October 4 – 11, 2000
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:
- Getting Musty Smells Out of Antique Quilts — A long, popular thread on odor removal without washing — ozone rooms, dryer-sheet strips, kitty litter, and charcoal briquets all get debated.
- New Members & Restoration Questions — Two new subscribers introduce themselves and ask about restoring damaged quilts and sourcing Stable-Tex support fabric. (see the article on quilt restoration)
- Reproducing an Aged Look in New Quilts — A member reproducing an antique quilt asks what techniques beyond dyeing can mimic an authentically old, worn appearance.
- Flag Guard UV Coating for Fading — A member asks whether anyone has tried a UV-blocking Flag Guard treatment to slow fading on displayed textiles.
- The Mariner’s Compass eBay/Museum Quilt Mystery — A striking eBay auction quilt turns out to closely match a quilt already in the American Museum in Britain’s collection, sparking a detailed side-by-side comparison of fabrics and block construction. (see the article on quilt museums)
- Reproduction Prints vs. Authenticity Debate — Members weigh in on whether using modern reproduction fabrics for restoration work is faithful to a quilt’s original maker’s intent.
- Identifying Vintage Sewing Machines — A member seeks information on a student’s small Betsy Ross sewing machine and a Franklin machine.
- Ethics of Antique Quilts Leaving the Country — A side discussion on how members feel about beloved antique American quilts being purchased and taken overseas.
- Color-Run Removers Recap — A wrap-up naming the specific commercial products (Carbona Color Run Remover, Dye Magnet) discussed across recent color-bleeding threads.
Date: Fri, 6 Oct 2000 10:01:11 +0100 | From: Kathy Prochnow <mskathyp-pub.com>
Would you like to learn how to create beautiful quilts with detailed patterns made from historical quilts? Now you can with my latest book, “Auction Blocks Historical Quilts from Famous Estates.” This is a 100+ page book that is lavishly illustrated with photographs and, most importantly, fantastic plans. Now, unlike other quilt book publishers, I’m publishing “Auction Blocks” electronically. Better yet, this ‘e-book’ is being sold on a chapter-by-chapter basis. Therefore, you only buy the chapters that you want to read. But, best of all, I’ll let you read the Introduction, ‘Buying History,’ from “Auction Blocks” for FREE. If you would like to read your FREE chapter and learn more about this revolutionary publishing venture, just goto www.p-pub.com/auctionblocks See you there, Kathy Prochnow
Date: Sat, 7 Oct 2000 14:10:26 EDT | From: Amybonzon@
Hello all, I just joined the list a couple days ago and am glad to have found you! A friend and I are attempting to restore and finish a couple quilt tops she received from an aunt who passed away several years ago. I would appreciate any tips mostly on what we should and should not to do finish these quilts. The goal is to complete them in a way that will not cause any damage, allow them to be used for mostly decorative purposes. We are not too concerned with the monetary value–just usefully preserving them. Let me share what my untrained eye sees. Quilt #1 The blocks are machine sewn appear to be mostly cotton prints and cotton woven fabrics lots of pinks, lots of royal blues, a few reds, a few blacks, and a few browns. 11″ square Broken Dishes pattern–as found in The Quilt I.D. Book sewn together by hand with a 2 1/2″ sashing of muslin with pink squares where the corners of the blocks meet There are quite a few tears and seams that have come apart. Aprox. twin size Quilt #2 Crazy quilt blocks, foundation pieced onto material 6″ square mostly dark–dark greens, blues, burgandies and blacks, with a few lights fabric appars to be all old suits, jackets etc.–wools, synthetics, some cotton lap size in excellent condition Any ideas would be greatly appreciated! Amy Bonzon Enumclaw, WA
Date: Sat, 7 Oct 2000 15:25:06 -0400 | From: “Phyllis Twigg” <ptwigg@>
Does anyone have an address or resource information regarding the purchase of Stable-Tex for restoration purposes? (Hope I spelled that correctly). Thanks, Phyllis Twigg
Date: Sat, 07 Oct 2000 13:58:38 -0400 | From: “Virginia \”Ginger\” Seivert” <virginia.seivert@>
Does anyone know how to get the musty smell out of old quilts without washing them? Would appreciate any suggestions. Thanks. Ginger Seivert
Date: Sat, 7 Oct 2000 22:00:52 -0500 | From: “Kathy Ross” <kaross@>
