May 24 – 30, 2005
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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:
- Dating a Singer 301 Sewing Machine — Members help identify and date a Singer 301 sewing machine by its serial number and slant-needle design. (see the article on dating quilts)
- Masonic Symbols and the Harriet Powers Quilts — A question about Masonic symbolism on quilts leads to an extended discussion of Harriet Powers’s surviving quilts and possible ties to Black fraternal organizations.
- Stain Removal and Textile Cleaning Advice — Members recommend museum-grade cleaners for old textile stains and discuss documenting an early mosaic crib quilt. (see the article on stain removal)
- Quilt History Book Recommendations — A member new to quilt history collecting asks for book recommendations and receives several suggestions.
From: Jennifer Hill
Beve, the Singer 301 is a very fine machine. I just bought another today myself. Must find it a new home as I already have two others, among my 35+ (who’s counting?) machines.
The 301 was Singer’s first machine with a slant needle. It’s body is cast aluminum, which makes it very lightweight, and it has a built-in handle on top so it is a “one-hander” for most folks. It uses the same hook/bobbin case/bobbins as the famous Featherweights 221 & 222, but not the same attachments because of its slant configuration. It is called the FW’s Big Sister by some. It is a full-sized machine with an integral gear driven motor. It’s feed dogs can be lowered, so many like it for free motion quilting, although IMO the only slant darning foot currently available is a piece of crap.
It’s a really nice solid machine. I dropped one of mine on a concrete floor once, and the only repair required was a new needle and power cord.
Jennifer Hill Calgary, AB
From: “Nancy Ray”
Morning all, I am still working (but closing in fast on my retirement date of 18 Nov!) so I usually have little time other than to read the list quickly–and it is a treat. I’m off this week getting my string quilts ready to take to the Vermont Quilt Festival where they will hang in a special exhibit during the festival. With the help of three good friends, I’ll make it–but sewing on 40 sleeves, plus associated grooming, etc. has taken a lot of time. I swore I couldn’t/wouldn’t do it till I retired, but last fall when asked persuasively–I heard another person in my body saying, “yesss…” By now I’m looking forward to it though, and hope to see some of you there. Anybody here from VT? Or planning to attend the VQF? By the way, Bev, that Singer 301 your friend bought is a wonderful old machine–I’m still looking for one. Old sewing machines are another of my passions–and to think we are trying to downsize as we move to the farmhouse in West Virginia. I find these treasures to be much easier to acquire than to get rid of. (Isn’t getting rid of things really a lot of work?) The quilt collection is literally pushing me out of the house, and while I slept, has quietly taken over the upstairs of this Cape Cod house. I do think they can reproduce themselves. At least the old costume jewelry doesn’t require that kind of space. I know exactly what it means to take something out of the house, only to find the holes have disappeared when I return–wasn’t that you who said that, Teddy? Priceless. Nancy Ray in Alexandria, Virginia, hoping really warm weather will come to stay
From: “Barbara Vlack”
There is a fair amount of information about the Singer 301 on the Internet, or at least there’s an access to more information. Do a Google search with [“Singer 301” manual]. Put the Singer 301 in quotes to keep the words together. There are manuals for sale offered on several sites. There are also descriptions of this machine.
Barb Vlack cptvdeo@
From: “JG Kane”
As a very occasional contributor, but avid lurker (can one lurk avidly?) I’ve been moved to write to the list about the Loch Lomond Quilt Festival which was held last week for the very first time, and which hopefully will now be an annual event.It had 2 rather special entries from members of this list.
Modelled on the French ,Alsace, Show, which is held in several locations, this Scottish show was a dream come true for 3 Scot’s Quilters, Ruth Higham, Isabel Paterson & Patricia Macindoe.They brought together exhibits and competition entries in 11 different venues. Many of these were churches, all of which were modern, light and airy and whose soaring pillars and stained glass windows made wonderful settings for quilts.
This area of Scotland was a centre for Turkey Red Dye works. Hence the Open Competition took Turkey Red as its inspiration, and several antique quilts were exhibited alongside the competition entries.These included a strippy, a signature quilt,and a wholecloth featuring a wonderfu,l swirling, turkey red print that had exquisite quilting patterns which were only visible on its reverse, because of the compexity of the print.
