February 1 – 5, 2005
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:
- Identifying a Triangle-Set Quilt Block — A long back-and-forth narrows an unidentified block down to Sugarloaf or a Birds in the Air variant.
- Underground Railroad Myth Returns for Black History Month — The quilt-code legend resurfaces with renewed intensity, including reaction to a CNN feature and the Schomburg Center’s response. (see the article on Underground Railroad quilts)
- More on “Permanent” Museum Loans — A first-hand account of the complications that arise when a family’s loaned quilt collection is never reclaimed. (see the article on quilt museums)
- Vintage Sewing Tape Measure Repair — Members trade tips on repairing old sewing tape measures. (see the article on quilt restoration)
- Following Up on Soldiers’ Quilts — An update on the quilts-for-wounded-soldiers project mentioned earlier in January.
From: “Newbie Richardson”
Dear list, I have experienced the down side of “permanent” loans. First, the story of a family who left a large and significant collection of historic clothing with the state historical society. It sat for 30 years in the boxes it had been packed in. The list of items ( over 300) had been compiled by the great grand aunt of the family and was – to say the least- inaccurate, so no one knew exactly what was in the boxes. (Treasures, it turns out – as well as drek!) I do not know the whole story and I am sure that museum personel was as much at fault as the family, but be that as it may, the collection languished until just last month when I was called in to appraise the donation and the items saw the light of day. (Appearantly the existance of a qualified appraiser was part of the impetus to get the family to sign the deed of gift – that and the persistence of the curator). I can only speculate as to what the home packed boxes had contributed to the overall condition of the pieces over the span of 30 years….. The museum had been unwilling to invest any resources into a collection that was not theirs – yet. I think that there had been some unreasonable demands made by the family originally… Anyway, my point is that loans are not given the same kind of care as accessioned objects, (unless they have term limits and an agreement by both parties) their existance is not known to scholars for study, and the institution is asked to provide “free” storage, curatorial time, and conservation resources. The only good thing about this situation was that the items were away from the family manse when it burned down 25 years ago. (And I got to be like a kid in a candy store when I unpacked those boxes! – There were two WONDERFUL, EARLY Broderie Perse coverlets!) Second, I was asked to appraise a collection of Thomas Jefferson’s clothing “loaned” to the Smithsonian in 1921. Mom never signed the deed of gift. She died in 1998. The family inherited the items – and had to pay inheritance taxes on them. When you consider that a suit of clothes belonging to George Washington (with questionable providence) sold at auction for $350,000…you can understand how upset the family was! As the clothes had been on view for 50 years in the old “Hall of Presidents” with no climate control, UV ray sheilding, etc. you can imagine the condition. In fact, I was able to discount the value based on condition. On my advice, the family later gave the collection to an institution that will see that they are conserved – (which they can be, sturdy stuff, linen). The bottom line is:I believe that the object comes first. In both cases, the objects suffered because they did not “belong” to the collection. Permanent loans are like orphans at a family reunion! Newbie Richardson
From: “Susan Wildemuth”
Good Evening Holice,
Collingbourne Mills – Elgin, Illinois was the home of Viriginia Snow Studios and there were still some living Collingbourne children as of 2000-2001 which was my last contact with them. I can forward you an e-mail address of one of the children, who might be able to tell you about the copyright information.
Also I believe the “Grandma Dexter” pattern portion of Collingbourne Mills have been reproduced in a modern booklet by a group called the Dover Needlework Series.
I would be glad search through my Dexter Thread Company/Collingbourne Mill/Virginia Snow/Grandma Dexter/Boag Company/Lee Wards files to give you the Collingbourne family member e-mail address and e-mail it to you privately. Let me know.
Sue in Illinois
From: Midnitelaptop@
there was a weekly/maybe daily radio show…that used the sunbonnet sue song for a theme song…it went like this “sunbonnet sue, sunbonnet sue sunshine and roses run second to you…” can’t remember the rest
does it ring a bell with any other dinosaur out there? jeanL
From: “Candace Perry”
I think it’s common but I can’t remember the name — it’s 6 triangles set in one large triangle (at least that’s how I look at it…it’s actually a large triangle made up of little triangles). Thanks for answering my ignorant cry for help, Candace Perry Schwenkfelder Library & Heritage Center
Date: Mon, 24 Jan 2005 14:07:33 -0500 | From: “Karen Evans”
Um. Sounds like it could be variation on Sugarloaf? *slinks away that her ignorance of block patterns has been exposed at last*
From: “Karen Evans”
I am applying for an AQSG grant to help with the research on my medieval quilt book (I need to travel to see some of the old quilts in Europe and quite honestly can’t afford it on my own). If anyone on the list has any experience with the process, I’d love some advice.