You might could try an ‘ozone room’. Businesses that specialize in fire damage restoration frequently have such a room. I’ve not seen or tried one, but I understand it is a fairly non-invasive method of getting odors out of different items. k. ross
Date: Sun, 8 Oct 2000 00:33:37 -0400 | From: “J. G. Row” <Judygrowrcn.com>
Today was the second day of my guild’s quilt show. I worked the first day, and will work tomorrow, but this is what I did today! I went to an estate auction , an auction that took a full page ad in the Maine Antique Digest last month, and I came home with lots of wonderful things. Some of the things were total surprises! Yesterday afternoon we (DH and I) went to the preview, and in addition to the cataloged quilts were lots of lots of uncataloged boxes of linens and textiles of all sorts. Digging deep into one of the huge cartons, topped with a hammock and a paisley shawl, I saw what appeared to be 2 early quilts. Further pawing and scrounging showed that they were not in wonderful condition, but I was loathe to pull them out of the box and “flap” them, lest I draw someone else’s attention to them. So, I made sure DH knew about them and noted their location before I moved on. We were under the tent at 10 this AM when the auction started and the cataloged quilts didn’t come up until 100. First was a group of 3, being sold together, and included an unwashed, unused shiny chintz whole cloth backed with an incredible ,bright, French Blue. Another is of 4-patches made of matching half-square triangles, in zillions of early prints, including Prussian blues, with some opened seams, one brown fabric in poor condition. The third is a strip streak of lightening in rusty brown and tan backed with a homespun large scale check in blue and natural. They are mine! Second to be hammered down was another early pieced quilt, also with ombres and lots of wonderful fabrics, and it is mine as well. There was a sunflower quilt with all the flowers made with purple fabric , fading to brown. The quilting was wonderful, the quilt was virtually unused, but I fear for those purples. I did not bid on that. There were a group of 2 satin quilts I passed on, and a very nice, elaborate silk and embroidery crazy with no shattered silks that I could see, which I also left to: someone else. I was tempted over a wonderful early 9-patch on point in unwashed, excellent condition (pre 1850), but let that go too. I passed on a number of other wonderful quilts, hoarding what little money I had for the final, the mariner’s compass which was the background for the photo of the furniture and smalls in the MAD ad. I wound up an underbidder on that, and was strong enough to stop at the limit I set for myself. I still feel that if I had kept on bidding my 2 opponents would have been able to: go on forever– They had the deepest pockets! I never found out who they were, but I heard their numbers come up time after time . At 2 I had to leave to go to work but asked DH to make sure he was around to bid on that box I mentioned at the beginning of this post! At 430 he came to: the store — with the box. This part of the auction was where you follow the auctioneer around — you do not sit neatly in auditorium-like rows. He had to elbow his way past lots of ladies who didn’t believe this male silver fox had any right to bid on textiles, but who eventually dropped out at $200, and so he wound up getting the box for $350, including the 10% buyers premium. I was so anxious I couldn’t wait to get home and ran out to his car and dug deeply to see what I could find. It was too hard to take the quilts out, but my hands felt unquilted fabric, which I closed around and drew upward. What I pulled out were 2 early quilt tops, and yardage of 2 patterns of 3rd quarter 19th century fabric! At home later, I fully unpacked the box. There weren’t just 2 quilts in there, as I had supposed, but 4, all quite early, a couple not in the best of conditions, but with great fabrics. All of these quilts came out of this one huge Queen Anne Victorian house, whose last occupant died 5 years ago, which left the house empty and cold and deteriorating for that long. One of the items out of the box is a scrap quilt made of up to 8 inch wide strips, circa 1830, I think. At least all the fabrics are that early. One of the fabrics is quite unusual and I’d like to know more about it. I’d looks like a toile except that it is printed in two colors — mostly brown with 2 shades of a rosy pink as accent. I’m searching and thinking out loud here…. The