Most importantly, the winning quilt was made by Xenia Cord! A beautiful, lively, quilt which had 150 pieces in each block ( I didn’t count, just admired, but have this on good authority!) and which was copied from a mid C19th American quilt, Second prize went to Sally ward, who made a quilted petticoat and stays. Sally was inspired by a petticoat in the collection of the Quilters Guild of the British Isles, and she studied other petticoats in York Museum before drafting her own pattern and creating a superb duo. Other competitions included “Banks & Braes” for Scottish quilters, a schools challenge, “As Nature Intended” by 12 textile artists, “Falkirk Wheel” contemporary quilts inspired by the device engineered to connect the Forth of Clyde and Union canals, “European Art Quilts”, and exhibitions by individual quilters. As each section was in its own venue you had time to digest what you had just seen, to relax and breathe, before moving on to absorb yet more glories.
I can really recommend a visit next year, when features will be Old Swedish Quilts from Asa Wettre, Gotenborg, Sweden; and The Hungarian Blue and White Collection.
I hope Xenia and Sally are planning next year’s entries! Jill, In Leeds, UK
From: “Amerine, Anne”
Beve, The Singer 301 is a lovely machine – a slant needle type that makes a lovely stitch. The serial number will give you the age of the machine.
Check out http://www.treadleon.net/ for one of the great treadle sewing machine information sites, that also includes a lot of information about older machines, including Singers. Attachments for Singer slant needle machines are still available. I know Clotilde offers them in her catalog. Anne Amerine in HOT (104 last Sunday) Southern California, wishing I could come wait for spring with you at Lake Tahoe
From: “Lori Kelly”
Hello! I’ve been reading some of your posts for awhile and you all are so well informed!
I picked up at an antique fair some crazy quilt blocks that have been put into strips but the strips have not been sewn together. I plan on putting them together and displaying this in my home someplace, But and I’m sure you all know where I’m going….some of he fabrics are almost gone the silks mostly this quilt has the dates 1898 and 1900 on it……its soo cool with hand painting and lots of embroidery, it not the best you have ever seen my any means just cool to me. Now, how should I tackle the repairs, should I just cut out completely the remaining silks and expose the backing? I thought about taking some tulle and covering the weakest parts but then I would have to quilt over the tulle to hold it in place, should I do that for the few blocks that this has happened too? I know these quilts had no backs but I’m thinking of putting one on and quiting just around each block to hold it on. I hope you all are not choking that I’m going to do this to an antique quilt, but I really do believe in having it out to enjoy! I do not feel that I’m wreaking it in any way, Like I said its not an awesome piece just really a cool quilt to me So any tips that you could share with me would be greatly appreciated
thanks lori kelley
Happiness does not depend on how much you have to enjoy…But how much you enjoy what you have
From: Gloria Hanrahan
Any guesses on the date for this quilt? The seller makes no claims.
http://cgi.ebay.com/ws/eBayISAPI.dll?
<img alt=”stencilquilt.jpg (20754 bytes)” border=”2″ height=”69″ src=”images/stencilquilt_small.jpg” width=”100″/> (click on the thumbnail)
Gloria
From: “quiltstuff”
No real idea on the date.. as the colours are very unusual.. but is that because they are faded from the original colours. It practically looks like some of the pop art from the 1960s. But I always though four block quilts like this and very close quilting was indicative of a mid 19th century date. I shall look forward to more informed answers Suzy Atkins
From: Judy Kelius
Wow! That’s a beauty. My guess is first quarter, 20th century. I’ve never seen the pattern before… love it!
From: jeanlester@
Boy, I would like to have been there! Are there any pictures of the quilts–particularly Zenia’s and Sally’s petticoat?
Jean
From: Judy Kelius
Good luck Lori – I think using tulle is the best bet – you just need to tack it in place, not “quilt” it. Exposing the backing often works too, depending on how well that fabric blends with the rest of the quilt. I have seen quilts where this was done (sometimes, just the natural result of the deterioration of the original fabrics) and it was hard to tell unless you looked very closely.
I think a backing would strengthen the quilt – no need to do any quilting, just a few tacks. (Very few crazy quilts have any quilting although I have seen some from Lancaster County with a wide border quilted with a cable, typical PA German finishing, although there was no quilting on the crazy patches themselves.)
