May 16 – 25, 2002
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:
- African American Quilt Symbolism — Members discuss the book Signs and Symbols: African Images in African American Quilts, then debate whether comparable ‘ethnic signs and symbols’ exist in European American or Amish quiltmaking.
- Frontier House Wrap-Up — Continued reflection on the PBS series after it finished airing, including a public-broadcasting programmer’s account of viewer and colleague reactions.
- The Gold Standard Debate Continues — The charm-quilt gold-patch discussion carried over from the prior digest continues, including a Dating Club meeting report and a husband’s outside take on the theory.
- Book and Research Requests — Members ask for help locating out-of-print quiltmaking pattern books, a 19th-century book on women’s employments, and general research assistance from newer list members.
Date: Thu, 16 May 2002 22:40:05 -0500 | From: “Junior/Peggy McBride”
This is rather an aside, but you need to remember that the large majority of women who went west, did not go because it was their idea. Many went because they had no choice. The head of the family, whether it be husband or father or whatever came home one day an said we are going west. I highly recommend the series of booksCovered Wagon Women, Diaries +ACY- Letters from the Western Trails. Edited and Compiled by Kenneth L. Holmes. These books have been reprinted by the University of Nebraska Press in paper back. Peggy Mc
Date: Fri, 17 May 2002 04:11:58 +0000 | From: “Anne Copeland”
Yes, I guess I could buy that it was a fad to do that, and women followed the fads. I guess though, that in the end, it is all just conjecture — truly interesting though it is, until we actually find some real documented evidence of such. Yes, fads could be a genuine explanation for sure. I remember how many crazy quilts I have seen with political ribbons of the times, and that surely was a fad. But, albeit a fad, we could not ascribe any special meaning to it. I think in fact, the only way that we know it was a fad is that there are so many of them. Love and light always, Annie
Date: Fri, 17 May 2002 04:56:45 -0700 (PDT) | From: Judy Schwender
I watched all 6 hours of Frontier House last weekend. I have had a dialog with the director of programming here at the PBS station where I work. I told him that it is nice that PBS has a hit with this one, but not to pat ourselves on the back too readily. If you care to read it, here is my major posting to him as to why.
I liked Frontier House. While it is very enjoyable television, in my opinion, I would not call it “living history”. More of a sociological experiment. And definitely with “Survivor” shadings. Many, many opportunities presented themselves where information about the times could have been worked in. For instance, when Kristen talked about having a baby on the frontier, I never did learn if: midwifery was common, did doctors assist, did husbands deliver many of their babies, what was the state of germ control in regard to obstetrics of the period? How many wives died in childbirth? In regard to the two teenaged girls: mention was made about “well, I’d be married by now” but no depth was added. What was the average age at which frontier girls married? How many frontier brides married men with existing families? What did a young frontier bride take with her to her marriage?
In the resolution episode, the Clunes were found to be short on winter feed for their animals because the late hay they cut had no nutritive value. Why is this so? Was this native grass? No mention was made of native grass. (One reason why Custer lost at Little Big Horn: his horses were grain-fed and would not eat the belly-high native Montana grasses.) Obviously this would be particularly important for survival. There was a bit on the website about the two girls losing Adrian Clune’s needle. She then couldn’t sew until a trip was made to Hop Sing’s store. Adrian did talk about not having time to make quilts like she thought she would, and then no mention was made of the quilts that were made ahead of time for the trip west. How many changes of clothing would homesteaders have brought with them?
All of the women bemoaned the amount of time they were chained to the stove and sink. Apparently, most homesteaders didn’t wash dishes- they were wiped out with sand or a rag. My impression (from other sources) of homesteading was a big cooked meal for breakfast, with enough leftovers for a midday meal, then put something on to stew for supper so the cook (wife) could join in the wood cutting, haying, whatever. That seems efficient to me. I don’t recall any mention of time management. Adrian Clune’s breads were beautiful, but did she maybe spend too much time on them, when something just as filling could be made more quickly?
Kristen was cursing baking powder and baking soda and what’s the difference. Well, what is the difference? The show never answered the question. I’ve focused on just a few possibilities here. The series was great for teasing questions in the viewer’s mind, but failed at following through. As regards “new stuff” being used instead of the real thing [the Land’s End quilt issue]. I consider that a historical non-issue, and irrelevant to the big question of the value of FH. An enamel pot from 1883 would be too beat up for use today. Likewise a quilt: the fabrics wouldn’t last a week if the quilt were a true 119 year old textile. The day-to-day mechanics of using the tools of the period is what is important, not whether the tools were certifiably antique. I mean, how many kids today have had the chance to jam the keys on an early Remington manual typewriter (the original “crash”)? That’s the aspect of “stuff” where the series failed. Was stainless steel available then? If not, how much of an issue was something as simple as rust? All this may seem like picky stuff.
