September 23 – 26, 2004
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:
- “This Discussion Has Left Me Feeling So Ill” — A member second-guesses her decision to have old tops machine-quilted, and the list rallies with reassurance that there’s no single right answer.
- Finding a Quilt Appraiser Near Albany, NY — A member asks for an appraiser referral for a crazy quilt and gets pointed to the QHL appraiser directory. (see the article on quilt appraisers)
- Studio Quilt Study Group Meets in New Jersey — J.G. Row recaps a lively study-group gathering at her home studio, with long-distance attendees and a memorable overnight stay. (see the article on quilt study groups)
- Hmong Quiltmaking Communities in Texas and Wisconsin — Members map out where Hmong quilting communities have settled in Texas and Wisconsin and what makes their textile traditions distinct.
- American Folk Art Museum Honors Cuesta Benberry — An announcement for the museum’s annual quilt weekend, this year honoring quilt historian Cuesta Benberry. (see the article on quilt museums)
Date: Thu, 23 Sep 2004 08:54:16 -0600 | From: Inglewood Quilt Design <InglewoodQuilts@>
Pat well said! It is obvious my practice of finishing some of the older quit tops is not a popular practice, especially if I machine quilt them, but one that I enjoy. I am glad to have read the posts on quilting old quilts as it has given me a lot more to consider than what I had in the past. Without open dialogue I never would have had that. Also it is good to find out that maybe I shouldn’t use the old quilts every now and again, I may be subjecting my guests to illness…..
Pat – For my beginner’s class I teach a hand quilting segment and like to have quotes to introduce the topic. The following statement you made, “There is a lot to be said for the folk art symbol of Heart and Hand. The hand is connected to the heart. The hand is connected to the quilt, in a temporal way, when the quilt is in progress. And so we leave our own legacy, one stitch at a time.”, is beautiful and would be a great quote for me to use. Could I, properly crediting you with it of course. I would appreciate it if you would allow me to use it.
I can send a copy of the lesson for your approval if you wish.
Date: Thu, 23 Sep 2004 20:52:03 -0500 | From: “Marcia Kaylakie” <marciark@>
HI All, I am addressing this query to whomever might know: where in London can I see quilts? I thought there was a patchwork exhibit at the V&A, but it appears I was mistaken. We will be in London Oct. 25-28th. Can anyone help? Thanks, Marcia Marcia Kaylakie, AQS Certified Appraiser Austin, TX 20 www.texasquiltappraiser.com
Date: Thu, 23 Sep 2004 22:30:53 -0400 | From: “Sharon in NC” <patchworksecrets2@>
Another option for older tops is to quilt a support base then tack on the top. I have done two of these. I make a simple whole cloth quilt from muslin the size of the top plus 5 inches. Then I attached the top to the quilt by tying on with vintage thread or doing a basting style handstitch instead of a standard quilt stitch. Then I made a single fold binding and attached the edge of the quilt down similar to making a stained glass style quilt. I like the extra width around the edges because it protects the top from edge wear. I like this method because it gives nice support, the batting doesn’t shift and you have less stress when using.I am on the side of traditional quilting on these tops. My most used is a simple diagonal all over or rainbow fan. Since I hand quilt too I have as many as three frames full at once..lol..
On a side note I have two hexagon charm twin size tops from 1930 I keep debating on doing this with from my daughters bunks. I am not sure she is ready for “real quilts” yet. Maybe we will stick to the faux cathedral jean quilts for now..lol..
I like the older thread because it seems to be less stressful to the fabrics. Someone told me once it was because of the twist weight. Older threads were not twisted as tight and strong as they are now so the old threads didn’t cut like a knife blade as newer ones do..I haven’t done any research to find out if this is true or not I have a feeling much of it probably has to do with the twine having shorter fibers. I have been lucky so far that people are very willing to pass on their old spools of sewing thread for these types of things..lol..My favorite finds are old spools with feedsack twine those are getting harder to find.
If you have sack cloth quilting that needs repair I have found tobacco twine does make a good substitute for the sack twine in some instances. But sometimes I wonder if they weren’t just quilted with the tobacco twine to begin with. When spools of twine got low it was often pulled off the machine and set off to the side for other things so some may have ended up as quilting twine. Years ago tobacco was attached to long sticks by literally sewing on the tobacco by a conveyor looking sewing machine or by hand. I do have several pieces of crochet that were made from the twine so it is feasible it was used in quilts also. Is there any documentation on the reuse of the sack twine?
It’s funny how our collecting changes over years. When I first started I collected tops and quilts and still have over 50 tops stored away. Now as I get older and have my own UFO’s I realize I would love for someone else to finish them if I don’t get the chance on down the road. I feel kind of sad to think one of my creations might be stored in an acidfree box and never used..lol.. Then I look at all those unfinished tops and I ask myself why keep them put up and only enjoy them once in a while by dragging them out and refolding. Would the original makers be happy to see their work finished and enjoyed? Or rather see it folded away and never serve its original intent? Now I want them turned into quilts instead of Vintage UFOs..VBG . Since only a few of mine are really “museum quality” I don’t find it hard at all to pull out a scrappy that has been rescued and finish it off.
Sharon in NC
Date: Thu, 23 Sep 2004 22:48:34 -0400 | From: “Karen Evans” <charter.net>
A couple of things to watch for when dyeing with alum:
1. The water temperature. The hotter the dye bath, the more orange the color. Keep it below boiling if possible for a true red.
2. Letting the mordanted goods age for a few days or weeks definitely makes for redder reds.
3. If you’re dyeing a cellulosic fiber like cotton, linen, or ramie, do a triple mordanting: tannic acid, then alum, then tannic acid. Cellulose does not like dye and needs more mordanting. Silk, wool, angora, and other protein fibers just need alum.
4. If you want a pink or rose red, use lac or cochineal. Cochineal in particular produces some of the most beautiful magenta pinks you could imagine.