Personally if someone asks me to work on an old silk quilt, I run the other way… as fast as I can!
From: Donald Beld
Hi everyone, a friend of mine is looking for a book of Rose Kretsinger Quilting Designs–any suggestions. thanks, Don Beld
From: “Marcia Kaylakie”
Jill,Is there a website or a way to find out the dates for next year’s Festival? I might need to visit the homeland just about that time!<VBG> I have always sworn it’s on my ist, but it could get bumped up to #1 really swiftly!! Marcia
Marcia Kaylakie, AQS Certified Appraiser Austin, TX www.texasquiltappraiser.com
From: Kathie Holland
Don I went to Amazon and did a search for Rose Kretsinger quilting designs and this is what I came up with. there are many other book sellers on the web that could be tried as well….might be able to get a used copy cheaper! Kathie in NJ
From: “Leah Zieber”
Hi all, was wondering if there was a source you knew of for Masonic symbols and their meaning? Also is there a source for those symbols found on quilts? I also wondered if anyone knew what part women played in the Masons in the early 1900s? I thought the society was Men Only so it seemed odd to me that a quilt would be made with lots of Masonic symbols. Appreciate any help you can offer. Thank You, Leah Zieber ——=_
From: Audrey Cameron
Hi all,
Contratulations Xenia on your Scottish win!!! It is a lovely quilt.
As a by the way, Xenia’s fabric line Bannister Hall is on a 25% off special until June 3 at www.colonialcrafts.com. No affliation & all that.
Audrey Cameron in a sunny Spring day in Lincolnshire, England
From: “Barbara Vlack”
My first (and guarded) guess is 1930s due to the colors. They fit into a ’30s palette. I would say ’30s with more confidence if the edge had been scalloped and/or a border surrounded the four blocks. I don’t remember seeing this pattern before, so it might not be a kit.
It is a lovely quilt.
Barb Vlack cptvdeo@
From: Donald Beld
In my opinion, perhaps, the most famous use of masonic symbols is on the two surviving Harriet Powers quilts. In fact, there are pictures of Harriet Powers wearing her Masonic apron.
And–here again, my opinion, I think her quilts are among the best folk art quilts ever made.
Best, Don Beld
From: amdresner
(( At 06:34 AM 5/29/2005 -0700, you wrote: I n my opinion, perhaps, the most famous use of masonic symbols is on the two surviving Harriet Powers quilts. In fact, there are pictures of Harriet Powers wearing her Masonic apron. And–here again, my opinion, I think her quilts are among the best folk art quilts ever made. Best, Don Beld ))
I am curious, where and when were women allowed into the Masons? As an auxiliary of the Masons there is the Eastern Stars for couples, and women have participated but never have I heard of a woman being in the Masons. I know there is a young ladies Jacob (I think they are called) to participate in and one for young men to participate in. Just a curious mind. nita Dresner
From: “Karen Evans”
Hm. Was Harriett Powers perhaps *related* to a Mason? Neither the mainstream Masonic lodges nor Prince Hall Masonry (the primary black Masonic organization) admit women. There are a few offshoots that *do*, but they’re primarily either French or associated with Annie Besant’s Theosophical movement.
Karen Evans
From: Debby Kratovil
Amazon has used copies of this book (Romance of the Patchwork Quilt in America) starting at $.83! There are scores of copies. I have one of these old books and I love it – had to pull it out when I saw the posting. Will spend several hours looking through it again! Debby — Debby (with a “y” and not “ie”) Kratovil Quilt Workshops & Programs http://www.quilterbydesign.com
From: “deb”
As a former Rainbow Girl, I am finally qualified to answer something! No women have ever been admitted into the Masons, Eastern Star is for mostly for women, they hold offices, but Masons can attend their meetings. The picture of Harriet Powers, is she wearing a husband’s apron? If not, that would be an interesting story!
Rebecca is another fraternal organization for women but not related directly to Eastern Star or Masons that I know of & neither is the Odd Fellows – also a men’s only group. Rainbow Girls are from ages 12 to 20 or 21 and DeMolay is the boys branch also from those ages.