But 1900 House was much more forthcoming about how the technologies and social mores informed the way our forefathers lived. FH is a video of 21st century group dynamics, not an informative, enlightening look at what our great-grandparents did to settle the west and whether we could measure up to their example. And that is too bad, because inform and enlighten is what PBS does best, and what our viewers expect. Why abdicate the turf to the History or Discovery channels? If PBS doesn’t do it, who will? Those channels will. And the best part was Logan Patton at the end, saying, “I think I learned………. imagination.”
Date: Fri, 17 May 2002 08:58:59 -0400 | From: Newbie Richardson
The warning about glues and starches in textiles attracting bugs refers to those adhesives which have either wheat or rice as their base. It is the organic nature of the glue that attracts the insects. Our most commonly used glues today are based on petroleum derivatives. Most fusables are a form of nylon or polyester which, when heated, melt to bond the fabrics together. So as long as you are not cooking up your own batch of glue with water and flour, then I do not think that the bugs will be interested! Although, they say that cockroaches have lasted for so many thousands of years because of their ability to adapt…think they will adapt to eating petroleum based products?…yuk! Newbie
Date: Fri, 17 May 2002 10:24:53 EDT | From: Midnitelaptop@
thank you so much newbie… your explanation really made sense…i looked on the label of the liquid starch that i dilute and one of the ingredients is corn starch..i guess that might be a problem thanks again for the logical explanation. jeanL
Date: Fri, 17 May 2002 07:52:46 -0700 (PDT) | From: Judy Schwender
I should add that my programming director appreciated my critique, thought it was good. Said I had “good instincts”. Hopefully I got the group’s point across. Thanks to everyone who watched and discussed FH.
Date: Fri, 17 May 2002 9:47:37 CST | From: jocelynm@
The germ theory was known by that time, and antisepsis was the cutting edge of medicine. I would guess that a lot of husbands delivered babies. Farmers deliver animal babies all the time, so it isn’t as if the average frontier husband would be as useless as the average city-boy husband. <G> Probably depended upon how close the neighbor was. If you haven’t read Grace Snyders ‘No Time on My Hands’, by all means, run don’t walk to your bookstore. She was a contemporary, both of FRONTIER HOUSE and Laura Ingalls Wilder, whose three wishes, as a girl, were to see the top side of a cloud, to marry a cowboy, and to make the most beautiful quilt in the world. Her book is about how she made her wishes come true.
In regard to the two teenaged > girls: mention was made about “well, I’d be married by > now” but no depth was added. Perhaps girls married young on the prairie, but census records don’t bear out the legend that the average bride was a teen. Waiting to marry, particularly to work awhile to have more to bring to the marriage, was also common. A woman could teach school only while she was a spinster.
In the resolution episode, the Clunes were found to be > short on winter feed for their animals because the > late hay they cut had no nutritive value. Why is this > so? You’ve got to cut hay while the seed heads are still attached. If you wait till the seeds have blown away, you don’t have hay, you have straw. Watch kids at a petting zoo trying to feed the animals ‘hay’- inevitably it’s not hay, it’s straw, and the animals know the difference between bedding and dinner. <G>
>Kristen was cursing baking powder and > baking soda and what’s the difference. Well, what is > the difference? The show never answered the question. Same difference that there is today, I suppose. Baking soda is bicarbonate of soda (Sodium bicarbonate); baking powder is baking soda and cream of tartar mixed together. I don’t know why the difference, though- just that you don’t want to directly substitute one for the other.
Jocelyn
Date: Fri, 17 May 2002 13:20:42 -0500 | From: “Avalon” <malthaus@>
PBS in Madison, Wisconsin is already having a re-run of this series. The note in the newsletter: By popular demand and acclaim Frontier House returns starting this Sunday 19, 8:00 PM. Frontier House. Parts two and three will air on Monday, May 20 and Tuesday, May 21, at 8 PM both nights. This late change gives you a chance to join or start the water cooler conversation on the great hit of Spring sending three families back to the American frontier to see how they can survive. Mary in Wisconsin
Date: Sat, 18 May 2002 08:16:09 +0100 | From: “Sally Ward”
t I’ve just seen a review for a book called ‘Signs and Sumbols: African Images in African Amercian Quilts’ by Maude Southwell Wahlman, published 2001. Its not the sort of book I’m likely to find in a bookshop over here to browse before buying, so I wondered if anyone could give me their view on it (privately if you prefer) Sally W in UK Sally.D.Ward@
Date: Sat, 18 May 2002 10:14:19 +0000 | From: “Karen Bush”
I know, I know,….it’s been a decade or so since I posted, but,…here I am. If you get the Q=Bee posts and digests, I’ll be posting the same message, just thought I’d save ya time. 🙂 It’s been hectic around here to say the least. I’d LIKE to say more, but, that would be boring! haha I’m sitting here, it’s 5:00 a.m., I’ve been up for an hour already. I was Supposed to be at my FIRST Market today, with Red Wagon’s booth, but,…noooooooooooooo. Had to be the LAST person in town to contract the gawd-awful stomach flu YESTERDAY! ughhhhhh…
