree with Laura, there are times that the application of a fusible is called for (something extremely fine is preferable – if you use heavy-duty stuff, you end up with a board). But I’m gonna flesh out Laura’s comment just a bit. I did this with the only crazy quilt I’ve ever purchased. It has painted floral bouquets, each on a piece of the same silk fabric. The art was shattering into tiny squares. Two choices – first, you could crepeline it and end up with all the little pieces at the bottom of the crepeline. Or fuse it back whole (or as close as possible). I figure I’ve extended the life of the paintings and the quilt.

Now on the other hand, I have used it to mend tiny, tiny grainline tears on newer, family-type quilts. But rarely, and with trepidation. My biggest dislike is the stiffness any fusible adds to the fabric. ANY. All will add stiffness. And one of the most important things to me is the tactile quality.
Alan

Date: Mon, 15 May 2000 14:28:54 GMT | From: “Diane Shink” <dimacquilt@>

Thought that members close to the border may be interested to know about our National Juried show being held at York University in Toronto May30-June 4. I will be there all week with my collection of Star Quilts. I have called them Eastern Canadian Stars but the oldest is a magnificent Feathered Star from 3rd quarter 19th century that my friend almost sent to the Goodwill when cleaning out a house in Lynchburgh Virginia.There are 30 pieces in all some Time span recently finished. Hope to see some QHL people there . E Mail me for further particulars or call 1-877-672-8777 for conference info. Thanks Diane Shink ,busily sewing sleeves on vintage quilts. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com

Date: Mon, 15 May 2000 10:53:43 -0400 | From: Newbie Richardson <pastcrafts@>

I have been rethinking the use of netting of any kind in conservation. There have been several studies showing that the abrasion of the netting against the surface of the fabric it is supposed to shield is far worse than doing nothing. It is the same idea as not wearing gloves when handling textiles: the abrasion of the fabric is more harmful than (clean, dry) hands. Please do not ask me to send you the sources. I spent several weeks doing post graduate work at the Univ. of Rhode Island with Dr. Margaret Ordonez ( co-author of newly released RI quilt book) last summer. She had several position papers about the subject. They are all from professional conservation groups, like the AIC, etc.
It is fairly new stuff.

The best thing to use is either crepeline – despite the cost and its own problems with longevity – or Stabletex.

Fine fuse – which I term “archival bonding” to distiquish it from the other “fusables” out there, is a great solution of last resort. It is not reversable…but if the textile is a gonner no matter what…! Besides, the chemical properties of fine fuse are different from the adhesives of the other fusables. It is stable, does not give off any gases and will not change chemically – so far!

This is really a shame about netting, but we have to do no harm!
Newbie Richardson
Past Crafts Studios, Alexandria, Va

Date: Mon, 15 May 2000 11:14:51 -0400 | From: Newbie Richardson <pastcrafts@>

I mission to small house museums. 75% of our nation’s textile wealth is at your local small house museum: in regular cardboard boxes, on wire hangers, hanging in full sunshine! (I am NOT kidding.) Pepper’s experience is not unique. I usually get things to change a little because I am an “expert” from out of town. (I have slides and live 100 miles away!) I had similar experience at Washington’s National Cathedral. I basically told the preservation committee that they had all the resources and expert knowledge already in house in the person of the head of the Altar Guild. It took an outsider to validate one of the professionals that was already on staff! Maybe we should invite each other to the other’s town and become the outside expert! I day dreamed the other day of what I would do with the lottery winnings(!). I decided that I would fund the installation of uv filtering windows and climate control for all the small historic houses! Then fund individual restoration projects to be done by individual restorers within the community…!

It is not just the small museums folks. You do not want to know what goes on at the Museum of Fine Arts – Boston, or the great houses of Newport, RI.