Debbie in NJ
From: Marilyn Maddalena Withrow
How nice to hear from another former Rainbow girl! In addition to being a former Rainbow Girl, I am also a Past Worthy Matron of Eastern Star, and from a family of Masonic and Eastern Star members going back at least four generations that I know of. If Harriett Powers was wearing a Masonic apron, it sure wasn’t hers. The Masonic Lodge is for men only; Eastern Star is for the women of Masons — wives and daughters (and the Masonic men are also welcomed into Eastern Star, can become members of Eastern Star and can hold some of the offices in Eastern Star) — Rainbow Girls are the young teenage girls connected with Masons or friends of Masons or Rainbow Girls, and DeMolay are the young men. Many of the founders of our country were Masons, many were involved in the Boston Tea Party and in the founding of our country (George Washington was a Mason, as were many other leaders in those early years) — the Masonic Lodge goes back a very long time and to my knowledge has never admitted women. There are books available detailing the Masonic symbols. As an appraiser, I have seen several quilts featuring Masonic and/or Eastern Star symbols. Although I know their meanings, I would only identify them as Masonic or Eastern Star symbols to the quilt’s owner; I would not go into details of their meaning. Marilyn Maddalena Withrow Professional Quilt Appraiser, Judge, Historian, Designer and Lecturer www.marilynquilts.com
From: “JG Kane”
Hello again, Jean – I haven’t pictures as photography wasn’t allowed at the Loch Lomond show, but both Sally and Xenia have pics of their own that they might be persuaded to put up <g> Sally is away for the weekend, but I’ll stir her up tomorrow.
…..<Jill,Is there a website or a way to find out the dates for next year’s Festival?
Yes , the website is <www.lochlomondquiltshow.com>
At the moment it is dealing with this year’s show. The dates for next year are Wednesday 17th – Saturday 20th May 2006, and the Open competition is “Moving Parts”, aimed to link in with, and be inspired by, a planned exhibition of Singer Sewing machines.
…..<I might need to visit the homeland just about that time!<VBG> I have always sworn it’s on my ist, but it could get bumped up to #1 really swiftly!!
You could have a lovely visit – and whizz down to Malvern for their quilt show too! Happy planning , Marcia!
Hope this helps, Jill, Leeds UK
From: Donald Beld
Gee, I guess my information must be wrong. Harriet Powers, a freed slave, has only two existing surviiving quilts–both of which are considered national treasures, one is in the Smithsonian and the other is in the Museum of Fine Arts in Boston. I was citing from memory a small book I had on Harriet Powers that I lent a friend a number of years ago and never got back.
I just looked in Stitched From the Soul by Gladys -Marie Fry at her epilogue on Harriet Powers–her two quilts and the famous picture of her with her apron are in the book–and she makes no reference to the Masons; but attributes the apron to having origins in the Bakongo Tribe of Africa.
However, I stand by my recollection that the other book referred to it as a “FreeMason” Apron. Sorry about the error–but you all might take a look at the pictures and decide for yourselves. Best, Don
From: Vivien Sayre
I have an extra copy if anyone is interested. Email me privately. Vivien in MA
From: Donald Beld
Thank God I’m not as senile as I sometimes think! In Signs and Symbols, by Maude Southwell Wahlman, there is a more extensive discussion of Harriet Powers and she does, in fact, attribute signs and symbols in her Bible quilts and on her apron as being both from the African traditions and as Masonic symbols. On page 72 in the picture 78 text, Ms. Wahlman says “Harriet Powers may have been a conjurewoman, A MASONIC ELDER, or a Mother of a church, or all three. Her comman of appliqued techniques, Fon symbols, Kongo symbols, Maonic symbols, and biblical scenes is powerful and extensive, as seen in this, the earlier of two known textiles that may have been used in baptismal ceremonies.” She goes on to say on page 74 “Recent research for a falm indicates that both Powers and her husband were probably members of Masonic organizations in Athens or Clarke County, Georgia.”
Regardless of all of this, Harriet Powers is the reason I don’t do applique–I have always been in love with her two quilts and know that I could never come even close to equalling their originality or beauty. They are, indeed, national treasures. Best, Don Beld
From: “Karen Evans”
In which case she was probably a member of the Eastern Star, or the Prince Hall equivalent.