I only live about an hour away from downtown K.C., but, I don’t DRIVE that area, ..so, if I’d gone and then got or stayed sick…I’d be stuck and so would everybody else around me. They’d love me, wouldn’t they? Spread those good ‘ole germs! So, here I am, and FINALLY posting to the list! I’m going to Try to do better with my posting, really! Honest! I’ve said that before, but, life just keeps getting in the way. That and dd is a web designer and hogs the computer! LOL… Ok, better shut up for now, just wanted to say ‘hi’ 🙂 kb http://www.karenbushquilts.com Member of TAS-The Applique Society http://www.@/richmond64085/Myhistory.htm Karen Bush MAKE PEACE WITH DUST BUNNIES
Date: Sat, 18 May 2002 09:37:20 EDT | From: Midnitelaptop@
Editorial Reviews Book Description African-American quilts possess two unique qualities: more than any other American visual art, they most fully realize the expressive force of jazz, and they bind together generations of African-American families who have made and cherished quilts. In Signs and Symbols, quilt expert Maude Southwell Wahlman introduces readers to a third powerful force in these quilts: their African-derived meanings, patterns, and iconography. She explores the religious, ritual, philosophical, and aesthetic beliefs that have been retained by descendants of Africans in the New World and demonstrates how these beliefs are represented in their textiles. Now back in print, Signs and Symbols remains the most complete illustrated work on this art form; featuring over 150 high-quality full-color reproductions. jeanL
Date: Sat, 18 May 02 17:22:58 -0600 | From: woodford
Sort of a sidebar here. I have often wondered about more than several of my quilts that have an odd-colored patch in one corner. Such as a red patch in an all black and white quilt, an orange patch in a peach quilt, a green patch in a blue quilt, etc. All these are in the corner, and rather than accepting that this was the so-called intentional mistake, I have come up with a purpose. Have you ever tried to figure out how to put a quilt that is almost square onto the bed? Which is the long end? You end up folding it on the diagonal, right? Well, if you have one odd patch, you can just remember that goes on bottom right (or left) or whatever. This may not have been any intended function, but I like it. Barbara Woodford
Date: Sun, 19 May 2002 12:37:02 +1000 | From: Gai
Hi, I’ve been a lurker for some time now and have greatly enjoyed the varied and often spirited discussions. I live in Sydney, Australia and have been quilting since 1980. I have been interested in the history of quilting for many years – it is difficult not to wonder….why did she do that? why is that quilt so different, or so similar. You all know
what I mean. I have a 1993 copy of Signs and Symbols. I bought it for a number of reasons. Wahlman is a scholarly writer, which I enjoy, and her books are always well researched, so I always look at any book of which she is an author. I also wanted to free up my own quilting to try to avoid the symmetry and tightness which I felt was evident in my quilts. I also love the strange and different in quilting, the whimsy, I suppose. I love the book, there are some wonderful ‘strange and differents’ in there! and would recommend it to anyone who enjoys research and whimsy. Gai from Wahroonga, where summer has just ended.
Date: Sun, 19 May 2002 02:45:02 +0000 | From: “Anne Copeland” <anneappraiser@>
Now that IS creative thinking, Barbara! I love it, and must remember to do this on some of my quilts, and esp. those pesky bed sheets! What a great idea to have some way to know which is the long end. It always bugs me when I have managed to get two sides of the sheet on the bed, and have crawled across to the other side (it is narrow between the bed and the wall in my bedroom on one side), only to find out I have to start all over again. I could definitely go for this one. Thank you so much for a fun share! Lov eand light always, Annie
Date: Sun, 19 May 2002 16:31:11 -0400 | From: “Peggy O’Connor” <mnoc@>
I pulled out my 1897 basket charm quilt to get it appraised the other day, and saw that it had a gold basket at the center. I remembered how I had thought that it was glaringly bright compared to all the other baskets – and about the discussion of the gold standard. This quilt was probably the project of a church group, and if they could find 6 different double pink fabrics (among 144 fabrics), then you’d think they could find a fabric more in keeping with the tints of the other fabrics than this cheddar piece. Unless they were making a statement? Unfortunately no circular quilting on the gold basket! There were 4 solid fabrics on the quilt, two at the center, and two in opposite directions diagonally. Peggy
Date: Sun, 19 May 2002 17:52:58 EDT | From: Lynn Lancaster Gorges
I recently bought a quilt which was also in the same family as the newspaper filled quilt. It is very interesting. Much of the quilt is made of hand woven woolens. Two of the fabrics are the type of wool that has the shiny coating that was applied and then rubbed to make it shine. (Don’t have my books here, but isn’t the term calimanco?) There is a note attached which says that the quilt is made of fabrics from the Elisabeth Freeman Keith’s grandmother’s skirts. There is a hand woven stripe in blues and browns and a blue and brown plaid. Each of these are wool. There is also a beige based fabric with dark brown stripes which is also hand woven. (I am calling them hand woven because of the number of pics per inch for the warp and weft. They are 30 or less. I have been told that usually there are at least 60 pics per inch if the item is mass produced.) There is also a twill weave beige wool. The quilt is elaborately quilted in the center. This is done in the style of whole cloth wool quilts. By elaborate I mean the design. It is a trailing vine