Please reply privately to charter.net. Thanks in advance for all your help.
Karen Evans Easthampton, MA ——=_
From: Judy Kelius
Hi Candace . . . do you means “Birds in the Air”? But that has nine triangles. I’m not sure how a triangle would be divided into six smaller triangles. Seems like there would be 4 or 9 – I can’t picture what you are describing.
From: Patricia L Cummings
Dear Candace:
Does it look like the “Tents of Armageddon Quilt” shown here:
http://www.quiltersmuse.com/quilt_blocks_inspired_by_the_bib.htm
Pat
From: Xenia Cord
Brackman shows several triangle possibilities, the most likely being 3 dark and 6 light equilateral triangles set together to form one larger triangle. There are also blocks showing 2 sizes of triangles, 1 large and 3 small dark, 9 small light forming a larger triangle. These all have names like Sugar Loaf, Pyramid, Triangular Triangles, Triangular Trees (#s 201, 201.7, 202)
Brackman’s Encyclopedia of Pieced Quilt Patterns, with over 4000 patterns, is a wonderful resource for pattern identification because of the way it is formulated and organized, and it also is a good imagination stimulator if one is trying to find a pattern to make up into a quilt. (1993; ISBN 0-98145-815-8; order from AQS)
Xenia
From: “Candace Perry”
I will try to clarify…bear with me! The large triangle is made up of 16 little triangles — 7-5-3-1. The larger number of triangles looks like the background fabric to me…the smaller number (the six that I mentioned) looks like the pattern (I’m looking at this from a non-quilter’s perspective, so please don’t guffaw). The quilt is made of strips of these triangles alternating with non-pieced triangles. The quilt in question is quite busy, lots of prints and colors. If I had a photo I’d post it and you’d say yeah, that’s what the heck she’s talking about! (PS…Judy, it’s not birds in the air…I eliminated that one) Candace Perry
From: “Candace Perry”
Oh, I lied, it may indeed be Birds in the Air…the thing that’s confusing me is that there is no obvious block. Then again, it’s quite apparent that I do not have a clue as to what I’m talking about…may I blame the foot+ of snow for freezing my brain??? Candace
From: “Laurette Carroll”
Hello, Sounds like “Sugar Loaf” to me. Here’s a beautiful one that has many triangles, perhaps more than most.
http://cgi.ebay.com/ws/eBayISAPI.
If the URL breaks up do a search on ebay for auction number 3777471143.
Laurette Carroll Southern California
Look to the Future With Hope
> I will try to clarify…bear with me! The large triangle is made up of 16 > little triangles — 7-5-3-1. The larger number of triangles looks like the > background fabric to me…the smaller number (the six that I mentioned) > looks like the pattern (I’m looking at this from a non-quilter’s > perspective, so please don’t guffaw). The quilt is made of strips of these > triangles alternating with non-pieced triangles.
From: Barb Garrett
Candace –
Could it be a version of this quilt — I think I’ve seen Sugar Loaf quilts with fewer rows — http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2221&item=3777471143&rd=1
Barb
From: “Candace Perry”
Pat, good call, it looks more like this block but the triangles are wider. 7-5-3-1 for the set of the little triangles in the big triangle (Barb G, I need your mathematical brain!!!) Candace
From: “Candace Perry”
Yup, on our quilt the triangles are wider than these, and our border is different. But definitely similar!
—–Original Message—– From: Barb Garrett Sent: Monday, January 24, 2005 3:15 PM To: Quilt History List Subject: [qhl] Re: Identifying a quilt block — Help!