The moral of the story, as you get ready to part with any or all of your collections, is research the place you think should have them and endow each quilt with a “maintenance” fund. Better yet, sell (place) them with a caring collector/reputable dealer!
Newbie

Date: Mon, 15 May 2000 14:20:09 EDT | From: JQuilt@

you know, after reading newbie’s, interesting and informative,post on what happens to textiles, most times, in small house museums… I thought wouldn’t it be a great idea, for every quilt, embroidery and knitting, guild to allocate some of their funds, marked for donations…to be sent to the local historical society, with the stipulation, that the money be used for care and maintenance of textiles in the small museums and houses in that hist. society’s province…
jean

Date: Mon, 15 May 2000 15:26:38 -0500 | From: Laura Hobby Syler <texas_quilt.co@>

Jean, while it’s a lovely sentiment, it’s been my experience with the deep pockets of the local guild here, that the textile curators and/or directors of these small museums and hysterical societies think that we (quiltmakers) cant possibly know anything about antiques and expecially textiles. We only make new quilts. (I wish!) We don’t have the education or training to understand what they are doing. (She said tongue in cheek after seeing the atrocious descriptions that the local hysterical society gave to a simple 9-patch quilt!)

So, sadly, bottom line is they usually don’t want us messin’ with or telling them what to do with their stuff………
Laura

Date: Mon, 15 May 2000 20:18:04 EDT | From: StanfieldA@

Since one person has already asked, I assume others might be interested in this information.

Unfortunately, I know of no abbreviated version of “museum standards” for the care of collections. Museum registrars and curators (the direct caretakers of the objects) use volumes of dense text. However, here are some questions you should ask when considering to donate to a museum (which I very much encourage!):

–What are the rest of the museum’s collections? Do they have other quilts? Do they have other textiles? If not, would they ever display the quilt? Please don’t make unreasonable demands on museums. Many people try to stipulate that their donations are on view at all times. This is unreasonable and not good for the objects. Most museums have it in their collections policies that they can not accept gifts with such stipulations. Be sure that you are knowledgeable about the quality of the work you are donating. Don’t expect that every quilt/object is up to museum standards–especially if it is damaged. The expense to repair damaged works often exceeds the value of that work.

–If a museum has no other textiles or related works, in what context will your gift be shown or used?

–What are the light levels? Is there natural light in the galleries? If there are windows, what are they protected with? Sure, they might have UV protection, but it’s the brightness that will harm the fabrics. Textiles demand very low light levels (measured in foot candles). An oil painting or sculpture might be shown at 25-30 foot candles, where textiles and other fibers (paper) would require 5-7 foot candles (don’t quote me on that number!). You can see it’s a big difference. Make sure your museum knows this difference.

–Is the museum climate controlled? (humidity @ 50%, temperature @ 70 degrees, with very little fluctuation; fluctuation is what hurts artworks most–particularly those containing wood)

–What is the storage like? Ask to visit it. Are quilts/textiles rolled in acid-free papers and stored in acid-free boxes or on rolls? –Do they give donors proper credit? When a museum accessions an object, there is paperwork involved and they ask the donor how they would like the credit line to read. These should show up in their gallery installations. –What are the museum’s rules for allowing food, drink, and parties in the galleries? This is a sensitive area. Some museums have no other alternative and must allow it. Make sure they have guidelines, though. –What is security like? They might not be able to afford cameras or have a security staff even, but are other staff members able to keep an eye on the galleries?

If a museum is accredited by the American Association of Museums (AAM), it most likely meets all of the standards. But that doesn’t mean that other museums might not also meet such standards. And staff changes can mean lost history and memory, so get everything in writing. Too many collections have been formed from only a handshake.

I’m sure I’ve forgotten something, but don’t want to overstay my welcome. I do want to encourage your continued donations to museums. We all benefit from them.
Alyson B. Stanfield
Director of Education
Wichita Art Museum, KS

Date: Mon, 15 May 2000 22:46:02 -0400 | From: “J. G. Row” <Judygrow@>

I am in a quilt study group that meets once a month. Because we meet in a quilt shop this group costs $15.00 per person, per month. I assume this is to pay for the room, and also a fee to the group’s leader, who every month lugs a large number of quilts from her major collection into the shop. I’d love to find enough antique quilt aficionados in the area who would like to get together and, as the saying goes, “chat amongst ourselves.” But, since Jan moved to Vermont, that leaves little old me, virtually alone in the wilderness.