with wonderful flowers. It is quilted 6 stitches per inch (counted on top only) and the thread used is a hand spun wool thread. The bat is made of wool. (Much of the bat is blue wool. Was it dyed blue and put in the quilt, or did it turn blue when the quilt was washed????) The top of the quilt has a center medallion of the blue wool which is the vine quilted part. Then there are 3 sides that would hang over the sides of the bed which are of a wool brocade. The back consists of the plaid, strip, etc. It is sort of thrown together helter skelter. (patched in several places) The center seam is strange. It appears that they quilted several sections and then sewed them together leaving the raw seams on the back. This is a quilt that quilt historians would love. People who want a pretty and traditional quilt would find it very unattractive. I think the only thing that assured it’s longevity was the note written on a tiny muslin tobacco tag that was attached to it. Elisabeth Freeman Keith wrote the notes on both of the quilts I now have. Ms. Keith lived in Caldonia, NY and her family lived in Lima, NY. If there is anyone on this list who lives in that area (south of Rochester) I would love to hear from you. I think there was a tailor/seamstress who made these quilts. They are certainly not the produces of a traditional quilter. I will try to get shots of it this week and put on a site. Since we are going to Hawaii soon my 5th grade daughter did a unit on the state for school. For her final presentation she had them make a quilt block out of brightly colored construction paper using the Hawaiian designs we found on the internet. The cut out block was glued to a colorful piece of construction paper. What a great “quilt bulletin board” they made!!! Off to do graduating stuff. My son graduates from HS this week and will be heading to UNC-CH in the fall. What an exciting and scary time for all of us. Lynn Lancaster Gorges in New Bern, NC (It is rather chilly…..)
Date: Mon, 20 May 2002 11:05:18 -0400 | From: “Cinda Cawley” <lrcawley@>
The Dating Club met yesterday in Northern VA. Hazel Carter and Bunnie Jordan chose basket quilts as the theme. Karen Alexander, the group’s historian, spent the afternoon standing on a chair to take pictures. Not being as limber as Karen, I would occassionally hand her my camera. This is a great way to get an appreciation of the infinite variety of quilt patterns. We saw baskets we never knew existed and, for a group that’s looked at as many quilts as the Dating Club, that’s pretty amazing. One that I think was new to all of us Bunnie found in Brackman’s Encyclopedia of Pieced Quilt Patterns (p. 99, #760). It’s called “Compote” and looks more llike a vase than a basket. A wonderful 1859 Friendship Quilt with an incredible variety of turkey reds had baskets with funny little handles on the sides. The red baskets were set on chrome yellow with green sashing (Do you suppose that it was made in PA?–G). Each block had a tiny muslin rectangle containing an inked name appliqued on the basket–something else we thought quite unusual. There were two whitework baskets; one from the 1880s had stuffed motifs between two layers of fabric with large areas unstuffed; the other from the 1820s was quilted to death with the motifs done in cording and stuffed work. It showed its age, but is still beautiful. We saw a mid-19th century sampler of applique blocks which had some great “containers.” There was a circa 1840 quilt which seemed to have a “proto-basket” design (imagine just the top 2/3rds of a Basket of Scraps, Brackman p. 95, #726). We had been discussing how early we could date a pieced basket block. The postage stamp basket, the simple little one with the appliqued handle, is just plain loveable. It appeared in two variations, both made in the late 19th century. One was a crib quilt in a variety of indigoes and white; the second was a large quilt in which each basket seemed to be made from a different double pink. Would anybody even venture to guess how many different double pinks there were? Of course, Basket Quilts were very popular during the first quilt revival of the 20th century and we saw examples of those. A French Basket, a la Marie Webster, in blue and white, and Flower Baskets made of hexagons reminiscent of Anne Orr were the most interesting. Once we’d exhausted the subject of baskets the new finds appeared. The most memorable was a four block applique. The blocks featured a large central flower from which four branches hung with fairly large circles sprouted. We decided to call the block “Rose with Giant Hips” because none of us had seen it before. Between the blocks is an appliqued vine with roses and oak leaves; the border is a slightly larger variation of the same vine. The quilting is wonderful. I haven’t come close to including everything, but I hope it’s enough to turn you green with envy. Cinda on the Eastern shore
Date: Mon, 20 May 2002 11:13:06 EDT | From: KareQuilt@
This Gold Standard issue was discussed in November 2000, and I passed it on to my husband at that time. Here is how he responded.
<<My wife, Karen Alexander, sent me a copy of your post, which contains this passing comment about the 1896 election:
“There was a gold issue of some sort, I need to research it further.”
I can tell you something about that, as a former editor of Gold Newsletter in the 1980s, and as a market historian on the Web (with a daily column at www.investorplace.com under “This Day in Market History.”)
It’s hard for us to imagine today, but Gold was THE main issue of the election of 1896, as emotional and polarized as the hottest issue today, whether it be abortion choice, school choice, drugs for seniors, and anything else you could name.