Candace –
Could it be a version of this quilt — I think I’ve seen Sugar Loaf quilts with fewer rows — http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2221&item=3777471143& rd=1
Barb
From: KareQuilt@
Recent post on another list: <<Extreme Home Makeover has recently featured the home of a California family.=A0 Because the mom is a quilter, the show contacted Alex Anderson to aid them in developing a “Quilter’s Dream Room!”= =A0 To do this, apparently Alex involved Bernina, P&B Textiles and Eddie’s Quilting Be e (a Bay area store).=A0 Stay tuned; and check your local listing!>>
Karen Alexander
From: Babette Moorleghen
Alan, my husband has repaired a couple of these tape measures for me. Look in the center and you will see a small hole. There should be a little screw there. You will have to use one of those small screwdrivers like you would use for eyeglasses or if it’s a Phillips type a really small screwdriver. There is a spring inside so when you take it apart be careful not to lose it. It just might take more than your 2 hands to put it back together. When you have it apart you can put the little metal tabs on the end with a little glue. Hope this helps you out. Would love to see a picture of the one with the cat face. Sounds really cute! Babette
“Alan R. Kelchner” <alanalankelchner.com> wrote: Can anyone suggest someone who can either repair or instruct me in how to repair a couple of sewing tape measures? The one’s a plain Bakelite and the other is this neat , vaguely Victorian metal with a cat’s face impressed in it, and green sparkly eyes. They both suffer from the same problem – the metal tabs on the end of the tapes came off, and the tapes are now inside. I have the tabs still. Any thoughts?
It’s a bit disappointing, since Mom bought them for me for Christmas.
Alan
— Alan R. Kelchner Textile Artist http://www.alankelchner.com
From: “paandma
-You might check out an old pattern called “flat iron” one author that mentions it is Maggie Malone in her 5,500 Quilt Block Designs—-
From: “Jennifer Van Haaften”
If they wanted an alliteration for their title, it would have been just as easy to say “Native Nations” and be more correct in titling its fabric line.
Just a thought, Jennifer Van Haaften Lombard, IL
From: Anita Loscalzo
January 20th – April 2nd 2005: “THRILLED TO PIECES: The Awesome Intricacy of Multi-Pieced Quilts.” Showcasing quilts comprised of 1,000 to 25,000 pieces. Curated by New York City antiques dealer and quilt author Laura Fisher, the exhibition features extraordinarily remarkable part of quilting heritage when quilters cut, accumulated, and united thousands of fabric pieces into larger intricate designs. Fisher regularly appears on Martha Stewart’s TV show to discuss her quilts. Admission is $5; $4 for seniors & students. Members free. Handicap accessible. Hours: Tues-Sat 10-4. Closed Sundays.
UPCOMING WORKSHOPS & LECTURES
LECTURE & TRUNK SHOW VIVIEN LEE SAYRE, Saturday March 12th at 1pm.
Vivien Lee Sayre has been an appraiser certified by The American Quilter’s Society since 1996, and has appraised quilts and quilted textiles throughout the United States. Ms. Sayre is involved in the continuing study of antique, contemporary, and art quilts and quilted textiles, plus woven coverlets. In addition, she lectures and consults extensively on these and other topics including the history of textiles, colors, patterns, designs and symbology. Ms Sayre will be at the New England Quilt Museum for a lecture and trunk show on Saturday, March 12th at 1pm. $10 members; $15 for non-members. Call the museum to register 978.452.4207.
Anita B. Loscalzo, Curator New England Quilt Museum 18 Shattuck Street Lowell, MA 01852 ——– email: Curator@ telephone: 978-452-4207 Ext. 11
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From: Anne Copeland
For the final word on copyrights, go to http://www.copyright.gov. They clearly define the lengths and terms of all copyrights. Peace and blessings, Annie
From: Laura Robins-Morris
Joan, I found one pattern copyrighted 1991. Let me know if you need more info on it. Laura
From: “sue reich” <suereich@>
This subject is going to be resurrected in our lives every year in conjunction with February, Black History month. If any of you happen to be in Connecticut on Sunday, February 6, you can join me at the Bethel Library for a lecture by a Civil War re-enactor, who will discuss “the significance and history of story quilts, used as a method of communication by slaves seeking freedom”. The article goes on to say that examples of these story quilts will be on display! I am going with an open mind, a willingness to remain silent, and the intent to question without embarrassing the speaker. Any takers? sue reich ——
I hope that this post is okay to place here. It is directly related to quilt history in the making.
This morning, I received a letter from a woman in Texas whose military son has returned home. He was the victim of a car bomb incident in Iraq. She told me that her husband had seen a segment on CBS and that some quilts that are being given to soldiers were shown there. She would like very much for her son to be given a quilt, as she is proud of him and would like his efforts to be acknowledged.