5. Don’t use blue vitriol when dyeing on silk. Alum is much safer and less harmful to the cloth.
6. Wear gloves when working with any mordant more toxic than alum, especially iron (which is also known as copperas in old recipes), tin, or chrome. I personally don’t touch either tin or chrome, partly because they aren’t period for my re-enactment group, partly because they’re quite toxic.
7. Warning: natural dyeing is addictive, just like quilting. But it’s so much fun!
Karen Evans
Date: Fri, 24 Sep 2004 00:11:53 -0400 | From: “J. G. Row” <JudyGrow@>
Studio Quilt Study Group met this past Tuesday, September 21st here in Ringoes.
Two of our long distance attendees stayed here at the Cram-a-lot Inn on Monday night so the chatter started early for the 23 of us.
We were 14 around the big study table, and had a great time looking at so many, many quilts. But no, Gail and Carolyn, we don’t just get up in the morning and go to the corner store for coffee, a paper, and a new antique quilt. It just seems that way to you Southerners.
At our break for lunch the 14 of us crowded around my dining room table and afterward I subjected everyone to a trial run of the study center I am giving at AQSG in a couple of weeks. It is called, _ To Frame or Not To Frame. “How” is the Question_ . My samples were not yet packed up so everyone who will not be travelling to Vancouver WA got to see them.
Barb Garret took notes for us out in the studio, and because our list mom Kris attended, she went home with a CD of photos and Barb’s notes of the day. Kris has already put the pictures and annotations up on the web site.
http://www.quilthistory.com/study/SQSG921.htm
You can enjoy our exhilirating day too!
Judy, aka the Ringoes Kid judygrow@
Date: Fri, 24 Sep 2004 00:20:41 -0400 | From: “J. G. Row” <JudyGrow@>
>Two of our long distance attendees stayed here at the Cram-a-lot Inn on >Monday night so the chatter started early for the 23 of us.
No! No! No! I only have 2 spare bedrooms! In a million years I couldn’t put up 23 quilt lovers, though I might want to try sometime. No, we were only 3 on Monday night.
Judy, aka the Ringoes Kid judygrow@
Date: Fri, 24 Sep 2004 00:33:41 EDT | From: Jccullencrew@
Hi Judy, Wow, what did I miss??? The web site is great to catch up on what happened at the meeting. Kudos to the photographer for the great pics too. What a blast to see these quilts up close. I’ve got the date down for Nov. and I’m hoping to make at least one meeting before the snow falls! (no joke here) I’m glad you post everything for all to see. Thanks. Carol Grace
Date: Fri, 24 Sep 2004 07:47:52 -0500 | From: “Virginia Berger” <cifbanetins.net>
IMHO, the quilting is another facet of the overall design of the quilt. I don’t understand why someone will spend all that money for fabric (and books, patterns, classes gadgets, etc.) and all that time deciding on a pattern, piecing, etc. and then decide that they can’t afford (in either time or money) to have it quilted as the top deserves! Quilters as a group seem to have devalued the quilting step. It is just somthing that has to get done so we can count it among our finished projects or hold it up at the next guild meeting or hang it in the next guild show.
I purchased a book early in the summer called “A Fine Line” by Melody Crust and Heather Waldron Tewell that talks about designing or choosing a quilting pattern and looks at both machine and hand quilting. I started reading it on a trip but got side-tracked when I got home and haven’t finished it but it really got me thinking about quilting patterns and how they work with the overall pattern. I am a hand quilter and tend to think along traditional lines (no pun intended) and this started thinking about more non-traditional quilting patterns. Now that this discussion has got me thinking about it again, I need to finish reading this book!!
Virginia Berger
Date: Fri, 24 Sep 2004 11:41:41 -0500 | From: “Liz Lois” <loislanetds.net>
Does anyone know of a resource for redwork patterns pertaining to Jumbo the Elephant? I frequently do a lecture ( Ready or Not Here Comes Red) about embroidery and redwork and one of the subjects I talk about is Jumbo, I have many fine examples of embroidery and would like to make one with Jumbo but can’t seem to find any elephant patterns. Liz in WI where it is unseasonably warm but we’re lovin it!
Date: Fri, 24 Sep 2004 15:21:46 -0400 | From: Margaret Wolff <infoheartworksquilts.com>
Can any one share the name of a quilt appraiser in the Albany NY area? I have a customer with a crazy (sort of) quilt and I am encouraging her to have it appraised. Margaret Heartworks Quilts& fabrics
Date: Fri, 24 Sep 2004 11:01:36 -0400 | From: “Lucinda Cawley” <lrcawley@>
I’ve joined Judy’s study group on field trips, but this was my first visit to the “Studio” itself. I had a wonderful time complete with delicious dinner and a lovely room filled with quilts. Ever the perfect hostess when I asked Judy (having seen the sign that said Hopewell) if the Lindberg house was still standing she said “Get in the car; I’ll take you there.” Wow! Call me a ghoul if you will, but I have always been fascinated by the real “Crime of the Century” and it was amazing to be on the spot. The preview of Judy’s AQSG study center was amazing. I didn’t know you could do things like Judy does with framing. The woman is a genius! It was a great day. Instead of going home I headed to Lancaster Co. with Nancy Hahn who knows all the best places for antiquing. I found a circa 1890 signature quilt top and enjoyed a glorous fall day in Lancaster. All the barns were bulging with tobacco (a big crop for the Amish whose large families make this labor intensive crop practical). Drying tobacco requires good ventilation so the barns are designed with boards that can be propped open to facilitate the process and give passers-by a look inside. Cinda on the Eastern Shore
Date: Fri, 24 Sep 2004 15:19:41 -0500 | From: “Charlotte Bull” <charlou@>
Hey, thanks to all for the super edition that was in my ebox this morning. I slept late and fixed a good breakfast first. To my horror I had over 30 letters to read & some required answers – like the one from a grandchild who was upset because I had not written in a week!!! : )))) Gee it is hard having to explain things to a “MOTHER”!!!