Basically, the eastern establishment, Republicans, property owners, etc., were for the gold standard, while the Western interests of farmers, ranchers and miners (west of the Mississippi) were for the silver standard, either directly as miners, or just for the convenience of a cheaper metal. Gold was out of their reach, even in the smallest denomination coin, usually $2.50, which was impractical for most working people of the day. This is a time when a full restaurant meal cost about 15-cents.
This conflict went back to the 1850s and before, but the intense conflict began with Bland-Allison Act of 1878, in which the Western interests got their way, mandating through Congress that two million ounces of silver be minted each month, going into silver dollars (which began being minted the following year) and smaller silver coins, for the convenience of the masses (and miners). The fixed ratio between the metals was set at 16-to-1 or, $1.29 per silver ounce to $20.67 gold at the time. However, that was an artificial ratio, overvaluing silver, which was much more than 16 times more prevalent and easier to mine than gold was.
If you want to know more about gold’s role in the 1893-94 panic, I can send you some more material, but I think your question is more specific to the election years, so let me jump to your point of interest, in 1896. In the Democratic convention, William Jennings Bryan gave his “Cross of Gold” speech, attacking the Gold Bugs. This eloquence won him the Democratic nomination, though he was barely known before that July speech. In the Republican convention, however, McKinley’s supporters proudly wore a little lapel pin, looking like a lady bug, called a “gold bug,” so they wore the name proudly. Anyone from Ohio, especially women who could not vote, would want to make their support known any way they could, such as through a gold bar in a quilt.
In 1900, the same conflict repeated itself, with the same two candidates, still railing about gold vs. silver. This time, however, there was a new piece of propaganda from the West, Frank Baum’s popular book, “The Wizard of Oz.” It talked about a “yellow brick” road to an “emerald city” where a magician behind a screen performed the alchemy of turning yellow bricks into green money and vice versa. This was a veiled attack on McKinley’s gold standard. And, as we all know, “OZ” is the abbreviation for ounces.
This is just an overview. I hope it’s helpful.
Gary Alexander>>
Karen B. Alexander Quilt Historian Women’s History Reflected in the Needlearts
Date: Mon, 20 May 2002 16:06:11 -0400 | From: “Nancy Roberts” <aquilter@>
women wrote books which were undiscovered for many years. They have recently come to light and have been published. One is “Some Memories of a Long Life, 1854-1911” by Malvina Harlan, wife of U.S. Supreme Court justice John Harlan (noted for his dissent in the ‘Plessy vs. Ferguson’ case which upheld separate but equal and allowed segregation in the South). (Click on the title to order.)
The article says that her book is “full of charming details and anecdotes about her social and domestic life, it also reveals the racial attitudes of the justice and his wife.” Her memoir had been stored with her husband’s papers in the Library of Congress where it had been overlooked for years. <pre>The second book is “The Bondwoman’s Narrative” by Hannah Crafts, believed to be an escaped slave. (Click on the title to order.) Her book is unique because it is a mix of novel and narrative. According to the article, “a likely explanation for the manuscript’s rarity is that blacks were discouraged from writing fiction, in large part because it wasn’t helpful to the abolitionist movement.” Rather, “their only access into culture was as truth-tellers.” I don’t have information on the publisher, but will be looking into it. Both books sound interesting. Nancy
</pre>
Date: Mon, 20 May 2002 17:20:57 EDT | From: KareQuilt@
<<Nancy wrote: The second book is “The Bondwoman’s Narrative” by Hannah Crafts, believed to be an escaped slave. Her book is unique because it is a mix of novel and narrative. According to the article, “a likely explanation for the manuscript’s rarity is that blacks were discouraged from writing fiction, in large part because it wasn’t helpful to the abolitionist movement.” Rather, “their only access into culture was as truth-tellers.” I don’t have information on the publisher, but will be looking into it. Both books sound interesting. >>
I just bought the book yesterday! I have a business trip coming up and won’t get to read it for at least 10 days, but will give you some feedback once I read it.
Karen A.
Date: Mon, 20 May 2002 21:24:02 -0600 | From: “Cindy Brick” <brickworks@>
Hi all, I am back from market, dead beat and plum tuckered out… If you lived in Colorado, you would not consider the gold standard unimportant — the devaluation of silver literally destroyed not only many millionaires’ fortunes overnight, but gave Colorado’s economy at that time a devastating blow. (Horace Tabor, who divorced his wife Augusta and took up with Baby Doe, is a prime example.) I guess that means that the majority of Colorado’s mining fortunes were based on silver, though gold certainly took an important part. Other Western states took this as a low blow, as well — and history of that time seems to take an ‘us vs them pesky easterners’ applied to silver (West) vs gold (East). Cindy Brick
Date: Tue, 21 May 2002 00:03:16 -0700 | From: Gaye Ingram <GIngram@>
My dream is this: should I come back in another life, one where there are no bright-eyed students and lucious books filled with poetry and stories staring me directly in the eye, I want to become a member of the Dating Club.