Does anyone know of a group in TX who is making quilts for veterans? If so, please let me know privately and I will pass the information along.
Thanks.
Pat Cummings
From: Barbara Burnham
Sue, Sadly, I cannot attend. However, I wish to be a fly on the wall! Please, do let us know what you see and learn. Barbara Burnham Ellicott City, Md
sue reich <suereich@> wrote: This subject is going to be resurrected in our lives every year in conjunction with February, Black History month. If any of you happen to be in Connecticut on Sunday, February 6, you can join me at the Bethel Library for a lecture by a Civil War re-enactor, who will discuss “the significance and history of story quilts, used as a method of communication by slaves seeking freedom”. The article goes on to say that examples of these story quilts will be on display! I am going with an open mind, a willingness to remain silent, and the intent to question without embarrassing the speaker. Any takers? sue reich
From: Patricia L Cummings
Friends:
As some of you may know, this is Black History Month. Many newspapers are celebrating this month by publishing information about the “hottest” topic to hit the combined world of Black Studies and Quilt History in a long time. The American public consists mostly of individuals who have NOT read the book that has generated so much controversy (since 1999), nor are they conversant in the matters of quilt history.
Instead, the public has relied on hearsay through which they have learned the details of the “secret quilt code”, as originally shared by Ozella McDaniel Williams. Although I, and other critical thinkers, have analyzed the details and found them to be short on truth, our words exist in an echo chamber that extends little beyond our own dear group of quilt historians.
One of the most disturbing elements is that, now, educated adults, even University curriculum specialists, are preparing materials to teach about the code in the schools. Already, two school districts (in DE and NJ) and probably many more, are including information in their K-12 classrooms. Discussion of the secret quilt code has become so much a part of the vernacular, to question it at all is to be thought of as a complete nutcase.
On January 30, 2005, Sandra Munsey reported that her local paper, the Cape Cod Times, ran a story. The headline reads, “Secret Stitches: Cape women replicate quilts used by abolitionists to help slaves”. I, for one, do not know of one documented case of an abolitionist making a quilt to help slaves escape. Do you?
As the information spread within my small group of serious quilt historians who are involved in emailing discussions, for the sake of support and “sightings” of new dispersions of the code, some of us decided to write letters to the editor.
I will tell you, this has been a hard, last three days. Apparently, the editor has decided to publish the letters sent by Leigh Fellner and Kate Clifford Larson, author of a biography on Harriet Tubman, and had said that he was going to publish a letter which I had mailed to the writer of the article. Since the letter I wrote was not intended for publication, I have asked them not to run it. Due to the fact that any further correspondence was going to be limited to no more than 200 words, I spent a good part of yesterday, editing the other letters I had on hand from two people, Karen Evans and Joan Kiplinger, and could only reasonably cut the text from 1038 to 328 words to keep the gist of meanings and information intact. I eliminated any statement of my own altogether, figuring that I have other potential venues to place further comments.
If you have not read the CCT article, there is a permanent link to it at the bottom of my Quilt Historians United web page at my website. I called the editor this morning, but again, he was “not available”. We had had an amicable discussion on Monday and I was happy when he invited me to compile quilt historian comments for presentation in a special page entitled, “My View”. In this case, it would be “Our View”. Initially, I had worked very hard at writing a concise message (and that is very difficult with this topic). However, if anything I wrote is included, it will be no more than a paragraph.
Joan Kiplinger has suggested that perhaps a larger organization, such as the new UGRR Museum in Cincinnati, would take a role in helping to alert the public, and clear the air about this subject. That is a possibility and would be a good choice, if they are willing to take a stand. Of course, the clouding factor may be that a major million dollar contributor might object to the museum taking a stand. Money talks, which should come as no great revelation to anyone.
I personally feel that our children are being brainwashed in the schools, and that this topic has been embraced by otherwise reasonable people (University educated teachers, etc.) solely because they want to believe………. To you and I, this seems strange because we know that history is not a matter of faith or belief, rather it is a record of what actually happened.