piece in the quilt is only 8 x 13 and 13 is about the length of the vertical repeat. Therefore I would assume it is a roller print. The image shows a 6″ standing woman in Greek type garments, a fringed stole hanging off her left arm. She is wearing sandals on her feet and a helmet with a laurel wreath going around and plumes atop on her head. She has a spear in her right hand and the left hand holds a large egg-shaped shield. The bottom of the shield is patterned in “red” and white vertical stripes and above a horizontal band the upper third of the shield is empty. Right next to the shield is a large bird, eagle or phoenix like, almost as tall as the woman to the tips of the wings. Could this be a referece to the US? Or France? Above the woman (and below) is a flower form with 4 pendulous pink flowers on stems which spring from a grouping of upright leaves. The background for all of this is cloud-like forms. Now, as I have this quilt in the light right next to the computer I’ve noticed something unusual. Through one seam near the edge that has opened up for about 3 inches I can see a brown patterned fabric. On the front the quilting is in a rather thick tan thread, in diagonal lines in one direction only. But, now that I am checking, there is the ghost of quilting lines in the opposite direction on the front. I don’t mean stitches pulled out. I mean the fabric indents in a regular pattern. Turning it over to the back I see quilting stitches in a finer white thread going in the opposite direction. On all 4 sides the front is turned over to the back for finishing. The backing is a rather coarse cotton fabric in a natural color. Is it possible that the backing is original to another quilt which is still inside? And that this grossly pieced top is just covering the older more fragile quilt? But this top is made of all very early prints (and one nifty chambray stripe, woven in navy, white, and orange and then penciled [I think] with yellow). How early must what is inside be? And what do I do about getting to see more of it? Or must it always be hidden? Oh! How I wish Barbara Brackman or Eileen Trestain didn’t live half a continent away! And that all my dear quilting buddies could pajama party with me tonight ! And by the way, the paisley shawl came in the box, but the hammock was no where to be seen. Judy in Ringoes, NJ judygrow [at] rcn [dot] com
Date: Sun, 08 Oct 2000 09:38:22 -0500 | From: Laura Hobby Syler <texas_quilt.co@>
Didn’t we have a recent post by someone about how these “ozone rooms” don’t really work? I had a client several years ago share a “home recipe” with me. Her mother used to take her grandmothers things that had “that smell” and put them in a large airtight storage container with a bag of cloves and all spice. Leave it in the container for a couple of weeks and the musty smell should be gone. She also used charcoal filters for aquariums in recent years. I tried the clove method and it worked pretty well. Laura At 1000 PM 10/07/2000 -0500, Kathy Ross wrote >You might could try an ‘ozone room’. Businesses that specialize in fire >damage restoration frequently have such a room. I’ve not seen or tried one, >but I understand it is a fairly non-invasive method of getting odors out of >different items. > >k. ross
Date: Sun, 8 Oct 2000 17:31:00 -0400 | From: “Gunter” <gunter@>
I am getting ready to reproduce one of my antique quilts; other than dyeing, what are some other successful methods of getting that old fashion look? Judi Gunter
Date: Sun, 08 Oct 2000 17:22:11 -0500 | From: Jennifer Perkins <qltrstoreharlannet.com>
I hung out a new decorative flag today and read the enclosed literature. It talks about a Flag Guard UV coating treatment to reduce fading. Anybody tried this?? Of course, I’m wondering what the ramifications of using this product on 100% cotton might be?? A 4 oz. bottle is $5.00, enough to treat 2-28″x40″ flags, so is a little pricey to treat quilts??? Safe???? Looking forward to seeing some of you this weekend! Jennifer in Iowa
Date: Sun, 8 Oct 2000 19:16:40 -0500 | From: Hollis E McCright <hmccright@>
I have also heard of using a “Bounce” strip (fabric softener) and put it in an airtight container with the fabric. I did this with some “mousey” smelling scraps and it seemed to: have taken the odor out. Hollis McCright from: Lubbock, TX where we MAY have fall now!!! It is 45 deg now. (instead of 99 deg heat)
Date: Sun, 8 Oct 2000 21:36:33 EDT | From: Xroadclown@