I sit here at the end of a long day near the end of the school year. Today I worked with the valedictorian and salutatorian on the delivery of their speeches, taught two classes, prepared awards records for graduation honors, and consoled a senior who came down with mono just in time to miss all the parties. Tonight our program of gifted students and their parents, of which I am the “list mom,” joined for a banquet recognizing the achievements of the year and honoring our graduating seniors, young people who are some of my best friends. A sentimental occasion in which tears and laughter fight one another. Driving home on this cool clear late-spring night, I thought only of books and students and the good times of our classroom. I intended to check the news reports to make sure the world was still running, shower, and crawl under some of those quilts I’d put back on our bed in this blackberry winter cold snap.
But the computer was still on, and I had to turn it off. And there was the heading “baskets” from Cinda. And so I sat down and read every single word and wished I too were a Dating Clubber.
Thank you, Cinda, for taking the time to describe so clearly what you folks get to see and touch. You are the next best thing to being there!
I save every one of your reports, and I bet others do too.
Gaye Ingram
Date: Tue, 21 May 2002 01:26:44 -0500 | From: “judygrow” <judygrow@>
Some of you have heard me bemoan the fact that the designers of the 19th century textiles we covet and collect are basically anonymous. I found the following (long) paragraph on page 57 of the book “The Employments of Women: A Cyclopaedia of Woman’s Work,” by Virginia Penny and printed in Boston in 1863. The designers are still anonymous but now at last there is evidence that women were becoming part of the design process at mid-century.
Besides interviewing hundreds of people for this book, between October 1859 and February 1861 in New York City, it seems she found the time to walk around as an artist’s agent too, selling the designs of other women.
This complete book is available for reading on the web as an image of the original! I’ve got the hyperlink at the bottom of this post. The paragraphing below is mine — the entire book is unparagraphed within each area of employment.
“Designing and the Business Department of the Art. “This admits of several divisions, and the first we will take designing for textile materials. When women are engaged in the mills, their labor is very poorly paid for, compared with the payment made to the other sex. I know of about twenty women who are so engaged. The prices paid for their labor varies from $1 to $2 per day — men receiving from $800 to $1,200 and even $1,500 per annum.
The difference here, however, is not so great, when the time given by the two to the necessary study is compared. Many of the male designers serve an apprenticeship varying from three to seven years before they are supposed to be fitted to take the situation of designer in a mill, and even this does not include the preliminary instruction in the school. Women, on the contrary, after a year or little more of study, enter the mill on equal terms with the prepared designer, his pay at the commencement of his engagement usually being from $1 to $1.50 per day.
The employment of women at all in this department is almost a new thing, and is not yet countenanced to any great extent. Time, however, will remove all difficulties in the way, and, by steady perseverance I think woman will be able to show herself superior to man in this branch, because it is more in her own domain than in that of man. When the designs of women are presented to manufacturers and found acceptable, they will command a price equal to the designs of men.
This I speak from experience, having disposed of designs for silver ware, printed coach linings, coach lace, paper for walls, calicoes, delaines, and muslins, and other articles of like nature. These have commanded the same price as the designs of men, but it is difficult at times to find a market for them. I remember presenting some designs to a manufacturer, about two years since, which were very much praised; but when I stated they were made by ladies, at first it was said to be impossible, and then they sunk in value, were wrong in the mechanical detail, were not adapted to the purpose for which they were intended; but, unfortunately for the truth of the latter statement, they were disposed of to another manufacturer in the same street, who had formed rather a different idea of the powers of women as compared with men.”
— On page 60 she reports on “47. Designers for Calico Prints. This employment is well adapted to women. It requires taste and ingenuity. Its labors are light, but rather confining. A person of lively fancy and nice powers of discrimination succeeds best. The gay, rich, dark colors of winter clothing are not suitable for summer; nor are the light, delicate ones of summer suitable for winter clothing. This inviting field of labor, now that it is unbarred to woman, we hope will be well improved. Let her enter, and she will find sufficient to “reward a careful gleaner with a valuable sheaf of two.” We do not speak of inventing and preparing designs for calico prints particularly, but of the general field for designers. Some proprietors engage a designer (here and there a lady) to stay at their establishments, and devote all their time to the preparing of designs — paying a fixed salary for the month, year, or any time specified. Some adopt the same plan in wall-paper establishments. The price generally paid for a design pattern for calicoes is from $1 to $3.”
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
I can’t figure out the rate of pay for women vs. men from Ms Penny’s writing. First she says women are poorly paid for the same work, then seems to say they are paid about the same amount. How can the women arrive at parity with men when they only have little more than a year of study, while the men (who are “prepared”) must apprentice for up to 7 years? She seems to say they do, on “equal terms.” Perhaps that first section has to do with designing weaves for fancy fabrics, which would necessitate a knowledge of looms and weaving structure. Perhaps there is the difference. Because she puts designers of printed fabric (calicos) in an entirely different section.