Anyway, I never read my QHL until all other mail is a done deal…then I can relax and enjoy all that you share. Today was special! Thanks. I’ll also reread it later today! And take Notes!!!
A few comments: Years ago Pilgrim and Roy told me NOT to quilt a top I’d taken to a class. This was due to age – 1840s to 50s, they estimated. The provence was amazing so that was also a major reason they told me to leave it alone. I remember reassuring them that I would not touch it and, if I had, I would have used cotton batting & thread AND the backing that came with the APPLIQUED Red & Green with bits of orange & pink QUILT TOP.
But this discussion makes me very happy as I am relieved of all needs to quilt any of my collection of old tops as ALL are 1850 to 1950. opps, one is 1955 because I had embroidered a kit back then! However, I especially value the 1932 top that I did quilt by hand. It was made by my granny when I was born. Full Size! Windblown Lassies. It will go to a daughter as a part of her family quilts, since she asked for it when she was 10! My mother had refused to quilt it when it was NEW! I love that story!!!
Provence & nostalgia do play a big part in the Yea or Nay of quilting old tops. The program I used to present on “Tops Are Tops” was always one of two that my quilt audiences most enjoyed. The other was “Real Quilts” – well worn and used finished quilts with stories to tell. One of those has already found a new home because a future granddaughter fell for it – a Princess Feather 4 Block extremely faded & torn! She did not ask for the ones in good condition! ??? She did ask for one of my own UFOs.
I don’t expect to die soon, but I am suddenly willing to find homes for my kittens! If a few leave I’ll have room for more as I do manage a Humane Home for Unwanted Tops & Blocks & Quilts. Hey, I even save fabrics on the original bolts. : ))) I simply do not know much about the dying process. But I am learning. However, after today, I can rest easier because I am truly vindicated! Save the Tops! Do NOT quilt them! So I’ll just make labels for them. Some are used as Summer Spreads and Table Cloths – ONLY AS DISPLAY FOR A DAY WHEN I HOST A QUILT PARTY!!!
Rest Easy. No one eats or drinks coffee on one of my tops! I do have a really amazing old quilt, someone else’s family treasure with signatures and unique blocks from the 1870s, that has a round coffee cup stain on it!!! Part of why I rescued it. Then I visited a friend, took it with me, and sweetly scolded her for selling it at an auction. I bought it in a flea market but asked about its provence. Good thing it stayed in its home town! The friend was so happy that I had it now, but had let it go during the stress of figuring out what to sell and what to keep. This quilt was VERY faded & worn! She knew its family history! She then showed me a newer Victorian Crazy Quilt, also signed & dated, and I was able to explain it to her and to her husband. I told her to write a History Note for it!!!
I ended up taking on a job of finishing a top for her from blocks she’d embroidered 20 + years ago. She did not know what to do with them. That top was handquilted by another set of friends. Now I’m binding it. Next I’ll get back to Airing my own and writing labels for all. I’d rather restore or replicate than bind!!! But some of these tops are Beauties! But I do hope I will soon be able to use what you are teaching me about dying & mordants! Understanding it, NOT doing it myself. Do I recall reading that some dyes used urine as a mordant??? : ((( May I quote you in my guild newsletter?
Have a great Weekend. Write more fascinating letters. Thanks all. charlie
Date: Fri, 24 Sep 2004 13:44:00 -0700 | From: “Christine Thresh” <christine@>
Charlotte Bull said, ” It will go to a > daughter as a part of her family quilts, since she asked for it when she > was 10! My mother had refused to quilt it when it was NEW! I love that > story!!! > I don’t expect to die soon, but I am suddenly willing to find homes for > my kittens!”
Just this morning, I began a rough draft of my will. It was fun to read Charlotte’s ideas. I don’t expect to die soon either, but two of my friends passed away recently and that got me to thinking.
Here is part what I put in my will so far: My “We the People” quilt should be sent as a gift to the American Studies Department at James Madison University, Harrisonburg, Virginia.
I give my “Trapped by the Food Chain” quilt to Spencer Thresh because he got the joke.
Any other quilts in my estate go to my son.
One 301 Singer sewing machine is to go to my neighbor on Park Lane Mary —-.
My fabric stash, quilting tools, books, and all other sewing machines go to my daughter-in-law. She does not have to keep the machines but she should find good homes for them or sell them.
……………………
Christine Thresh
http://www.@
Date: Fri, 24 Sep 2004 13:47:54 -0700 (PDT) | From: Kris Driessen <krisdriessen@>
Margaret,
There is a list of quilt appraisers on our website at http://www.quilthistory.com/quilt.htm This lists all appraisers, not just AQS certified ones.
If anyone does not see their name on that list and would like it to be there, please let me know! I will change it.
Kris
From: kerry
this discussion has left me feeling so ill. i have purchased about four old tops – say more than 50 years and they are being quilted in usa. the cotton seemed to be in good nick, not frail or anything. the fabric looks to be 30, or 40s.
aditionally last year i purchased an old double t blue quilt with alernate white blocks. it was a top. i put new batting and a back. it was a present for my sons 21 which is next year.
i cant go back, but wonder now if i will ever buy another quilt top or blocks unless i want to hand them or frame them.
the reason why i purchased these tops was to link lives with the past and give them new life with modern batting and backings…kerry
This message was sent through MyMail http://www.mymail.com.au
Date: Sat, 25 Sep 2004 8:25:15 +1100 | From: <kerrybrack@>
> does anybody on the list know how far the bath textile museum is from london. can i train it??? kerry who is travelling.x
This message was sent through MyMail http://www.mymail.com.au
Date: Fri, 24 Sep 2004 16:34:59 -0500 (Central Daylight Time) | From: “Sandra Millett” <smillett@>
Dear Marcia:
It’s taken a few days to get back to you. Check out the H mong for Laos for their quilts. Their pan dau (stitchery) has been translated into full-si zed quilts with no quilting or batts–at least the one I have is that way.20 Their hand work is simply wonderful and I have quite a bit of it and lear ned how to do it. The H mong from Vietnam, however, do not do the same type of pan dau. Ea ch tribe’s stitchery is different whatever country they come from.