Anyway, our fearless leader of the QSG made a remarkable comment last month. We had been talking about the study groups, symposia, workshops, classes, and conferences we had all been attending for so many years, and yet there was nothing that we had that could prove that we were experts in our field of study. She said that we should be able to add the initials “I.S.” after our names, as in J. G. Row, oops, Judith K. Grow, I.S. Sounds pretty snorky, huh?
I.S. — as in INDEPENDENT SCHOLAR
I love it! Maybe now I’ll get some respect!
Judith K. Grow, I.S.
judygrow@

Date: Tue, 16 May 2000 08:54:28 -0400 | From: “Nancy Roberts” <robertsn@>

Hello to all. I’m preparing a sidebar of info to accompany Judy Mathieson’s article on Mariner’s Compass design for an upcoming issue of Traditional Quiltworks. With both Judy’s and Kris’s permission, I’d like to invite members of this list to contribute basic facts and tidbits about the design to include in the sidebar. I’ll compile the info into a short, bulleted list and include credit to “members of Quilt Heritage List” along with the web address. I think it might make more people aware of this valuable resource. Thanks in advance for any contributions. Nancy Roberts, freelance editor/writer

Date: Tue, 16 May 2000 17:13:42 -0400 | From: “John Cawley” <cawley@>

I am an historic house addict and compulsive museum goer. But I know that most of these wonderful places do not have quilts as their top priority. I am well aware that only a select (very select) few share my quilt mania. I have had a variety of experiences working with such organizations. It helps to have a thick skin and to persevere. I am of the opinion that my quilts will fare better and be seen by more people if they are in the care of someone who loves quilts as I do, who shares quilts at every oportunity, who is knowledgeable and whose quilts will never have fold marks because they are stored properly rather than languishing in the storage area of a museum which rarely makes them available to the public. I take great care with my quilts, but they are mine! I would only consider a donation to a museum which values them as I do, i.e. a museum dedicated to quilts (not necessarily exclusively). I plan to guarantee my quilts a good home by choosing those who will be their caretakers after my demise or incapacity (baring unforseen circumstances this is not a pressing issue; but my family has standing orders about what to do if I get hit by a bus).
Cinda on the Eastern Shore

Date: Tue, 16 May 2000 20:16:24 -0400 | From: “Gloria Infinger” <gloria@>

Hi, Gloria Infinger in SC.
Enjoy QHL with all of the helpful information.

In reading Newbie’s comments about suitable repair methods in the above volume, I would like to know more about the term or use of “crepeline” and “Stabletex.” Where can I find information?
thanks,
Gloria Infinger gloria@

Date: Wed, 17 May 2000 00:35:12 EDT | From: Demsing

I am so glad to be receiving all this commentary about quilt care and local museums. I, too, have a fairly extensive collection of antique quilts that I take great care to properly preserve. I have been in a dilemma as to what plans to make for them after my passing. I have changed my will 3 times as I find better and more appropriate recipients. I suppose I shall change my mind 3 more times before I am completely satisfied! Like others, I am leaning away from museums and more toward individuals or quilt organizations. I feel as if I’ve “rescued” a number of quilts and would like them to stay rescued. It’s bad enough seeing a beautiful quilt lay for months in an antique store’s bright display window, but it’s unforgivable in an historical home or museum.
Lenna DeMarco
Glendale, AZ

Date: Wed, 17 May 2000 00:39:18 -0400 | From: “J. G. Row” <Judygrow>

the following sites were found by someone on the QuiltArt list. I thought many of you would also be interested…. http://cti.itc.virginia.edu/~kmr3c/docs/costumes.html – If you love costumes, plan to take a huge block of time to check these out. http://www.artsci.washington.edu/drama/costume.html – Theater History on the Web, with eye-popping costume illustrations Judy in Ringoes, NJ a/k/a
Judith K. Grow I.S.
judygrowblast.net

Date: Tue, 16 May 2000 23:56:51 -0500 | From: Valerie Davis <vpse>

Thank you Alyson on your comments about local museums. Since I myself work in a local history museum, I would hate for the discussion group to think that all small museums resent helpful, knowledgeable volunteers. I would like to think that the museum in North Carolina is a rarity in its narrow mindedness. I have one question for you. What do you mean by “non-private museum”?. Doesn’t the very definition of a museum mean that it is open to the public? If it isn’t, wouldn’t it just be a private collection? Perhaps do you mean non-profit?
Thanks, Valerie