how about a layer of “kitty” litter covered with some tissue, and then the quilt. Store air tight for a week or so, and amazingly, the odor is gone? heard it works, any feedback? thanks, Melanie
Date: Mon, 09 Oct 2000 08:28:12 -0500 | From: Laura Hobby Syler <texas_quilt.co@>
I agree with Christine….What is your intent? When trying to find vintage fabrics for restoration….and none come really close, there are methods of “aging” textiles. Fading the fabrics by hanging them out on the fence for a couple of weeks, using fabric fading kits (is it still available?) Then there is teadying the fabric to tone down the whites…….. If you are looking for the “scrunched” look of a well loved (akaused) quilt quilt it with un-prewashed cotton batting and wash in warm water and dry….here goes….in the dryer….yes, Laura said it….**but ONLY for this desired effect**!!! You will get that “antique look”. What other effects are you hoping to achieve? Laura
Date: Tue, 10 Oct 2000 07:42:55 +0200 | From: Ady Hirsch <adamroni@>
Hi all IMHO, one should by all means use reproduction prints, then let nature and time take their course. I’m sure that if the original makers could see what has become of some of their quilts, they’d be horrified (at least some of them). Besides that, I really dislike tea dying and all other means of artificially ageing fabric – tea contains tannic acid, and no one will convince me that’s good for fabric. Goodness knows what may be the long term effects of tea residues on fabrics dipped in them. Just remember that the Parthenon in Athens, for all its pristine white beauty, was once garishly painted in all colours – all that beautiful, white marble statuary was once red and blue and black and yellow… (sounds as though they’ve all had a sound beating, doesn’t it? <G>) I only make reproductions of antique quilts, and use fabrics that match as closely as possible the original fabrics as they must have looke once. I also try to avoid those lines of repro fabrics manufactured to look as though they’ve been tea-dyed or otherwise aged. My working assumption is, if you srart out with muslin, bleached or natural, in 50-100 years you’ll end up with a time-yellowed quilt. If you start out with an artificially darkened or “aged” fabric, you’ll end up with something quite different, probably not what you’ve bargained for. And I do care what my quilts will look like in 50 years. Ady in Israel
Date: Tue, 10 Oct 2000 05:51:28 -0400 | From: “Jeff Lesh” <jefflesh@>
This site was listed on another digest that I get. Thought it might be of interest to many of you. I saved it also. There are six pages of newspaper clippings out of a scrapbook from a lady from Kentucky, Nancy Page, Laura Wheeler are the authors. It does take a few minutes to download the entire section, worth the wait. http://www.katiesquilts.homepage.com/ Enjoy, Sheri from almost done harvesting corn Iowa
Date: Tue, 10 Oct 2000 07:03:32 -0400 | From: John/Karen Finck <finck@>
I know a couple of weeks ago someone mentioned their may be a product for colors that ran. Can someone tell me what that was? Karen in nh — finck [at] worldnet [dot] att [dot] net
Date: Tue, 10 Oct 2000 07:04:25 -0400 | From: John/Karen Finck <finck@>
One of my students has a small Betsy Ross sewing machine. Does anyone know of any sources to obtain more information on this? Also a Franklin from Sears? Karen in nh — finck [at] worldnet [dot] att [dot] net
Date: Tue, 10 Oct 2000 06:45:06 -0400 | From: “Jeff Lesh” <jefflesh@>
I have just done something recently, that I really like. The idea sorta came from a Sandra Betzina show several weeks ago. I had an (for lack of a better term) an inspiration note book, that I kept ripped out magazine pages in of quilts, colors, stuff I liked divided into categories, with each sheet in a page protector, so it was a really big notebook. But I really never looked at it and if I don’t use it. It really is worthless to me. This gal was what I would call an clothing artist and she also did kinda of the same thing only looking to make more clothing than quilts. But she would take a page of a magazine and cut out only that part of the picture that was interesting to her and glue to card stock, tag board, etc. You would be surprised how distracting the setting is around a picture, when that is the only part that you are really interested in. She would put together pages that were related or of similar items, colors, style. Then she would like make a stencil say of a dress shape and lay it over the top of a picture and get great design element