The H mong in the US are from Laos and some from Thailand. The Laotian H mong helped our secret army in Laos and Cambodia during the Vietnam War a nd had to flee for their lives. The largest community is now in the St. Pau l twin cities area, but Fresno, CA (where I used to live and work with the H mong) has the second largest group.
Type in H mong in a search engine and see what you can find. Look for Ne w Year’s celebrations to see their costumes. Hope this helps. Sandra Millett First Peoples: The H mong of Southeast Asia
From: tracy jamar
The the annual QUILT WEEKEND at the AMERICAN FOLK ART MUSEUM, NYC honors Cuesta Benberry this year. 45 West 53rd Street www.folkartmuseum.org NY, NY Call 212 265.1040 for more information or to sign up for the classes.
Friday, October 1, 10:00am – 4:00pm Saturday, October 2, 9:00am – 3:30pm
In honor of Cuesta Benberry
Tumbling Blocks: English Paper Piecing Workshop Judy Doenias
Friday, October 1 10:00am – 4:00pm $95
Quilt Care and Restoration Tracy Jamar
Saturday, October 2 9:00 – 11:00am $45
Roundtable Discussion
Saturday, October 2 11:15am – 12:30pm Curators, scholars, and artists reflect on Cuesta Benberry92s influence20 on their lives and work
Quilt Demonstrations by Metropolitan-Area Quilt Guilds
Saturday, October 2 12:30 – 3:30pm
A reminder in case you are in the area.
Tracy Jamar Jamar Textile Restoration Studio, NYC
The the annual QUILT WEEKEND at the AMERICAN FOLK ART MUSEUM, NYC
honors Cuesta Benberry this year.
45 West 53rd Street www.folkartmuseum.org
NY, NY
Call 212 265.1040 for more information or to sign up for the classes.
<fontfamily><param>Verdana</param> Friday, October 1, 10:00am – 4:00pm
Saturday, October 2, 9:00am – 3:30pm
In honor of Cuesta Benberry
<bold> Tumbling Blocks: English Paper Piecing Workshop20
</bold> Judy Doenias20
Friday, October 1
10:00am – 4:00pm20
$95
<bold> Quilt Care and Restoration </bold> 20
Tracy Jamar20
Saturday, October 2
9:00 – 11:00am20
$45
<bold> Roundtable Discussion
</bold> Saturday, October 2
11:15am – 12:30pm
Curators, scholars, and artists reflect on Cuesta Benberry92s influence on their lives and work
<bold> Quilt Demonstrations by Metropolitan-Area Quilt Guilds </bold> 20
Saturday, October 2
12:30 – 3:30pm
A reminder in case you are in the area.
Tracy Jamar
Jamar Textile Restoration Studio, NYC
</fontfamily>
–Boundary_(ID_iw2IGCzf/IWPlwGrSI18Dg)–
From: “Sandra Millett”
Opps, should have said, there are about 1000 H mong in the Dallas/Ft. Wor th area where I live. Also a lot of Vietnamese. Thought in Hanoi they do n ot make quilts as we think of them–though there is a Danish lady who lives there and teaches American quilting so that women can have an income. Sandra–again
Date: Fri, 24 Sep 2004 18:06:54 -0400 | From: “sue reich” <suereich@>
I was with Cinda at J. G. Row’s study center in New Jersey on Tuesday. We were, as usual, wowed by the amazing quilt collections of the women who take part in this particular group, however, that Cinda Cawley just didn’t have her fill of fine quilts! As she admitted to all of you today, off she went to the Lancaster area and more quilts. I stood in amazement as she borrowed my cell phone and casually left her husband a message not to expect her on Tuesday night. She would be home on Wednesday. Judging from the delay in her email update about her gallivanting, I suspect that she stayed even longer, through Thursday or Friday, perhaps? Oh, to be footloose and fancy-free like Cinda Cawley! Green with envy, sue reich
Date: Fri, 24 Sep 2004 23:54:50 +0100 | From: Sally Ward <sallytatters@>
kerrybrack@ wrote:
>>does anybody on the list know how far the bath textile museum is from london. can i train it??? kerry who is travelling.x
When travelling in the UK you can go to the site http://www.nationalrail.co.uk/ click on ‘Planning your Journey’ and you can do a timetable search for any station to any station. You would need to go from Paddington station in London and the search field is ‘Bath Spa’.
A quick search for this showed journeys at about an hour and a half. But there are a lot of weekend engineering works going on and on some days you will be told there are no trains at all.
I’ve not been to the American Museum, but their site has information on how to get there from the station. http://www.americanmuseum.org/default.cfm/loadindex.4
HTH
Sally W Yorkshire, UK
Date: Sat, 25 Sep 2004 00:21:06 +0100 | From: Sally Ward <sallytatters@>
I’m delighted to have discovered that for the first time in years there is to be a new (glossy, illustrated) book on historic British Quilts. Currently at design stage but expected to be available for Christmas its publication is to coincide with a six-month long exhibition to be staged at the York City Art Gallery in January 2005 featuring quilts from the collection of the Castle Museum, York.
The Exhibition is titled ‘Through the Needle’s Eye, The Patchwork and Quilt Collection at the York Castle Museum’ and the book’s provisional title follows that. Some 20 quilts will whet the appetite in the exhibition, and the book will go much further…featuring over 60 bedcovers in addition to a further 20 or so ‘other items’, including cushions,tablecloths, cradle hangings, tea cosies etc. Virtually every image will be accompanied by a detail image of construction or fabric – in some cases there will be 2 or 3 detail images.
The Castle Museum has a large and eclectic collection of bedcovers. Whereas the most recently published UK book accompanied the Bowes Museum exhibition of the quilts of one area, the north-east, this will include examples of virtually every technique I can think of that is found in the UK tradition. Examples range from the early 1700s (flat backstitch-quilted linen) through to to 1971 (a very personal crazy made over a period of 16 years and finished for a son’s 21st). Other techniques included range through corded, broderie perse, pieced over paper geometric, applique, crazy, block,inlay and wholecloth, in fabrics including silk, satin, linen, cotton, wool…..at about this point looking through the draft I started to get dizzy <G>.
