June 7 – 16, 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 Backstitch Quilting — Members help identify and explain backstitch quilting technique on an antique piece, comparing stitch counts and historical examples.
- Fraternal and Masonic Symbols on Quilts — The Masonic-symbolism discussion continues, cataloguing the many fraternal organizations whose emblems turn up on quilts.
- Textile Conservation Center Feature — A shared newspaper article spotlights the Textile Conservation Center in Winchester, England. (see the article on repair, restore, or conserve)
- Eagle-Motif Quilts and Patriotic Quilt History — A thread on eagle-patterned quilts explores their popularity and symbolism, building on a past QHL discussion of the topic.
- Early Dye Chemistry and Fabric Colorists — A magazine article on the chemistry of 19th-century Alsatian fabric dyes prompts members to track down a copy. (see the article on natural dyes)
From: Sally Ward
> Has anyone ever seen an example of this type of stitching?
An exhibition of a private collection which I visited in Cumbria (north of England) in 1997 had just such a quilt. I’ve dug out the catalogue and there are only a few illustrations which don’t include this particular quilt. There are two quilts described but not pictured which fit my memory of this piece, but after this length of time I can’t recall which was which. Either way, both are attributed to the 1720s-80s, both of linen and worked in yellow silk stitching. (although I don’t remember the stitching as yellow, I thought the quilts were white) What I do remember is the large size of the quilt, and the small size of the backstitching. One is described as ‘thinly wadded’, one is a coverlet (unfilled).
Sally Ward
From: “Karen Evans”
Personally, I’ve gotten between 16 and 20 stitches per inch with a backstitch, about twice as many as with the running stitch. It’s a very precise technique, and quite good with lumpy or uneven batts.
Karen Evans
Did any of you see the wonderful coffin quilt at the Vermont Quilt Festival about 3 years ago. As I recall, it had many Masonic type symbols appliqued/embroidered on it. At least we all assumed it was a coffin quilt. Holice
From: Judy Schwender
Good morning- Would Judy Kelius please contact me off-list? Thank you- Judy Schwender sister3603@
From: Sandra G Munsey
For those wondering about the fraternal symbols, names and other oddments about the multitudes (as it turns out) of organizations created prior to and especially during the 19th Century, try www.phoenixmasionry.org/masonicmuseum , an online museum. Since badges and other jewelry and regalia is shown, it may help in identifying symbols seen on quilts. There is a lengthy list of these groups on one page of the site, and I found a history reference on a lesser known organization to which my father belonged. Women’s groups are also noted as well as some of the groups for teens.
I fell into this website while doing a search after receiving some off QHList questions. This seemed to good not to share.
Sandra on Cape Cod
From: “Lucinda Cawley”
Marie Webster really tossed around that word “hideous.” She used it to refer to my beloved PA German (she called them Dutch) quilts.
Another example I found in vol. 2 of The Masterpieces of the Exhibition” (Phildelphia 1876), p. 76: “We engrave some of the Print Patterns used by the American Print Works, Fall River, Mass…it is curious and interesting to note how much we have improved in this respect within the past few years…It is not so very long ago, say when our grandmothers were girls, that the young creatures thought themselves very fine indeed if they were attired in robes on which impossible peacocks and birds of paradise…were displayed…At a later period…dresses were covered with great sprawings in glaring, ill-contrasted colors, such as none but a savage of to-day (sic) would delight in. And now we have such patterns as these–neat, carefully designed, with proper regard for the color-effect, and altogether pleasing and attractive to the eye.”
The fabrics for which grandmother was criticised must have been the chintzes we adore; those with the sprawling, ill-contrasted colors sound like the 1840s-50s repros. we’re buying so avidly. I’m far from charmed by the embroideries which prompted this discussion, but I love these proofs that human nature never changes. When I was a violent Elvis fan in my early teens my father did not share the outrage of so many of the parents of my friends. He told me that he could rmember when he was courting my mother hearing her father mutter about that “blank-blank Rudy Valee.” Cinda on the Eastern Shore
From: “Lynne Z. Bassett”
Dear Holice,
It was a coffin cover of appliqued wool, not really a “quilt.” Richard Cleveland can give you more information if you’d like.