Author: Penny, Virginia, b 1826. Title: The employments of women; a cyclopaedia of woman’s work. / By Virginia Penny. Extent: xxiii, 500 p. ; 20 cm. Place of publication: Boston, Publisher: Walker, Wise, & Company, Date of publication: 1863. Availability: Publicly accessible text for non-commercial applications. Note: Penny, Virginia, 1826. How women can make money. Subject: Women–Employment URL: http://www.hti.umich.edu/cgi/t/text/text-idx?cmoa;idno=AEB1163
Judy in Ringoes, NJ judygrow@
Date: Tue, 21 May 2002 15:47:32 -0400 | From: “pepper cory” <pepcory@>
I got back from the KC market and started reading all the QHL postings-we sure do cover a lot of territory! About fathers delivering babies: it’s not only a frontier situation. Recently my Mom’s been writing family history and she related this about her own birth. My grandfather O.K. Wetzel delivered my mother. It was 1921 and the doctor who was called said it was a difficult birth and they’d likely lose the mom when he tried a caesarian. Grandfather soaped up his arms and then ordered everyone from the room. He said he’d always been good with foals and damned if he’d lose Francis and the baby! Several hours later mom arrived. My grandparents never talked to anyone about what happened in that room. I’m blessed to sleep in the same walnut bed Mom was born in. It has always had a hairline crack in the headboard–wonder if my grandmother did that! Pepper Cory
Date: Tue, 21 May 2002 16:23:02 -0400 | From: Newbie Richardson <pastcrafts@>
Dear all, Is there anyone on this list going to the Univ. Neb. Lincoln to study the The History of Printing and Dying in the 18th and 19th centuries with Margaret Ordonez June 24 thru June 28? I would welcome a roomie to share the lodging expense. Please email privately Thanks, Newbie Richardson in CHILLY No. Va!
Date: Mon, 20 May 2002 07:48:39 -0700 | From: Laura Robins-Morris <lrobins@>
I have to admit, I don’t understand the concept of gold standard vs silver standard. So, if I, as a college-educated 21st century woman who listens to and reads daily news sources, and who tries to be knowledgable about investments and the ecomony and the world, etc, don’t understand the merits of gold vs silver, then I doubt that all those 19th century quilters were savvy enough to have a strong opinion and to make a statement in their quilts about gold issue. Some maybe, but not all. So, I vote for the “fad” theory to explain those gold pieces in many old quilts. Laura in Seattle
Date: Wed, 22 May 2002 11:38:23 EDT | From: Cassquilt@
I’d very much like to hear Cuesta’s opinion of the new version of Signs and Symbols. I haven’t had a chance to compare the old edition and the new yet, but a number of years ago I heard Cuesta speak at the Folk Art museum here in NY on the topic of that book’s thesis (I won’t say what she said) and I’d like to know if her opinion is the same now.
Please Cuesta?
Cassandra Thoreson Brooklyn, NY (where its just starting to feel like spring!)
Date: Thu, 23 May 2002 11:02:59 -0400 | From: “Dee Stark” <dee@>
> does anyone know of a website for vintage velvets and brocades?
The best place I know of for any kind of vintage fabric is the Kirk Collection.
www.kirkcollection.com
If you are looking for something specific, they often can help you.
NAYY. I just happen to adore Nancy and Bill, they are great people 🙂 And I’ve been a satisfied customer 🙂
dee
Date: Thu, 23 May 2002 17:00:23 -0400 | From: “Candace Perry” <candace@>
I’m curious about something. If African American quilts have African “signs and symbols” shouldn’t European American quilts have similar qualities? What makes this tradition so different, when in the case of the African American quiltmakers, many were as far removed from their African roots as the German Americans were from Germany, for example. I’m not trying to be a weisenheimer, or obtuse (and I feel obtuse about this!)but does the author of this book explain that?
Date: Thu, 23 May 2002 17:09:54 -0600 | From: Xenia Cord <xenia@>
Just throwing this into the mix…,Candace asks why European American and African American quilts shouldn’t demonstrate ethnic symbols from each group. I think it’s important to remember that not all cultures had a written language, and that among those that didn’t, symbolism and articulated signs had a greater importance. And think of this – German-American quilts from Pennsylvania have an identifiable color code, as do Amish quilts in their way. So perhaps it’s just how we look at them, and identify what we are seeing.
And I haven’t read the book in question, I’m just thinking out loud.