Author and Curator, Josie Sheppard, is a particular expert in costume and textiles rather than a quilt specialist, which I think works to the book’s advantage. The detailed descriptive text which accompanies each quilt gives information on fabric, layout and construction techniques but deliberately avoids the use of terms which may be open to varied interpretation (such as the medallion/frame setting debate).
British quilt historians are hungry for a book like this, and it is to the credit of the Castle Museum that they are going ahead with its publication on albeit a small initial print run.
As I said, it is planned to be available by Christmas, and as soon as I know purchasing details I will pass them on.
Sally W Yorkshire, UK
Date: Fri, 24 Sep 2004 21:03:35 -0400 | From: “Pam Weeks Worthen” <pamworthen@>
Dear Friends,
List Mom Kris has suggested that I post this to QHL…
Pam Weeks Worthen
Researching New Hampshire Signature Quilts
October 26, 9:30a.m.-3 p.m.
New Hampshire Historical Society 30 Park St., Concord, NH Contact us at 603/856-0604 or cmacleodnhhistory.org to register or for more information
Presenters: Pam Weeks Worthen Loretta Chase
American quilts bearing written or embroidered names are known as signature quilts. Made cooperatively by friends, families, or congregations, these cherished quilts were frequently bestowed as tokens of endearment, sold as community fund-raisers, or displayed as statements about critical issues of the day, such as abolition and temperance. A signature quilts is a tangible and enduring link to the vibrant social network that created it.
New Hampshire signature quilts have turned up all over the country, far removed from the original context of the families and communities they represent. Identifying those who created signature quilts and reconstructing the web of community relationships from which they emerged is a challenging and rewarding endeavor. Workshop participants will use quilts and documents to discover the stories and memories preserved by these examples of feminine epigraphy.
The workshop will feature an overview of how signatue quilts evolved over time and explain how you can identify the types os signature quilts. In addition to receiving guidance on how to begin documenting and researching these treasures, workshop leaders will date and discuss quilts from participants own collections. This worksop is an ideal way to better understand how every day New Hampshire women created meaning from their experiences–one stitch at a time.
Pamela Weeks Worthen serves as vice president of the NH Quilt Documentation Project and is the Executive Director of ABC Quilts. She specializes in quilt research and appraisal and teaches textile identification and dating. Worthen is an AQS Certified Appraiser of Quilted Textiles
Loretta B. Chase focuses her study on New England rural community development and the regional quilt aesthetic. She holds degrees from the University of California, Berkeley and UNH. Ms Chase is also involved with efforts to restore the Cocheco River, which powered Dover’s cotton printing mills in the 1800s.
Date: Sat, 25 Sep 2004 10:34:05 -0400 | From: “Jan Drechsler” <quiltdoc@>
Hi Don, I suspect that this was not acidic decay- at least not from new thread- as much as the stress of a needle separating old fabric and the thread being pulled through, tightened and damaging the antique fabric. Which was exactly my point in my post cautioning quilting (machine-quilting) old textiles.
The original was in response to commercially machine quilting a great grandmothers log cabin, possibly from the late 1800’s since it contained half-mourning prints. Since then, the topic has veered to machine quilting in general.
Don Beld wrote: >>antique 19th Century fabric that modern thread seems to easily damage some old fabrics. In particular, I made a small doll’s quilt that has a brown leaf pattern from the 1870’s that an off white thread cut right through it even before I had finished quilting it. I also had a similar problem in a maroon fabric. Much like the sun tears we so often see in those old quilts.
Sometimes an antique top can be quilted with no evident, immediate harm and other times, the same person can make a similar judgement, quilt it and the quilt doesn’t make it. At a Restoration Conference in Omaha, the textile conservationists and appraisers and dealers advised that anything older than 50 years should not be quilted. That is probably very cautious. That was in the 90’s so pre-1940’s tops would be flagged.
‘It depends’ was the answer that week to many questions we asked.
We cannot expect long or short arm quilters to be textile experts, but only to be experts on their machine. If you have an antique quilted, do not blame them if a top is damaged.
No one was trashing machine quilting in general. Yes, there is a place for both. Yes, I still prefer the looks of hand quilting…but I can’t work that much on them so I quilt half by machine.
Regards, Jan
— Jan Drechsler in Vermont Quilt Restoration; Quilting teacher www.sover.net/~bobmills
Date: Sat, 25 Sep 2004 08:41:25 -0500 | From: Carol Elmore <celmore@>
Several days ago someone asked about the American Quilt Museum in Bath. When I visited Bath several years ago, I didn’t have the chance to visit there because it was a little ways out of town and we didn’t have time to leave our tour group. My husband and I did visit the Museum of Costume in Bath. The website for it is:
http://www.museumofcostume.co.uk/
Although it is not a quilt museum, there are many examples of early clothing and the displays were beautifully presented.
Carol Elmore Manhattan, Kansas
Date: Sat, 25 Sep 2004 11:05:28 -0700 | From: <chrisa@>
I find this topic interesting, and like most I have mixed feelings. Like most of you, I think each top, new or old, needs to be evaluated on several levels to make the best quilting decision. Poor quilting choices can as easily ruin quilt as good quilting choices can enhance a quilt, whether the quilt is new or old and the quilting by machine or hand.
What I would like to add, is this: I have seen long arm quilting (my least favorite, especially when it is the repetitive pattern all over style) actually save an old ugly top on several occasions. You have seen them- the early 1900s utility type pieced tops, no fabric is great or beautiful, the piecing is ho-hum, and except to fabric lovers and historians, it’s just ugly. The fabric is sturdy, often plaids and checks and shirtings. Along comes a machine quilter who buys it for a song at a swap meet, washes it, bats it and quilts it and the next thing you know it’s attractive! Some one will buy it , use it, and make it a family heirloom. These tops could have easily ended up in the trash or cut up had this quilter not taken it to her long arm and in an hour saved it. I think that is a good use of the machine. I have not personally done this with my quilts tops, I prefer to leave them as such, but my purposes for having them is not to use them.