So, I am reading all of your posts about new UGRR/quilt code meetings and presentations, discussions, and newspaper articles, etc. etc. with growing weariness. I feel impotent in that my words, repeated over and over, in many venues, and in numerous ways, have had so little effect on the mainstream public who, for whatever convoluted reasons, need and want to believe in this tall tale. If you feel differently, I am sorry to offend you. From my perspective, this is an insidious infestation that is polluting the truth of American History and is an insult to anyone who cares about correct information being passed to our children and their children.
I hear from many of you privately. For a myriad of reasons, you can’t speak out in your workplace or otherwise for fear of hateful rebuttal, or retribution for possessing a divergent point of view. Please know that Quilt Historians United is a dedicated, grassroots group and we are actively pursuing every lead we can to counteract this unsubstantiated story, passed off as legitimate history. Our Black sisters and brothers deserve more. Let’s start with respect for their true history and ALL that they endured. Not as pretty a picture as quilt blocks, to be sure. It’s not as convenient to tell children the truth about man’s brutality to man, or bravery in the face of adversity (think Martin Luther King).
Together, we CAN make a difference. Unfortunately, at times it feels like we are alone, but that it not so. United we stand, divided we fall.
Wishing you peace in your day.
Pat Cummings www.quiltersmuse.com
From: Judy Schwender
I was interviewed by Robin Roenker for Kentucky Living Magazine concerning Dr. Clarice Boswell’s presentations about the secret quilt code. Since I have never seen one of her presentations, I spoke in general terms about the secret quilt code issue, that we quilt historians want more persuasive evidence for support, and the role of myth. The article and sidebar are in the February issue of Kentucky Living Magazine, can be found online at http://www.kentuckyliving.com/article.asp?articleid1343&issueid233. Included are links to articles by Pat Cummings, Leigh Fellner, and Kim Wulfert’s interview with Giles Wright. If anyone looks at the bibliography that accompanies Pat’s article they will find Passages to Freedom: The Underground Railroad in History and Memory listed. I dream that all the educators would begin with that! Judy Schwender
Hi everyone. I have posted at www.vintagepictures.eboard.com two photo of the Riverside County and San Bernardino County Home of the Brave Memorial quilts that my guild made to present to our County Boards of Supervisors at our quilt show on May 7, 2005. Sadly they contain the names of 32 local military that have fallen in Iraq and Afghanistan.
As some of you are aware, we began our drive to make replicas of the Lincoln Shrine’s real U.S. Sanitary Commission quilt to present to local families of the fallen last July. Since then we have made over 55 quilts and have delivered 26 out of 32 to our local families and I will be send 3 more next week.
This project is now in 32 states, with varying results–I would estimate that between 200-300 of 4 by 7 foot quilts have been made. This, of course, is only one of many projects that honor the wounded and KIA military from those two conflicts. They are history in the making. Best, Don
From: “J. G. Row”
I’m just finishing a quilt for the project that Kathy Moore mentioned on 1/12 — giving quilts to injured soldiers as they are taken off the transport planes.
I am writing to say that I can’t remember ever having felt so good about making a quilt, and that includes the ones made for sons to celebrate weddings.
I am including the information below. Mine should be ready to ship in a week. I didn’t look at the size guidelines and mine is somewhere in-between the two sizes given at 55 x 65 — I don’t think that some size variation should pose a problem — do you?
I will be taking all that iniformation to my quilt guild meeting on the 13th and hope to get more quilters involved.
Judy, aka the Ringoes Kid judygrow@
They are making cotton quilts in twin (55″ x 72″) or lap (45″ x 60″) sizes. The quilts go directly to the soldiers and are distributed at Walter Reed Hospital as the soldiers arrive. They’ve sent 65 quilts so far!
The article states that Mrs. Hagel told the Verdigre quilters that “the more severely injured military personnel are given a quilt as they are taken from the transport plane at Andrews Air Force Base in Maryland. They are brought in on stretchers, some with their arms wrapped around the quilt, others with it folded beneath their head. For most of the soldiers, it is the first time they’ve been on U.S. soil for many months, and it is often quite emotional for them…the quilts are a warm and meaningful welcome home…”
I couldn’t agree more. If you want to participate here’s the address to send your quilts:
Sandhills P.A.C. Attention Mrs. Hagel 1310 G. Street N.W. Suite 600 Washington, D.C. 20005
Okay, girls, let’s roll!
Kathy Moore Lincoln, NE
From: “Jennifer Van Haaften”
Thanks, Newbie, for a great couple of stories “from the trenches.”