Date: Wed, 17 May 2000 15:06:57 -0700 (PDT) | From: Kris Driessen <krisdriessen>

I have been thinking about Alans comment and wondering to myself why I recommended fusing over netting. I have to admit I have not used netting in quite a while, possibly because the quilts I have been restoring don’t really call for it. I think what troubled me was the amount of damage Celia referenced. Netting just wouldn’t be practical. But say this was a historic piece, more than worth the time, trouble and cost. Would I use netting then? I am not really sure! I have seen silk turn to dust under netting, but not cotton. It’s an interesting question.
Kris

Date: Wed, 17 May 2000 16:22:29 PDT | From: “Kim Heger” <kheger

I made an interesting purchase at an estate sale last weekend! Lots of quilts were being auctioned, all made prior to the 1930’s as stated by the family, and I happened to have the winning bid for first choice quilt! The one that caught my eye because it was so unusual was a redwork quilt. It’s got turkey red (don’t know if it’s actually turkey red, I’m just using the color name) sashing between the four distinct blocks, or quadrants of the quilt. Each quadrant is the same. The quadrant consists of redwork embroidery letters, one letter per white (or cream) fabric square. They form complete words both across and up and down!!! For the blank spaces, as in a crossword puzzle, a red square was used. These little red squares are placed symmetrically within the quadrant, and from a distance, create a very nice pattern. Someone at the auction thought it was a “Scrabble” quilt; I call it my crossword puzzle quilt as that was my first impression of it! Does anyone have any information at all on this type of quilt? Could you help me guesstimate its value?
Thanks so much,
Kim

Date: Wed, 17 May 2000 23:06:32 EDT | From: StanfieldA

Re Valerie’s question

What I meant by “non-private” (my choice of wording) are the majority of museums. There are also many institutions that call themselves museums but do not have that public trust mission at heart. They come in various forms, including the ego-driven (collectors showing off their “stuff”) and oddball collections (collectors that have put together the world’s largest collection of, say, Bic lighters and open up a building to show them off). I don’t want to stereotype these small museums, but I’ve seen some at work. They are usually run by their founders, who have a very selfish motive in mind–probably without realizing it. I can’t think of a single “private” museum that would be an appropriate place for one to make a quilt donation. (I hope this all makes sense in the morning.)

Re donations to museums There ARE many, many, many museums who care for and would be thrilled to receive your donations. Please don’t write off all museums because of a bad experience with one. Just do your homework. Look at how they care for the collections they have. Talk to the staff, talk to others who have given to the museum. We have a few nice quilts in our collection and I build programs around them whenever they are displayed. But I sure wish we had more–and better examples!

I find more and more of the schoolchildren we serve are learning about quilts in the schools. We’re trying to link our collections and Art Resource Center (a lending library of reference materials) to the classroom. What better way to do that than to study original objects? By providing teacher training, knowing curriculum, knowing the collection objects, etc., museums are in a unique position to introduce schoolchildren to quilts. Don’t give up on us all!
Alyson B. Stanfield
Director of Education
Wichita Art Museum, KS

Date: Fri, 19 May 2000 08:47:35 -0500 | From: “Sehoy L. Welshofer” <sw4quilt>

Good morning! This may seem to be off topic, but I think there are enough of you out there who might be interested. On Monday, my husband and I went to the new Opry Mills, which just opened last Thursday. For those of you not in the area, it’s one of those huge malls, and it’s right next door to Opryland. (where the AGS show will be held). I’m sure you’re all familiar with the hoopla about the made in China quilts. Well, guess what’s in Opry Mills?

That’s right – an entire store selling quilts made in China. The name of the store is Quilts and Stuff . Their store description on the free brochures reads “Visit our store and choose from our large selection of quality handmade quilts and accessories. Offering many oversized, unique designs”. Now granted, I didn’t look at every quilt – but it sure looks like the quilts are all the”made offshore” variety. I was so annoyed – can’t believe it’s there, and with people coming from all over for the AQS show – won’t that be a lovely reflection on Nashville?
Sehoy

Visit Web Threads, the Newsletter for Net Savvy Quilters at http://www.welshofer.com/WebThreads/

Date: Fri, 19 May 2000 09:54:00 EDT | From: KareQuilt

An eBay alert. What a shame, IMHO, this couldn’t have been kept together as a collection!