ideas from moving the stencil over the graphic/picture. For some reason that just hit me. We could do the same idea with a shape or rectangular/square section. So about a month ago, I got my notebook out and started going through it. It probably took over a week of working at it in all my spare time. But I cut all of the quilts out of their pages and I grouped like quilts together, ex. 9-patch, Baltimore Album, Amish, 30’s, Bear Paw, Flying Geese, etc. And I just love it, the notebook is so much thinner and I can see many, many quilts with every page. I freed up about 200 sheet protectors, (that I promptly used up in redoing my Dear Jane notebook, that I need an appliance cart to move, HA!!!) I used glue sticks and rubber cement, I also, three hole punch the card stock and put them behind appropriate dividers and it is so much more usable now. I know many of you have done fabric notebooks, and various other ways of keeping your collections together, just thought this might be of interest to someone. Or if you have never done an inspiration notebooks, this may pique your interest to start one. Also wanted to give something back to the list for the many of you that helped me with the bleeding problem I had with the red/white quilt. It is very happy now. ) Sheri Still harvest corn in Iowa
Date: Tue, 10 Oct 2000 08:35:07 EDT | From: Tubeywooby@
My mama taught me that the best way to remove odors is to put the object in a closed container with wadded up newspaper and charcoal briquets- like for a grill. Of course, with a quilt you’d want to layer some muslin between the quilt and the charcoal/papers. But these soak up the odor instead of covering it up. BTW, she discovered this technique after forgetting groceries in her trunk for a week ; ) Chilly in Kingwood, Texas, Melissa Young CrazyFolk (come see us at the Houston Quilt Festival)
Date: Tue, 10 Oct 2000 14:38:51 -0400 | From: “J. G. Row” <Judygrow@>
>After seeing the seller’s email address and password, do you now >know who it is? I can’t tell you how my heart thumped when I saw it up on gb-best’s e-bay site so soon. I’ve written to Donna Vitale (that’s how I know she wasn’t there but her husband was) begging her not to let this treasure leave the country. She answered me that her reserve was so high she didn’t think it would sell. We’ll see. >I take it you are familiar with bidder to predict the Denmark >destination? Lot of question marks here! Right now the high bidder is “rosetatoo” who has an aol address. Therefore I assume if she wins it, it will stay in the country. “Helleha” in Denmark has 8 or more pages of being high bidder just in the past month. Between September 12th and September 19th she was high bidder on 35 quilts alone (she is also buying Japanese textiles and damask tablecloths and napkins, and stuff like Christening dresses). That totals $30,117.00 spent in one week, (if all high bids met reserve). I can’t conceive of that kind of money, week after week, month after month! Now that doesn’t mean that every high bid met reserve, but an awful lot of our quilting heritage is winding up in Denmark. I know that all of our antique quilt dealers are gleefully jumping for joy, capitalists that they are, (I have no problem with that — I am one too) but these quilts will never come BACK on the American market. And that upsets me greatly. I know a lot of antique quilt enthusiasts were griping about an east coast dealer with a western sounding name who was/is selling hand over fist to the Japanese. DH says I shouldn’t gripe. After all, how many of our own museums and private collections have enormous storehouses of Egyptian, Greek and even Japanese and Chinese treasures, many not even bought, but looted. But gripe I will. >That quilt is beautiful! My question >is how was this quilt stored to maintain the excellent >condition? Like everything that was at the jam packed estate auction, it all came from a 3 story Victorian with barns and carriage houses that had been shut up for 5 years with no heat, no air conditioning, and no ventilation. I have no idea where it was in the house, but it had very few if any age marks. We were told that maybe 15 years ago 5 tall case clocks were stolen from the house — while the old lady was still living in it. There are maybe no surviving family members left. The proceeds from the sale will benefit the local historical society! What a windfall for them! This is where you may view the quilt. Just click on the hyperlink. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=462264356 Date: Tue, 10 Oct 2000 225708 -0400 From: “J. G. Row” <Judygrow [at] rcn [dot] com>