I was just looking over some old American Association for State and Local History (AASLH) Technical leaflets, and they had one in the late 1970s addressing the issue of permanent loans, which directed museums how to find owners and/or heirs, and get them to sign a deed of gift in the end, in order to stop all headaches. It was interesting…
Jennifer V.
Jennifer Van Haaften Education Coordinator Elmhurst Historical Museum Elmhurst, IL
From: “Jan Drechsler”
The following is a portion of a CNN article today.
http://www.cnn.com/2005/TECH/internet/02/02/black.migration.ap/index.html
Web site traces African-American migration
NEW YORK (AP) — At the start of Black History Month, the Schomburg Center for Research in Black Culture announced the creation of an education project focusing on black migration over the past 400 years.
The project, which includes a new Web site, will give the public access to articles, photographs, maps and historic documents — including a letter from President Lincoln in which he writes about sending blacks to Haiti.
blah, blah, blah…
For example, someone interested in Virginia can click on a map and follow the journey of runaway slaves from a plantation to the cities, said Dr. Sylviane Diouf, the project’s manager.
“This is an invitation to every person of African descent in the United States to revisit their families’ migration histories,” Diouf said.
I did not explore the site itself, and I do not have the spirit to delve into the site, to see if research is included re quilts, etc. It is offered as a point of interest, only.
Jan
— Jan Drechsler NEW E-MAIL ADDRESS: quiltdoc@
Quilt Restoration; Quilting teacher
From: Xenia Cord
Jan alerted us to
http://www.cnn.com/2005/TECH/internet/02/02/black.migration.ap/index.html
If you go to the bottom of that page and click “In Motion,” it will take you to the full website about African American Migrations in the US.
You’ll be happy to know that when I searched “In Motion,” the section on Migrations (escaping to the north), putting in ‘quilt codes’ in the search box, I got:
<You searched for “quilt codes” quilt codes does not appear in any sections of this site.>
Grateful for small favors! Xenia
> Does anyone know of a group in TX who is making quilts for veterans? > If so, please let me know privately and I will pass the information > along. > > > A quilt donor has been found. Thanks to all who have responded.
Pat Cummings
From: Judy Schwender
We should all contact the host group and THANK THEM for this!
Xenia Cord <xenia@> wrote:Jan alerted us to
http://www.cnn.com/2005/TECH/internet/02/02/black.migration.ap/index.html
If you go to the bottom of that page and click “In Motion,” it will take you to the full website about African American Migrations in the US.
You’ll be happy to know that when I searched “In Motion,” the section on Migrations (escaping to the north), putting in ‘quilt codes’ in the search box, I got:
quilt codes does not appear in any sections of this site.>
Grateful for small favors! Xenia
From: Babette Moorleghen
Dear Jan and all. Well, I took the plunge and went to the CNN site and did a little exploring. Nowhere did I find mention of codes in quilts. I also checked out bibliographies, sources, etc. and found no mention there. It’s a pretty interesting site. I especially enjoyed the National Geographic site where you could “be” a runaway slave and find your way to freedom. Interesting note: a mention of “following the North Star” was in this presentation but only in reference to a newspaper which was published at that time. There was also an article written by a man whose great-grandparents had been slaves and had traveled to freedom in Canada. Since we had the discussion some time ago about the National Parks Service, their printing the poster of quilt blocks for the UGGR, I also checked out their site. No mention there either. All in all it was a nice journey into our history. Hugs, Babette in Illinois
From: Judy
I went to the website for the Schomburg Center for Research in Black Culture that is the focus of the CNN article. Very nice website! I’ve been hanging out there for over an hour, and found many things that encouraged me and a few that discouraged me.
One that discouraged me: among the publications of the Center is Jubilee: The Emergence of African-American Culture. It is written by Howard Dodson (Director of The New York Public Library’s Schomburg Center for Research in Black Culture–one of the most prominent institutions of black scholarship in the world) et al. You can see the book at: http://www.nypl.org/publications/jubilee.cfm and this is part of the description: “From slave ship manifests, manumission papers, and some of the earliest photographs of slaves to carved items that echo African sculpture and freedom quilts with African motifs, the book is richly illustrated in an interactive way that brings to life this crucial transition from slavery to freedom.” Having never seen the book, I will reserve judgement.