Karen Evans
From: Sandra G Munsey
First of all, could Don Beld give us a reference of publication of pictures of Harriet Powers wearing her Masonic apron? I don’t doubt it. I just can’t recall where it was published.
For those who are unfamiliar with the Masonic world, there are a number of Masonic related organizations, each with their own and shared symbolism. The Knights Templars, the Shriners, for example are also Masonic groups. The basic institution of the Masonic Order is the Blue Lodge of which induction in membership is accomplished when a candidate has completed three degrees of instruction in order – Apprentice, Fellowcraft, and Master Mason. At the time of completion of the Master Mason degree and in recognition of his achievement of full membership, the candidate receives a white lambskin apron, symbolic of purity and innocence. At his death it is customary for the member to be buried wearing his initiation apron. Aprons of a different style are worn by Lodge officials and signify each office along with “jewels” or badges of office specific to each one. There are actually 32 degrees in Masonry, that relatively few men achieve, plus a 33rd degree that is honorary.
The Order of Eastern Star is a separate women’s Masonic related organization. Its membership is comprised primarily of the mothers, wives, sisters, etc. of Master Masons. Masons also may join OES. There are, in fact, specific offices which male OES members hold. For example, the leader (think: president) of an OES chapter is the Worthy Matron. The next office in responsibility is the Worthy Patron (think: co-president or assistant president, but not vice-president). The Worthy Patron is a man.
For the teenaged young people there are three organizations with which I am familiar. The International Order of the Rainbow for Girls, the DeMolay, and Job’s Daughters. Job’s Daughters will be more familiar to those QHLers who live in the western US than it is to those of us who live in the eastern part of the country. Because these groups were developed by Masons, the rituals and structure echo Masonic philosophy, belief in a Supreme Being and the dedication of one’s life to service.
The Masons date back well into Western European history and grew during the 18th and 19th Centuries. As mentioned in other postings, there are any number of similar fraternal organizations. Many of these were formed in the mid to late 19th Century as benevolent societies in order to provide mutual assistance to members of the middle and laboring classes in times of duress, illness, or death. Examples of these are the Elks, the Odd Fellows, the Order of Red Men, the Junior Order of United American Mechanics, the Knights of Columbus, all of which are men’s organizations. Some had female organization counterparts such as the Rebekah’s. Other similar groups formed for political actions, an example being the Patrons of Husbandry, more popularly known as the Grange which was, and is, an organization that admits both men and women on an equal basis.
Still others were formed for social purposes, the best example being the fraternities and sororities established on college campuses a little before 1900. The benevolent societies came about, in part, because of the lack of financial and social security (and I don’t mean “Social Security”) at a time when the fundamental character of society in the US was changing from an agrarian family-centered economic base to an urban industrial society in which the “safety net” of family and community was disappearing. Life insurance policies, social security, pensions, health insurance were all programs of the future, so individuals of like minds joined together to assist in the care of widows, orphans, or invalids should the breadwinner suffer injury or death. (Remember, there wasn’t any Workman’s Compensation then, either. Wildly expanding capitalism ruled.) Also, many of these people lived and worked away from their places of origin, having left family and friends forever far behind (even the US citizens) to seek economic opportunity.
The fraternal organizations all established ritualistic procedures and symbolism for their proceedings and identification of members. Since they were formed during a period of shared religious and literary knowledge, many of the symbols used were common to all. The Language of Flowers, biblical references, and the Greek and Roman classics were far more familiar to the ordinary 19th Century person than (unfortunately) to today’s population. Black Americans started their own fraternal organizations, including Masonic Lodges, as they moved into middle class American society, using similar symbolism as well.
Of importance to quilters studying textiles using fraternal symbolism, one must be cautious about attributing a particular symbol – and hence the quilt – as a “Masonic” quilt or an “Odd Fellows” quilt, etc. A couple of years ago I saw an item in a local historical society collection that had been identified as “Masonic”. It was not, instead it represented the Junior Order of United American Mechanics. I recognized the difference because my father had been a member of both organizations. (To my knowledge the Junior Order no longer exists. If it is still around, please notify me privately.) Quilts can be identified as Masonic, etc. since some quilts document election as a member or as an office holder in a lodge or identify one important event in a man’s life, and so on.