Date: Wed, 11 Oct 2000 08:03:13 -0400 | From: Alan Kelchner <quiltfix@>
Hmmmmm – is it that bad that the quilt leaves the country? It evidently would go to someone who wants it very much. Personally, I have to agree with Allan (boy, he’s got such a cool name <g>). Artifacts from every culture are in our museums/private collections. If you insist all American quilts should stay here, then on that same token, everything, anywhere, should be returned to the originating country/culture. The Picasso at this local museum goes back to France (Spain?). The little c. 100 BC oil lamps I have go back to the Middle East. You see where I’m going. This doesn’t mean I like it. But I have to live with the reality that nothing is permanent. I guess maybe I like the idea that someone wants the quilt that badly and is willing to pay appropriately. Anyway, as long as the rest of us exist, there ain’t no way the best quilts will all go away. Seems you bought some recently, I have a few, and others have more. Alan — Alan Kelchner Skitzofrenya Quiltworks http://skitzofrenya.artistnation.com
Date: Wed, 11 Oct 2000 08:08:17 -0400 | From: Alan Kelchner <quiltfix@>
That’s odd. I make my quilts for now and don’t worry about what they’ll look like 50 to 100 years from now. I say make the quilt the way you want it now. Aged or unaged. If you’re going to spend all that time, you best enjoy the results~ — Alan Kelchner Skitzofrenya Quiltworks http://skitzofrenya.artistnation.com
Date: Wed, 11 Oct 2000 08:43:19 EDT | From: Chyral@
Oh my…… Yesterday when I looked at the auction on eBay, I said to myself, “I *know* that quilt from somewhere….” but I just couldn’t place it. I have the Betterton book, and the two quilts are virtually identical. At least two of the fabrics repeat from one quilt to the other the dotted white background fabric, and the blue fabric with the sort of “turks head” knots. The quilt at the American Museum is cited as being from Pennsylvania, but to my amateur eyes, it surely could be from NJ, with that on-point set and those oak-leaf blocks. (I’ll defer here to the NJ quilt historians…..) And, coincidentally, the American Museum quilt was a donation by Mr. George G. Freylinghuysen… a fine old NJ Dutch name if there ever was one. I’ll try to scan up the phots from the book later today, and put them up for everyone to take a look at. -Cheryl In a message dated 10/10/00 105931 PM Eastern Daylight Time, Judygrow@ writes > Marilyn Woodin wrote to me about the Mariner’s Compass quilt — (Mary Waller > tells me that the pattern is called “Chips and Whetstones” in Brackman) and > asked the following question > > >when I saw the Mariner’s Compass that you so kindly provided a link for, I > >thought I had seen one almost identical to that before. > >I thought about it and I wondered –could this be the same quilt that was > on the >cover of QUILTS AND COVERLETS from THE aMERICAN MUSEUM IN BRITAIN > >by Shiela Betterton republished in 1982? In case you would care to check > the >ISBN # is o950497142–yes that is an”o”. > >It truly makes me wonder if that quilt is from the estate or the Museum. I > >wouldn’t think the fabrics could be so much alike. It is also pictured in > Shiela’s >book on page 44. > > I don’t have the book, so I can’t check. If any of you have it, would you > be so kind as to check the citation Marilyn gave against the quilt now on > e-bay. > This is where you may view the quilt. Just click on the hyperlink. > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=462264356
Date: Wed, 11 Oct 2000 11:08:29 EDT | From: Chyral@
Okay….. I’ve put up a temporary page with the photos of the American Museum’s Mariner’s Compass quilt. It’s at <A HREF=”http://members.@/chyral/quilt.html”> http://members.@/chyral/quilt.html</A> The images are fairly large, so the page takes a while to load. I’ll leave it up for a couple of days so anyone on the listserv who is interested can take a look. -Cheryl
Date: Wed, 11 Oct 2000 09:37:12 -0700 | From: Chris Anacker <chrisa@>