Cool thing: The center has “Textile holdings [that] include quilts, uniforms, African women’s fashion, strip weaving, tie-dyed and commemorative cloth and appliques.” Cool thing: Image: The Brothers Assistesd in the Quilting, you can see this at: http://149.123.1.8/schomburg/images_aa19/aa19c_info.cfm?cogt8457
Cool thing: Image of a Shango quilt http://www.inmotionaame.org/gallery/detail.cfm?id298144&typeimage
Good things that I found encouraging:
The student activities are not easy, light-weight stuff. The student is supposed to research and think. to aid in that, the site is chock-full of resources for former slave narratives: “Tell students that in addition to the narratives provided on this site, they can find full narratives online, in most cases at the North American Slave Narratives website maintained by the University of North Carolina – Chapel Hill Libraries at http://docsouth.unc.edu/neh/nehmain.html. Published versions may be available, as well (see Related Works).” Lots of interviews with former slaves are right on the site: http://www.inmotionaame.org/texts/?migration2&topic99&typetext Read some of these, they are quite compelling.
The lesson plans I saw concentrated on research and looked good. The one exception can be found at http://www.inmotionaame.org/education/lesson.cfm?migration2&id2_007LP and this is what the caption reads: “Sewing/Fashion Production/Home Economics: The possible role of quilts as “maps” on the Underground Railroad has recently come to light, but is still a matter of debate by scholars. Working with the sewing teacher, ask students to find historic quilt designs that some have suggested were used by the Underground Railroad, and then to select one and recreate it in fabric, with an explanation of the element it was meant to represent. Students may combine the individual squares and display them in a location in the school, with collaboration from the administration and contributions of batting, backing, and border material.”
So there may be some progress being made here. I suggest you surf the site for a while. There is a an incredible amount of content, and it looks to be well-researched. These folks could well prove to be a major ally in clarifying the UGRR quilt controversy. I am looking on the bright side: the home page isn’t a banner of quilts, and that is a good thing! Judy Schwender
From: Gail Ingram
I second the motion of Pat Cummings, who suggests list members might note the Black culture site for not perpetuating the UGRR story. Positive feedback can alert entities to the questionable scholarship available if they have not encountered it yet and thus preclude passing the results of that scholarship along. It can also do what we should do all the time: acknowledge and applaud good work.
Might not be the parting of the Red Sea, but it does seem to me we are seeing more such positive work this year than we saw last year.
Gail
From: DDBSTUFF@
I just read an article in the Newtown Bee about a c. 1812 wool quilt that sold this past month at James Julia’s Auction for $97,000. I have posted the article and pictures on the Eboards under the “quilt” tab.
Nice to know some quilts are still selling for good money.
I wonder what it would e brought on Ebay? $200-$400??
Darwin
From: Patricia L Cummings
Gail Ingram wrote:
>I second the motion of Pat Cummings, who suggests list members might note >the Black culture site for not perpetuating the UGRR story. Positive >feedback can alert entities to the questionable scholarship available if >they have not encountered it yet and thus preclude passing the results of >that scholarship along. It can also do what we should do all the time: >acknowledge and applaud good work. > >Might not be the parting of the Red Sea, but it does seem to me we are >seeing more such positive work this year than we saw last year. > >Gail > >Dearest Gail: > > You could second my motion if I had said it in the first place. Can’t remember who did say it, but can I “third” the motion now? I’ll applaud a scholarly study of anything, anytime! I should note this site somewhere on my website, too. Great idea. Thanks.
Pat
> > >
Re Judy’s citation: “From slave ship manifests, manumission papers, and some of the earliest photographs of slaves to carved items that echo African sculpture and freedom quilts with African motifs, the book is richly illustrated in an interactive way that brings to life this crucial transition from slavery to freedom.”
Not having read the book, Judy Schwender reserved judgment on validity of the implied conclusions. I certainly reserve judgment.
Yet, recent comments raise these questions in my mind:
1) Why would we doubt that sculpture and textiles of Africa influenced the early crafts and art of African-Americans? Isn’t it reasonable to assume the objects and patterns of their homes and homelands shaped these peoples’ aesthetics, just as the objects and patterns of the Germanic settlers shaped their aesthetics? Such influences are unconscious, unavoidable.