Is there anyone out there who specializes in fraternal quilts and has written about them? Meanwhile, I hope this helps the uninitiated. Sorry, I couldn’t resist the play on words. <G>
Sandra from Cape Cod —-
Hey there! I mostly lurk, but love reading the postings from such an erudite and passionate group. I’m still writing my resource guide for quilters, and currently finishing a chapter on tools and technology, which goes into some of the fascinating history of the sewing machine. At the moment, I’m trying to write a sidebar about the “cult” of the Featherweight, and would appreciate any advice about experts. If you know a lot about this machine or are just a passionate user and/or collector of these, please send me a note off-list. I’m megmaxc@. The book I’m writing will be published next year, and I’ll give a shout when it’s available. It is not a history book, per se, but I’ve included historical background in many areas, most especially a history of the recent quilt renaissance in America. I may be posting during the editing and design phase, when my publisher is hunting down old photos. thanks for any help you can provide. Meg Cox Princeton, NJ
From: “Lori Kelly” <lklklk@>
I’m looking for some really great quilt history books can any of you give and good recommendations?
Also I can get penny mcmorris crazy quit book for 125.00 is that too much? lori
From: “Candace Perry”
A wonderful new book on handwoven textiles of the 18th and 19th centuries of the PA German is now available. Written by Marjie Thompson, Kathleen Grant and Alan Keyser, this book is a must have, I think, for anyone interested in early American textile history. I don’t think a commercial is appropriate, so I’ll just say contact me if you want more info! Candace Perry Schwenkfelder Library & Heritage Center
From: Patricia L Cummings
Today, we posted an article online that we wrote to bring attention to the current exhibit at the Museum of NH History, Concord, NH. The article is similar to one just published in UnRavel the Gavel newspaper, although our online version has a lot less photos of general artifacts. We focused on textiles. There are three quilts in the exhibit that are exceptionally lovely. One is a Centennial Signature/Friendship quilt made in Bow, NH; another is an unusual appliqué quilt, the result of a husband/wife effort; and the third is a “Victorian Show Quilt” of the Log Cabin/Crazy Quilt combo variety. The quilts are all very special and show an overview of the kind of quilting done in nineteenth century. If you are in the area, please stop in at the museum. In the meantime, you can always visit my site to read more about the quilts and to see some photos.
Best,
Patricia Cummings www.quiltersmuse.com
From: Susan Riley
This came back to me so will retry~ Hello all from Boston-just when I was feeling sorry for myself that I never get to go anywhere (except with your adventures), and school does not get out until June 29th (!) the Gee’s Bend Quilters literally fell into my lap today. The sun was shining- I got to leave my ark at home, & after circling the MFA, someone pulled out of a parking place right in front of the museum (free). We got in the auditorium with 2 minutes to spare. Malcolm Rogers explained to the audience that those of us there made up about 1/2 of the population of Gee’s Bend. We were priviledged to hear the quilters sing gospels; one singer had 19 great grand children. Nine quilters of all ages sang Steal Away& Look Where He Brought me From. There was not a foot that was not tappin’ or hands that were not clapping. Quilters on the front row, that did not go to the stage, finally stood and sang when they could not sit still any longer. Five quilters also sang in front of some of the quilts later in the afternoon. The quilts were quite an experience but that has been covered in earlier digests; Tinway Media’s video, “Quilts of Gee’s Bend” was shown to a constantly packed room. The museum was free today, parking was free, the music was free, the exhibit was free, people watching was the best! and what more could one wish for! Susan Riley
From: “Kathy Moore”
Regarding Gloria’s posting about the lovely four-block quilt, I have a question. Did anyone notice the light-colored leaf shapes at the tops of the arcs on this quilt? Was I imagining them? I’m wondering if they were formerly green fabrics that faded to light tan color. That might help us pin down the date.
Kathy Moore Lincoln, NE
From: Joan Kiplinger
I’ve just finished reading a new book — Straight Talk About Quilt Care: Display, Cleaning and Storage of New and Antique Quilts and Needlework — by Pat Cummings which makes a nice companion to my other textile conservation references. While slanted to quilters and needleworkers, it is also helpful to anyone who collects textiles. Particularly useful are the product sources and great color photos which accompany each of the steps described in the preservation process plus a technical but very readable comprehensive listing of dos, don’ts and health hazards. See www.quiltersmuse.com for further information.