I checked on page 44 of Sheila’s book and can tell you that the tiny sawtooths of the sashings are not going in the same direction in the two quilts. Starting with the direction of the sawtooths around the center compass, the top two rows have the wite triangles closest to the compass, and the bottom two rows have the red closest to the compass. The e-bay picure shows otherwise. Also, on the cover of the book is a closeup of the fabrics, and they are not all the same. The brown is, but the red and green, although very similar, do not appear to be the same fabric. The yellow is a maybe. The background fabric’s dot or comma looks blue on the cover. The comment on the quilt is that the fabrics date between 1820 and 30, but “at some time this quilt was remade- most probably 1840/1850”. It measures 103 in sq. and is from PA, a gift of George G. Frelinghuysen. On a personal note, I really enjoyed your auction story. I was gripped to the screen. It has left me with wonderful images of a great auction experience. Yes, I’m very jealous, but don’t stop sharing these with us. I searched my library of toile pictures, as the description of the lady with the shield seemed very familiar, but I could not find anything. Could you put a picture of it the list? If you get info that isn’t posted to us, please post. Thanks, Kim in Ojai, but heading to AQSG-YEAH!! —– Original Message —– Subject: QHL Compass question
Marilyn Woodin wrote to me about the Mariner’s Compass quilt — (Mary Waller tells me that the pattern is called “Chips and Whetstones” in Brackman) and asked the following question >when I saw the Mariner’s Compass that you so kindly provided a link for, I >thought I had seen one almost identical to that before. >I thought about it and I wondered –could this be the same quilt that was on the >cover of QUILTS AND COVERLETS from THE aMERICAN MUSEUM IN BRITAIN >by Shiela Betterton republished in 1982? In case you would care to check the >ISBN # is o950497142–yes that is an”o”. >It truly makes me wonder if that quilt is from the estate or the Museum. I >wouldn’t think the fabrics could be so much alike. It is also pictured in Shiela’s >book on page 44. I don’t have the book, so I can’t check. If any of you have it, would you be so kind as to check the citation Marilyn gave against the quilt now on e-bay. This is where you may view the quilt. Just click on the hyperlink. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=462264356 Judy in Ringoes, NJ judygrow@
Date: Wed, 11 Oct 2000 17:25:03 -0500 | From: Laura Hobby Syler <texas_quilt.co@>
Color Run Remover by Carbona is one of the products that we discussed. The Dye Magnet is another…… At 0703 AM 10/10/2000 -0400, John/Karen Finck wrote >I know a couple of weeks ago someone mentioned their may be a product for >colors that ran. Can someone tell me what that was? >Karen in nh >– >finck [at] worldnet [dot] att [dot] net
Date: Tue, 10 Oct 2000 22:57:08 -0400 | From: “J. G. Row” <Judygrow@>
Marilyn Woodin wrote to me about the Mariner’s Compass quilt — (Mary Waller tells me that the pattern is called “Chips and Whetstones” in Brackman) and asked the following question >when I saw the Mariner’s Compass that you so kindly provided a link for, I >thought I had seen one almost identical to that before. >I thought about it and I wondered –could this be the same quilt that was on the >cover of QUILTS AND COVERLETS from THE aMERICAN MUSEUM IN BRITAIN >by Shiela Betterton republished in 1982? In case you would care to check the >ISBN # is o950497142–yes that is an”o”. >It truly makes me wonder if that quilt is from the estate or the Museum. I >wouldn’t think the fabrics could be so much alike. It is also pictured in Shiela’s >book on page 44. I don’t have the book, so I can’t check. If any of you have it, would you be so kind as to check the citation Marilyn gave against the quilt now on e-bay. This is where you may view the quilt. Just click on the hyperlink. http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=462264356 Judy in Ringoes, NJ judygrow [at] rcn [dot] com
Date: [circa Mon, 09 Oct 2000] | From: “Christine Thresh” <christine [at] winnowing [dot] com>
Judi Gunter asked <I am getting ready to reproduce one of my antique quilts; other than dyeing, what are some other successful methods of getting that old fashion look?> My question is why do you want to get an “old fashion” look? I am planning to reproduce an antique quilt and I searched and searched to find the fabrics that were as much like the old ones as possible. It took quite a long time to find them. The fabric looks to me the way the antique fabric would have looked when new. My plan is to make a quilt honoring the old one, but not to make an old looking quilt. I thought I’d display the two quilts (old and new) together. Do others have opinions on this? Christine on an island in the California Delta http://www.winnowing.com