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=333335406 Seller writes <<3 old green aprons, vintage fabric for quilts. I acquired 50+ old aprons at an estate sale that were sewn and starched and put away by a little old lady. I don’t know if she made them for gifts or because she just loved aprons! The three in this auction were grouped because they are predominantly green in color…>>
Karen Alexander
Northern VA

Date: Fri, 19 May 2000 22:22:32 EDT | From: Qltldy10

For Lenna, and others considering what to do with quilts Lenna said …extensive collection of antique quilts that I take great care to properly preserve. I have been in a dilemma as to what plans to make for them after my passing. I have changed my will 3 times as I find better and more appropriate recipients. I suppose I shall change my mind 3 more times before I am completely satisfied! Like others, I am leaning away from museums and more toward individuals or quilt organizations. Some of you may remember my descriptions a few years back of the 10 quilts I now have in my ‘collection’ ,all from one family. One family member got one, and it was destroyed very quickly by their dog. Daughter one wasn’t a potential to receive the quilts after that. The Mom didn’t want to give to a museum (they knew about de-aquisitioning), and daughter 2 didn’t have the space. They came to me looking for ideas/value. One of the quilts is a strippy, with 2 different madders, in very good condition but not esthetically very pleasing. 6 are utility quilts. I explained the issues of value; if they wanted the least amount of work, they should get a dealer, who would give them way less than what the ‘value’ was; and that a quilt like the strippy had more ‘value’ taken apart and sold as fabric. The utility quilts could end up as cutters. They were horrified that a quilt would be cut up, or undone. I reminded them that once they were sold, you have no control, unless they wanted to sell/screen buyers themselves, which could also be a lot of work. I was not interested in buying- and thinking they were going to sell, wouldn’t have been able to ethically by that point, anyway. They liked seeing my quilts, which I love to show. Ultimately, they came back to me, and asked me if I was interested in an arrangement. I agreed to house their quilts here, in my collection, with some strings attached. In the contract If my house burns down (etc, etc, etc), I am held harmless by them. They can ask for them back at any time. I can’t sell or get rid of them (nor would I want to!). I didn’t finalize the passage at any time, which I now regret. That is, I should have said that after a certain date or after x generations, they are owned by my family.

It’s a perfect agreement, I think, for both of us. We have a contract, I gave them photos and written documentation of what I thought about the quilts, and I did a write-up of Mom’s oral recollections about the makers of the quilts; one went to them and one is on top of the quilts for my family, along with the address and phone number of the daughter I had most of the contact with. Daughter says Mom is greatly relieved they are together, with someone who knows and appreciates quilts.
I love having them with me!
Beth in Maine

Date: Sat, 20 May 2000 20:05:57 -0400 | From: Ricki Maietta <rmaiettacsrlink.net>

Hi everyone! I have been so busy, you haven’t heard from me in a long time. Please know that I am still around, just very quiet. Just wanted to alert everyone of an interesting exhibit, now through June 18 at the Herbert F. Johnson Museum of Art at Cornell University in Ithaca, NY – “Petals & Plumage” is a collection of Indian textiles. Some are quite early (15th Century etc.) & good examples of block printing, paste resists, patterns, mordants & dyes, styles, regional examples, embroidery, etc. There is also a free catalogue, in color, about 14 pages long. Perhaps if you wrote or called they would mail you one? Sorry, but my copy does not have an address or phone number – I am sure there is a web site. . .
Ricki in PA

Date: Sat, 20 May 2000 16:56:27 -0400 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt>

Australia’s Quilts A Directory of Patchwork Treasures

Australia’s Quilts is packed with quilts and patchwork treasures that reflect the many cultures that have made up the country. There are glorious antique quilts from the earliest days of the colonies; huge wall hangings made by proud communities to record their heritage; a 19th century chair covered in Tumbling Block patchwork; antique costumes and bags � even a quilt believed to have been made by freed Texan slaves shortly after the American Civil War. Treasures from the nation’s galleries and museums, historic properties, churches and civic buildings are gathered together for the first time, all with the fascinating stories of who created them, how they were made, and the unique Australian locations in which they may be seen. Hard cover…336 glossy pages…more than 400 illustrations. (Review provided by Roger Manning manningscustomcameras.com.au)

Date: Sun, 21 May 2000 12:13:59 +1000 | From: “Kate Knight” <kknighteisa.net.au>

As a “book-a-holic” I can recommend that this book is wonderful. I attended a talk by Jenny Manning the author a few months ago, and was fascinated and delighted with her presentation, the book is beautifully written and illustrated with the most sumptuous photographs of old and new Australian quilts. Highly recommended !!