From: Ark Quilts
Hello! It is a beautiful day here in NW Ohio but I have a question. I have been reading the different postings about cleansers for old textiles. But I have several pieces and don’t really know what is best to use. I have several embroidered linens that have what appears to be rusty brown water marks and/or tiny rust stain dots. The linens have colored embroidery threads and or trims on them that could bleach out from cleaners. I also have several 1930 quilt tops that have muslin fabrics in them. The muslin apparently had starch in it that needs to be washed out. Both quilt tops have nice bright printed colored fabrics in them. I can wash the quilts without agitating or wringing them so the seams won’t fray, but again I don’t know what to soak them in without bleaching out the color printed fabrics too. Any suggestions about what to use or where to get it? I have seen “Vintage Soak” advertised and wondered if it would be the best to use. Thanks–Connie Ark
From: Joan Kiplinger
Connie — one of the best stain removers is PERK and its companion Boost. Can even be used on silk. Museum recommended. www.twinpines.com will give you the full content disclosure and other information. I’ve been using it for 22 years and have never been disappointed. However, with rust stains, nothing really works to full advantage except Whink or Carbona which are chemically hard on fibers and not something you would want to use on heirlooms.
From: “Lucinda Cawley”
The Eastern Shore Quilt Study Group met for the second time on May 25 in Denton, MD. It was great to have more than 30 quilt enthusiasts in attendance. The theme of the day was “two-color quilts.” Barbara Garrett and I made sure that the PA German variety of two-color quilts was well represented (red and yellow, pink and yellow and, of course, pink and green). Most of the quilts we saw were twentieth century: lots of 1930s examples Nile green and white( Star of the West, Schoolhouse), sky blue and white (Churn Dash quilted with pearl cotton), pink and white (Spools). A Nine-Patch, circa 1910, had a great variety of indigoes and shirtings. It had been used as a dog bed and was rescued in Montour Co., PA for a ten cent investment. We had an interesting discussion of how some of us feel compelled to save quilts from such a fate (apparently everyone does not feel this way). We saw some interesting redwork. The most impressive piece was a repro of Phyllis Twigg’s incredible quilt made from Phyllis’s patterns. I trotted out my 1905 memorial redwork top which features Bible scenes. Barb had a top with many patriotic motifs which we think probably was made during W.W.I (our favorite block had a cat inside a wreath of mice). It’s such fun when people bring family pieces. Two of our members are sisters and each had a top appliqued in the early 1930s by their great grandmother’s sister. Auntie wasn’t much of an artist but the tops had a certain quirky charm: squat Fleur de Lis, one in salmon pink, the other orange and green on white. One of our members focuses her collection on exceptional quilting. She brought a mid-nineteenth century Irish Chain found in New Oxford, PA with quilting to die for. Two other extraordinary quilts of the same era were a green and orange Basket from Talbot Co., MD on the Eastern Shore (it has a single flower in the basket and a Garden Maze set with a double dogtooth border–if there are any missing bells and whistles I can’t think of them) and a Rose variation in bluegreen, orange, pink and brown (perhaps a fugitive oxblood red) with a running vine and bud border from Ohio (with lots of PA German influence). A Touching Stars (three different sizes of smaller stars between the big ones!) from North Carolina was pieced in orange, teal and oxblood. It was very early (2nd quarter 19th century). Somebody immediately produced a yellow and white Touching Stars made a hundred years later and a Lone Star in the same colors. The prize for pretty was a tie between two similar 1930s kit (or kit inspired) quilts: white grapes on green and white flowers and a basket on blue. Madge Ziegler made the point that many women would buy a kit, make patterns from the kit and reproduce it several times in fabric of her own choosing. I had never thought of this simple explanation for the many quilts which appear to be from kits but lack the tell tale blue dots and lines. This is why we have study groups. Cinda on the Eastern Shore
From: “Beth Davis”
I was asked to document an early mosaic crib-size quilt, which happens to have an even earlier quilt inside! One question that came up was regarding early purple prints. This person was told that purple fabrics were given to servants in England at Christmas time as a gift. I’ve not heard anything about this and was wondering if anyone could substantiate such a practice?
Regards, Beth Davis