Xenia
Date: Thu, 23 May 2002 23:21:40 +0100 | From: “Sally Ward” <Sally.D.Ward@>
When is an ethnic symbol an ethnic symbol and not just a ‘traditional pattern’? Sally W in UK
Date: Thu, 23 May 2002 10:57:57 EDT | From: Midnitelaptop@
does anyone know of a website for vintage velvets and brocades? jeanL
Date: Fri, 24 May 2002 01:37:24 -0500 | From: Jennifer Perkins <qltrstore@>
Have been waiting for the details on the Quilt Heritage Conference in Omaha, and I see that they have been added to the website tonight. Hope to see lots of old friends there! http://www.quiltheritage.com/ Jennifer in Iowa
Date: Fri, 24 May 2002 10:17:45 -0400 | From: “Jo Williams”
I’m new to this e-mail list and am hoping you can help me with 2 things. I’ve just started an antique business and a nice collection of vintage quilts. Along with my booth at an antique mall, I am doing some antique shows and I’m looking for a portable quilt rack to display lots of quilts. I’m currently using a portable garment rack, which works OK, but doesn’t really show off the quilts. Anyone find something that works really well? Also, my homeowner’s insurance will not cover my quilts away from my house. Can you tell me where I can get insurance to cover my quilts while they are displayed at shows??? Thanks for any advice — Jo Williams ——
Date: Fri, 24 May 2002 20:21:16 -0400 | From: Palampore@
If you take Newsweek look at the May 27, 2002 issue. Go to pages 56-57 to see an incredible graphic of “computer experiments called ‘cellular automata’. It says it “can generate complicated and unpredictable patterns begininning with simple rules….” It is a fascinating article, and I love the “quilt” this man has created! This would be a great pattern to transfer into a quilt since it is considered a ground breaking concept. Wish I had time…. Moving furniture to our beach house, going to eye doc, working on a leather bomber jacket lining, etc. but will try to get pics of the quilts from NY on the Internet by tomorrow. Take care, Lynn Lancaster Gorges, New Bern, NC
Date: Fri, 24 May 2002 21:10:30 -0400 | From: Pilar Donoso <
I was looking for informaion about Sunbonnet Sue, and I found your page. I am a History teacher in Chile (6 years University), but I went to live in California and dedicated my life to Quiltmaking. I came back to Chile after 20 years in USA, and oppened my Quilting store in Santiago Chile, 4 years ago. I am teaching Quiltmaking, selling fabrics and notions, with the big responsibility to start developing the knwoledge of this art in my country. I did a couple speeches at the Sheraton Hotel here in Chile,about the History of Quiltmaking, but I dontB4t think I know enough, and I would like to learn more. What a better way to mix both passions!!. Two weeks ago I was challenge to start teaching Quiltmaking in Cable TV, alive, (nerve recking experience) and my next class is a Sunbonnet Sue. I read a very good article about the history of Sunbonnet Sue in a QuilterB4s Newsletter Magazine, but of course I cannot find it now. I appreciate if you could tell me where to go. I sign this morning about 6 A.M. and I hope I sign to received all mesages at once. If I make a mistake, please tell me what to do Thanks a lot. Pilar Pilar Donoso I. Santiago, CHILE quiltpd@ —
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Date: Fri, 24 May 2002 20:48:48 -0700 | From: Laurie Magee & Tom
There is a book called “The Sunbonnet Family of Quilt Patterns” by Delores Hinson. It is probably not in print any more but I happen to have two copies. If you send me an address, I will send a copy to you. Laurie
Date: Sat, 25 May 2002 07:29:20 -0400 | From: Angela Moller
Hi All,
I am a newbie both to this list and to quilt restoration. I got the “bug” for old quilts when I purchased a few on ebay and decided I would love to restore some of them. BUT although I am a pretty good quilter, I know nothing about old quilts, dating fabrics, restoration techniques.
I would love to attend this conference and i’m looking for some advice from you pros on whether this conference is appropriate for me and which classes I should attend. Also, is there scholarship money available to partially finance this adventure/education?
Thanks for your advice.
Angela
Date: Sat, 25 May 2002 10:55:08 -0400 | From: “Dee Stark”
Sally asked:
> When is an ethnic symbol an ethnic symbol and not just a ‘traditional > pattern’?
I think the difference is when it is meaningful primarily to one ethnic group, before it is incorporated/adopted by society at large.
I’ve been fascinated the last 4 years studying the signs and symbols used on crazy quilts – and yes, one of these days I WILL actually publish. <vbg>
The evolution of meaning, and the cultural differences of meaning, are striking in some cases. If you think of symbols (which differ from signs in that a symbol tends to encompass a larger or ambiguous concept) as visual shorthand, you can understand how interpretation changes over time as the society out of its creation changes too.
You can’t really look at signs & symbols without looking deeply at the culture utilizing them…..and that has been what has been sucking me deeper and deeper into my research. Specifically, with the crazy quilts typically produced from 1875 – 1900, not only do I need to understand American middle class culture, but the Asian influence that was affecting every area of the decorative arts at the time. Not only do I need to understand from my perspective – looking back – but I need to try to get in the heads of the women of the time and think about what they knew and when they knew it.
The cool thing about any item of material culture is that although it may stand on its own as a work of art – pleasing aesthetically and significant for other reasons – it is always a unique object that fixes the culmatination of the maker’s experience at a specific point in time.
I’m looking forward to reading the book on the African American Signs & Symbols – but it is going to have to wait for a month or so 😉
dee www.deestark.com
Date: Sat, 25 May 2002 09:23:43 -0700 | From: “Leah Zeiber”
Hi to all, I am interested in taking a look a book that was mentioned on QHL – “The Employments of Women: A Cyclopaedia of Woman’s Work,” by Virginia Penny and printed in Boston in 1863.” If anyone knows where I can get my hands on a copy, please post.
Thanks (PS – I have tried many of the out of print book searches on the internet with no success.)