By the way, if you would like to view a huge range (about 650 at last count) of contemporary Australian quilts donated from all over the country, in support of the 2000 Paralympics, visit http://www.quilts2000.org.au/0gallery.htm
Kate kknighteisa.net.au

Date: Sat, 20 May 2000 22:01:09 -0500 | From: Valerie Davis <vpse>

Beth in Maine, What do you mean by de-aquisitioning? Did you mean de-accessioning? And if that’s the word you meant to use, what do you mean by the statement, “Mom didn’t want to give to a museum (they knew about de-aquisitioning)? Valerie

Date: Sun, 21 May 2000 07:59:54 EDT | From: Qltldy10

In a message dated 5/21/00 5:07:18 AM Romance Daylight Time, vpseglobaldialog.com writes
<< Did you mean de-accessioning? And if that’s the word you meant to use, what do you mean by the statement, “Mom didn’t want to give to a museum (they knew about de-aquisitioning)? >>

Yes, sorry if I used an incorrect term. The way the family explained to me, and also the way I believe it can happen, is that when you donate to a museum, free and clear (as opposed to a ‘loan’), the museum, at a later date, can sell or pass on the item or items. This had already happened to the family. They had, much earlier, donated some early furniture to the State museum. When they were thinking about the quilts, they went to the museum and inquired about the furniture, thinking that the quilts could be with the furniture (and oh, says Beth, what a nice display that would make!). Alas, the museum no longer could “find” the furniture, and assumed that they no longer had it. So, what’s the right word? While they couldn’t find the paperwork, they assumed the museum had sold the pieces (or traded, maybe?, they didn’t tell the family exactly what happened); so insert the correct museum lingo there… That’s the story as told to me.
Beth in Maine

Date: Sun, 21 May 2000 08:09:34 EDT | From: QuiltFixer

In a message dated 5/15/00 7:54:20 AM Pacific Daylight Time, pastcraftserols.com writes

<< The best thing to use is either crepeline – despite the cost and its own problems with longevity – or Stabletex. >>

Hi Newbie, how about posting up some sources for these products if you have them. I am doing work for the San Jose Museum of Quilts and Textiles and having a bit of trouble with getting this stuff. Toni B.
QuiltFixeraol.com

Date: Sun, 21 May 2000 09:51:12 EDT | From: JQuilt

if you go to http://www.museum.cornell.edu/ you can see a slide show of the exhibit.
jean

Date: Sun, 21 May 2000 11:07:14 -0400 | From: “John Cawley” <cawleygoeaston.net>

Thanks Ricki and Jean for the info on the exhibit at Cornell. The Johnson Museum has done some wonderful things with quilts and textiles. They did that great exhibit of signed quilts five or six years ago and published a marvelous catalogue. More recently they had the quilts from the New York State Historical Society. I f one were thinking about a home for fine quilts I’d look to a museum like the Johnson which has demonstrated an interest.
Cinda on the Eastern Shore

Date: Sun, 21 May 2000 19:18:27 EDT | From: Xroadclown

Speaking of the Johnson Museum at Cornell University. Our guild is sponsoring an outrageous quilting weekend in July, 2001!!! the dates to be exact are July 27, 28, and 29, 2001. Please note 2001. A display from the University of Nebraska will be there during that time, as well as a fashion show featuring Pat Nelson, and someone else whose name escapes me. We will have our local show, and are working on a nationally known speaker/lecturer/ instructor to do a workshop or two. We will also have 14 quilts from 14 county historical societies, and since we are talking 2001, it will be a lot more. We are calling the weekend “Continuing the Tradition” so be on the lookout!!!

If anyone knows of other means and ways to publicize our event, please let me know.
thanks!
melanie towner show co-chair

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