I agree with Jan on her comments.
From Jan: Sometimes an antique top can be quilted with no evident, immediate harm and other times, the same person can make a similar judgment, quilt it and the quilt doesn’t make it. We cannot expect long or short arm quilters to be textile experts, but only to be experts on their machine. If you have an antique quilted, do not blame them if a top is damaged.
Kim Wulfert www.antiquequiltdating.com
Date: Sat, 25 Sep 2004 14:13:30 -0400 | From: “Sharon in NC” <patchworksecrets2@>
Kerry don’t feel that way!!! You purchased the tops for a specific reason. That reason has not changed. If you are having them finished by someone else just ring them up and request they use 100% cotton batting and threads if they haven’t started them.
I would just be sure and attached a label telling the history of the top then the additional finish work so that 100 years form now the owner will be able to distinguish why a 30’s fabric top has long arm quilting…lol…
Course I am one who believes the majority of tops should be finished and serve their intended purpose. Unfortunately there are just not as museum quality pieces out there as we wish there were. I mean who wants to store a scrappy top that is worth very little and is very common or of less desirable quality instead of having a finished quilt that can be used and loved?
JMO Sharon in NC
Date: Fri, 24 Sep 2004 22:28:04 -0700 | From: Anne Copeland <anneappraiser1@>
Again, I think what we do with a lot of them also depends on how they are going to be used. If you are showing them to a quilt study group, they don’t mind seeing them as tops, but most quilt guilds want to see the finished quilts. I sure found that out. Most of mine ARE tops as they are generally less expensive to buy and also cheaper to transport and don’t take up as much space. But when I go to guilds, although the tops are often pretty unusual (I collect eccentric and funky DWRS), the guild members always enjoy the actual quilts the most. Peace and blessings, Annie
Date: Sat, 25 Sep 2004 12:01:55 -0700 | From: “Alan R. Kelchner” <alan@>
My name is Alan and I’m an anti-quiltaholic <lol>. I have utilized vintage quilt tops and pieces for new combination quilts. The secret is to not use fabrics and tops that are significant to someone (historic significance or personal significance). And if you find you want to make a top from a vintage piece, use good judgment, common sense, and the materials that will keep your perceived guilt in check. And however you use the quilt top/block/piece in a new work, be sure to do something that honors that piece.
Point in fact, the quilt on my bed. I bought a top on eBay on a lark, the kind that wasn’t getting any $$, and would have sadly languished in a drawer somewhere because it wasn’t “pretty”. I saw the potential and bought it for $10. Promptly took the pieced 1900 blocks from their nasty 1940s plain setting (rayon !!). I put the blocks into a new quilt and because it was made around them, not only do they suit, they are honored loved, and now cherished.
I am sometimes saddened that some of my more spectacular antique tops and quilts live in their cupboard to protect them. One has a perfect double-purple I’m trying to preserve, and the only time I hung it on a wall to look at it, it was a windowless hallway.
I used to be horrified at the idea of using old tops for new quilts (however you approach it). I’m not as horrified now. To be honest, in my book it can’t hurt to use some of the under-50yo tops, since they are going to lose value as their numbers increase. Better the tops be used and loved now, than taking up space in the landfill because the heirs don’t know what to do with them.
Alan
From: “Newbie Richardson”
Dear All, I am slowly catching up on over 300 posts – yikes! so, sorry if this is late – but no one seems to have brought this point up. The Chinese did indeed have “quilted” garments. However, more in the sense of German eiderdowns. The peasants would pick the fiberous pods of “milk weed” ( probably a genus cousin) and would use the fluff to create “down filled” jackets. As far as I have seen, they were not quilted in the decorative sense, but rather stuffed like our own down filled outer wear. Native American northern woodland tribes did much the same thing. These kinds of garments do not survive as a rule, but anecdotal evidence of them, as well as travelers’ descriptions, do. Newbie Richardson
From: “Laurie Magee & Tom Blajeski”
There are many Hmong is Wisconsin as well. Manitowoc, Oshkosh, Appleton , Stevens Point and Eau Claire have significant populations. They ended up here in a rather alien climate because church groups sponsored them after the Vietnam War; More are coming as we speak as the Thais are closing a large camp at a buddhist temple. Laurie in Oshkosh Wisconsin. –
Dear Marcia:
It’s taken a few days to get back to you. Check out the H mong for Laos for their quilts. Their pan dau (stitchery) has been translated into full-sized quilts with no quilting or batts–at least the one I have is that way. Their hand work is simply wonderful and I have quite a bit of it and learned how to do it.
The H mong from Vietnam, however, do not do the same type of pan dau. Each tribe’s stitchery is different whatever country they come from.
The H mong in the US are from Laos and some from Thailand. The Laotian H mong helped our secret army in Laos and Cambodia during the Vietnam War and had to flee for their lives. The largest community is now in the St. Paul twin cities area, but Fresno, CA (where I used to live and work with the H mong) has the second largest group.
Type in H mong in a search engine and see what you can find. Look for New Year’s celebrations to see their costumes.
Hope this helps.
Sandra Millett First Peoples: The H mong of Southeast Asia
Date: Sat, 25 Sep 2004 19:34:01 -0800 | From: Gloria Hanrahan <gloriaak.net>
Don,
I’m sorry to hear that you received a negative message from someone on the list. I always find your comments to be helpful.
I have a couple of tops created by my grandmother, which I would like to quilt at some point. They are around 1920 era.
What might be the best way to approach this project? Old thread?
Gloria
Date: Fri, 24 Sep 2004 22:23:58 -0700 | From: Anne Copeland <anneappraiser1@>
You are right, Virginia when it comes to contemporary quilts. I have seen way too many a contemporary beautiful quilt ruined by machine quilting, though I have also seen some really well done machine quilting that was very complementary overall to the quilt.