2) Wouldn’t it be reasonable also to guess that in the case of people who were taken from their homelands against their wills and enslaved, there would be a determined, conscious effort to preserve elements of their native culture in a new and hostile environment? Don’t all people do this? Isn’t that the drive from which early signature and memory album quilts arose?
3) Wouldn’t it also be reasonable to imagine that in some way, perhaps some highly diluted way, the aesthetic and objects preserved by this first generation would be handed down to the next and then the next generations?
A quiet questioning and tacit dismissal of these possibilities or the real merit of quilts such as those in the old Gee’s Bend collection occurs today among Anglo-European-American quilters. I cannot count the number of times I’ve heard the remark, “Well, anyone could produce quilts like that. But if WE produced them, everybody would laugh at us, dismiss us.”
I’ve always thought, “Well, I could not create a quilt that could pass for a Gee’s Bend or any other highly traditional African-American quilt I’ve seen around me.” I can spot them, but my own sensibility differs too greatly for me to create such a quilt, one that would have the genuine feel of those. And given my circumstances and cultural background, some of the crudeness of technique noted in these pieces would be fraudulent for me.
One of the more amusing discussions of this topic of which I was a part took place in a TEX-MEX restaurant. There we were, in our Eddie Bauer greens and blues, sitting in a room filled with Southwestern colors and objects, holding Margaritas, and dismissing the authenticity or artistic merit of the Gee’s Bend quilts.
I recognize the restaurant’s choices were somewhat contrived for thematic purposes, but not entirely, for it was owned and run by a Mexican-American family who were its cooks and waiters and receptionists. They were not dressed up “in costume,” but their choices in color and form in their personal clothing looked nothing like the choices of the people at my table. The irony of our conversation taking place in that setting seemed to strike no one but me.
I visited Gee’s Bend before it was “GEE’S BEND,” way back in the early sixties, before its quilters had begun to quilt for eastern markets. A college friend who knew I loved quilts invited me, and her mother took us to see the quilting. Only within the last year or so did I even learn the same place I had visited was Gee’s Bend, for it had been called by the name of the family who had owned the plantation. It was isolated, reached by a ferry that made me nervous. I’ve never forgotten the distinctiveness of the quilts I saw that day. They were being made for church members in need, quilted for members of the church group. And they constituted something in my limited knowledge I could understand only through analogy with abstract art or woven African textiles. Aside from a brilliant, mostly orange Dresden Plate and an eye-popping semi-Log Cabin made in colors that would light up a cave, I do not recall any made in conventional patterns. That was also the first time I had seen quilts tied. These were not the quilts Alice Walker’s Mama would refused to yield to her superficial daughter, a girl alienated from her past and trying to establish a false heritage. Those were made in traditional American patterns. But in their choice and arrangement of pattern, I bet the quilts Walker had in mind shared some common ground with those I saw in that little church building.
I can understand the view of many quilters reared in or influenced by different cultural traditions, that many of the GB quilts and many of the Southern country quilts in general are “ugly.” But beauty is in the eye of the beholder. Both of these have immense value for what they can tell us about their makers and the world in which their makers lived.
Maybe we could encourage all the UGRR folks to shift their focus to consider such questions about real African-American quilts. Now that would give teachers plenty of “critical thinking skill” exercises to meet their states’ curriculum requirements!
Is there an updated bibliography of authoritative scholarly research into African cultural influences in 19th- and 20th-century quiltmaking? Are there present in the collections of MESDA or other museums have quilts that are in line with the GB pieces? that predict them?
An inquiring mind that slept under a few “ugly” quilts of great beauty, Gail
From: “Kathy Moore”
Gail Ingram asks, “Is there an updated bibliography of authoritative scholarly research intoAfrican cultural influences in 19th- and 20th-century quiltmaking?”
I am attempting to assemble a bibliography on resourses relating African-American influences especially as they relate to quilting. I would appreciate suggestions from all of you for additions to such a list. Titles of books and articles that you know of or would like to see would be most welcome.
I can’t wait to see what you all suggest!
Kathy Moore Lincoln, NE
From: Lori Hudlow <lahudlow@>
Just a thought. How do we know that just once a quilt chain was made to help a slave make their way to freedom? Then just a most stories go they get embellished along the way and now we have this wonderful folklore story to be shared. Whether it is a true account who’s to say….none of us where there.
Snowing in Keedysville, MD Lori