I think one of the problems is the guilds themselves. Having annual quilt shows and expecting all the members to have something (or more than one piece) to enter puts people into the “factory mode” of sewing. Many people who work full-time and have many other activities probably just want to get their quilts completed in this lifetime and they figure they are going to be using them on their beds so the quilts will generally get washed a lot. And then too there are a lot of people who just want to enter a lot of shows each year so they too end up machine quilting just to get the pieces done in time. And some people don’t really have space to work on a large quilt so they end up sending it out to be quilted.
People like Judy Mathieson and Caryl Bryer-Fallert have made an art form out of machine quilting, and there are many others who have turned their sewing machines into art tools. I agree that in most cases the piece is better hand-quilted, but with the sophisticated machines and the skills of many women to use them and to design the quilting in such a way that it is complementary to the overall design it isn’t the worst thing. I have also seen some hand quilting that would be better off not completed since it does nothing to complement the overall design. I am often surprised to find that some contemporary quilters I encounter when I am appraising at a show don’t really understand the difference between primary (or design) quilting and fill (or secondary) quilting. Hand quilting works best when the quilter is comfor. I think quilting design is probably one of the most difficult to accomplish skills. It is not hard to quilt to pattern or stitch in the ditch, but other than defining areas, it really doesn’t do a lot for the overall design.
Many of the applique kit quilts had beautifully designed quilt patterns that really contributed to their overall attractiveness. Many contemporary quilt patterns focus on overall piecing or machine applique and there is not a lot of attempt to express the importance of the quilting design. The quilt designs are more about selecting colors and scale of prints, embellishments, and new ways of finishing the piece (couched edges instead of binding, etc.) So the times, they are a changing so to speak, and I think there is a good place for all types of quilting expression–hand, machine, etc. I have seen some quilts that are totally fused, and I am not even sure how those can still be called quilts. And what about the squares that are simply sewn together and “fringed?” Those are being called quilts, but it really seems a stretch. Still, each and every style of quilting and finishing seems to have its dedicated fans. So all these styles seem to be appropriate for some group or other. I often wonder about the folks who spend thousands of dollars on their machines to do machine embroidery that is programmed, but then I have seen some very pretty examples of that. I just can’t imagine sitting at a machine that is programmed to do my work. But each to her (or his) own. I guess that is what makes the world a pretty neat place–that we are all very different. It would be pretty dull if we were all alike. Peace and blessings, Annie
Date: Sat, 25 Sep 2004 23:22:06 -0500 | From: “Jean Carlton” <jeancarlton@>
Kerry Please do not feel ill over your decisions. I firmly believe that there is NO right answer on any of this quilt stuff. Just what is right for YOU and your particular piece at any given time. People have different and widely divergent views on everything from hand vs. machine quilting, to wash or not to wash, to finish vintage tops or not – etc etc etc. We all gather information as we go along in life. Sometimes we look back and think maybe we’d do it differently now, but hey, they are quilt tops and they are yours — your idea of giving them new life and using them – is as valid and acceptable as any choice someone else might make. There are very few historical pieces out there that would be best left alone compared to the number of everyday or ordinary quilt tops. It’s good to think seriously about what to do with an old top before you do it- and educate yourself about the choices but then go ahead and do what feels right to you. I’ve seen many many old tops that the owner enjoyed finishing, for whatever reason, and that were enhanced by the quilting….to each his own! Jean
Date: Sun, 26 Sep 2004 08:21:04 -0600 | From: “BOBBIE A AUG” <qwltpro@>
To Don: Some tops are just too brittle. Embrittlement is caused by many things such as exposure to light, soil, drastic changes in temperature and humidity, pollutants in our environment, etc. So, age by itself is not a big factor. If brittle fabrics are quilted, the stitches would need to be so huge as not to saw through the fabric, that it would be unattractive. 20
I also feel that some people think that quilt tops have no value unless they “grow up into quilts.” They are textiles just like quilt blocks and vintage fabric. You could have a collection of antique quilt tops. Period. Some people collect antique nails. But, they do not feel that have to be made into a building to have value.
So, some tops can withstand quilting; others will be ruined. Each on an individual basis.
Alan: Gerald Roy’s book, “Blending the Old and the New” contain over 30 quilts that the late Paul D. Pilgrim made from antique blocks and antique fabrics. They are beautiful (book published in 1997 and available through AQS) and are in the permanent collection of the Museum of the American Quilter’s Society as Gerald Roy donated them.
Bobbie A. Aug Author, lecturer, teacher, AQS Certified Quilt Appraiser qwltpro@ www.BobbieAug.com<http://www.bobbieaug.com/> P.O. Box 9654 Colorado Springs, CO 80932-0654
Date: Sun, 26 Sep 2004 12:53:34 -0500 | From: “Charlotte Bull” <charlou@>
Hi Alan. Welcome! Some good comments! Also, Many Thanks to Don, Anne, Pat, Kim, Kris & others!
I once rescued old blocks that had been set together with corduroy! Did what Alan did and loved doing it! Rip It! Rip It! Even the Flea Market owner did not want me to buy it!!!
I also liked to use TOPS when giving programs. Light weight & easy to fold & pack & carry & display! More variety for my discussion, which usually was predominantly on Dating Fabric or Studying Block History. But quite a few of my talks used single blocks which I stapled to large poster boards – 22″ x 28″ I think. With names of blocks or of techniques or time periods in large hand lettering under them. Made for fast flipping & displaying on an easel. Hey, it worked for me! We all make personal choices.
By the way, I wore a 1994 T Shirt yesterday. I recall buying it at a quilt show in MO. It says, in purple and bluegreen, “When the Top is Done, the Quilt is Finished”! This thread of discussion made me go dig it out & enjoy it!!! I may wear it to Guild and take just tops for Show n Tell … an experiment! I’ll post the results for you next month. : )))
I think that most of us really do have very personal opinions and we make very individual choices. We can’t fill you in on ALL details of why or how we think as we do. But I don’t mind what you think or do, even if I don’t completely agree! What I CHERISH about this List is the variety of opinions! Yet we are pulled together into a Scrappy Quilt List because of our mutual love and concern for quilts, fabrics, museums and history. Just keep sharing! I need to keep learning. It keeps my mind sharp like a new needle or a new rotary blade! This QHL is great therapy!
Best Wishes to all, from “charlie” (My nickname for good friends to use! Unless you’d rather call me Queen Charlotte and give me a Crown to wear! That Quilt is still a Top!)
New Threads: Do you each have a specific block that represents you for some reason? Have you assigned blocks to fit your family? Or is there a specific antique fabric that, if found in an old top or block, makes you buy it!!! I have quite a few antique quilts with a special Eli & Walker green print in them and they sometimes have a specific Bubblegum Double Pink too! I can’t resist them. I’d die for some I’ve seen in books! (And, NO, I was NOT making a Textile Pun! Sorry!)
Date: Sun, 26 Sep 2004 13:28:24 -0500 | From: “kathy moore” <kathymooreneb.@>
Sharon said, “Unfortunately there are just not as museum quality pieces out there as we wish there were. I mean who wants to store a scrappy top that is worth very little and is very common or of less desirable quality instead of having a finished quilt that can be used and loved?”
I have two comments. One, I would be, and am, one who occasionally buys and stores the “common” tops because they have interesting fabrics or design motifs. I have come to believe they should be left alone, as is, unless there is an overriding, compelling reason to quilt. My reservations about quilting old tops are much the same as those already discussed. Most of them have spent many decades in their current condition and deserve to be respected for the information they can provide as well as a connection to the people who preceded us. They are as much a historical document as an old letter or post card from a forebearer.
Two, your comments about “museum quality pieces” needs to be qualified. Most museums have pieces that were made to be used (utility quilts) and have, through some miracle, survived to become museum pieces. Some are in pretty bad shape, but because of their fabrics, materials, motifs, techniques, or overall presentation have caught the eye of a collector and come to the museum to be cared for, preserved, studied, and occasionally exhibited, for as long as possible. At the International Quilt Study Center we have masterpiece quilts, beautiful in all ways, and we have quilts that look as though they were casually made from well-worn clothing. Several were made from the tops of old socks. Several were made from overalls, well worn, stained and used up, but still useable as material for quilt tops. Most of them were constructed in strikingly artistic presentations by modern standards. Some don’t smell too good because they were well used, as had been the intention when they were made. These museum pieces are not there because they are examples of precise attention to construction and stitching details. Their artistic expression and the condition under which they were constructed speak volumes to us about the creative urge so common to us all.20
Your comments seem to imply that only the prettiest or the best made and stitched quilts belong in a museum. It’s a common misconception, I think, and one that needs to be discussed and debated so we all have a better understanding of what is in our museums and why. These days the term “museum quality” really doesn’t signify an exceptional “best of show” connotation.
So, let the conversation begin. I invite comments and observations from all of you about this subject with the hope that we can do it in a respectful and objective manner which will broaden our understanding of the issue.
Kathy Moore Lincoln, NE
Date: Sun, 26 Sep 2004 15:41:09 -0400 | From: Joan Kiplinger <jkip@>
Okay, I’ll step up to the plate. Terms are relative to a person’s conception. Having spent most of my life in PR and working with advertisers and other hype-mongers, many so-called appetizer terms died from overexposure a long time ago. Designer fabrics, designer anything, limited edition, handpainted or genuine handpainted and museum quality lost their freshness at least 20 years ago. They have come to represent whatever the seller wants to make you believe you are getting for your $$. I think each specialty field and museum has its definition of museum quality. At one time in the doll world, it meant any type of doll, cheap to expensive, ugly to beautiful, which was in new or unplayed with condition and a good speciman for display and research. To some extent this is true today but is becoming part of the passing parade. Possibly that is the overall meaning of museum quality in other fields and as how other persons may interepret it. Condition, condition, condition is always a bonus but sometimes not commonly available which leaves the next best in line to displayed. I am not a quilter so my comments may not be on dead center. However, I would think any piece of cloth in a top whether tatter or elegant could qualify as museum quality depending on the specialness of its characteristics and the features which makes it worthy of display and study. How many of you quilters have tops that are of coarse plaid or checked cottons and would love to know more about those fabrics — could some of those be cotton cheviot or utility gingham for example. And wouldn’t it be nice to be able to compare yours to an authenticated source, raggedy though it might be, which is on display in the quilt center or museum nearest you. Maybe it’s time to rethink the term museum quality for what the fabric represents, not how it looks. I for one agree with Kathy. Next batter up……………
kathy moore wrote:
>So, let the conversation begin. I invite comments and observations from all of you about this subject with the hope that we can do it in a respectful and objective manner which will broaden our understanding of the issue. > >
Date: Sun, 26 Sep 2004 15:14:18 -0400 | From: Patricia L Cummings <quiltersmuse@>
Kathy:
Your comments reflect my own thoughts exactly. I don’t believe that my antique quilt tops are “languishing” in storage. I believe that I am preserving them for future study by generations to come. In the meantime, I am studying them myself, and reproducing some of them, as I can, and as I see fit.
When I studied all of the quilts in a museum in 1993-94, there were many that were not in prime condition, but as you say, they reflect the times in which they were made, used, and loved. There were also some loose blocks. At the time, I remember suggesting to the curator that they NOT be made into a quilt.
Quilt tops are great! They take up less storage space than a finished quilt. It’s okay with me if something is not “finished”. I can’t imagine finishing every old quilt top I’ve ever come across. Sometimes, it is not practical because of faulty construction in piecing. Often, lumps and bumps will not “quilt out”. Don’t let them fool you.
As a friend of mine always says, “If you want a quilt, make your own!” It’s safer, it’s more fun, and it is not messing with some other, dead person’s work.
Pat