Best, Lynne
The back stitching technique with 16 to 20 stitches per inch sounds like the seed or Methodist quilting stitch I asked about a month or so ago. This could be a cousin to the back stitching which looks like embroidery. In 2000 Taylor Michigan quilt Show there was a large off white quilt with that stitch. Will try to track it down as it was sew unusual and lovely a piece to remember. West Mound United Methodist should have a record of those in the show. The group disbanded about 2 years ago but still ask for quilts for the show every year. Scheduled to Appraise and show some of my collection in the Fall. Still looking for information on the seed quilting. Velia Lauerman
From: “Merry Endres”
I can’t find the Judy Wentworth book 🙁 If you have it, would it be too much trouble for you to scan and e-mail me a picture of the Darts of Death quilt? I have the Glorius American Patchwork book and am intrigued by the ‘graveyard’ quilt. Thank you!
Hugs, Merry
From: Paul and Nancy Hahn
Sally, Regarding your search for the antique quilt with backstitching, could you be thinking of the “Corded Quilted Cover, 1690-1720” we saw at the current “Through the Needle’s Eye” exhibit at the York Castle Museum? It was rolled up and displayed in the free standing case in the center of the room. It was white/cream with pale yellow stitching, yellow overlaid embroidery and yellow silk ribbon border. For those with the catalogue, it is on page 116-117. As a visiting American quilter, I remember how overwhelmed I felt at seeing such wonderful, pre-1830 quilted pieces at that exhibit. It’s not something we get to see that often in the States.
Nancy Hahn, in hot and muggy Maryland
From: Sally Ward
Paul and Nancy Hahn wrote: > Sally, Regarding your search for the antique quilt with backstitching, > could you be thinking of the “Corded Quilted Cover, 1690-1720” we saw at > the current “Through the Needle’s Eye” exhibit at the York Castle > Museum?
Hi Nancy! You’re right, of course, I was completely forgetting that wonderful example. But no, the quilt I saw was part of a private collection of a lady in Cumbria, who lived in the wonderfully named ‘Helbeck Hall’ which was just as remote and dour as its name suggests (reminded me of ‘Cold Comfort Farm’). It was a large size full bedcover and needed a large wall to display.
Your reminding me of that exhibit also reminds me of backstitched linen examples in the QUilters GUild of the British Isles’ collection, which includes a delightful baby’s cap. That one is definitely white on white linen.
Sally W
From: Xenia Cord
Hi, Nancy – thanks for the offer of pictures. I have the catalogue, of course, but the pictures were really too small for good detail. But I would like to have the quilt with the chintz center, especially if you have a close-up on that center.
The best way to send those to me is as jpeg attachments to an email – on my computer, those come through as images that show just under the message. I have trouble opening some other kinds of stuff, especially things that are labeled other than jpeg (Mac incompatibility, I think).
Thanks!
Xenia
See you in Newark!
From: Cook Family
Thought you all might like to see this article “Conserving fabrics with a story to tell” from the International Herald Tribune about the Textile Conservation Center in Winchester, England.
http://www.iht.com/articles/2005/06/07/features/blume.php
Miri Cook Moshavat Migdal on the shores of the Sea of Galilee
From: Joan Kiplinger
Mini — is there another link?? I come up with a page not found; selected resource not currently available..
In a message dated 6/8/05 11:07:50 PM Central Daylight Time, qhl@ writes:
> Sally, > Regarding your search for the antique quilt with backstitching, could > you be thinking of the “Corded Quilted Cover, 1690-1720” we saw at the > current “Through the Needle’s Eye” exhibit at the York Castle Museum? > It was rolled up and displayed in the free standing case in the center > of the room. It was white/cream with pale yellow stitching, yellow > overlaid embroidery and yellow silk ribbon border. For those with the > catalogue, it is on page 116-117. As a visiting American quilter, I > remember how overwhelmed I felt at seeing such wonderful, pre-1830 > quilted pieces at that exhibit. It’s not something we get to see that > often in the States. > > Nancy Hahn, in hot and muggy Maryland
I own a corded quilted cover and would really like to know how old it is. Yes, it is completely backstitched, no running quilting stitches. I purchased it in Europe and was told that it was “very old”, but the dealer wouldn’t tell me how old. I purchased an early 1800s quilt from her at the same time, and she freely told me the date. I wanted to believe that this quilt must be much older than the other I was purchasing at the same time.
Anyone one know how to determine if it is pre-1800? It is plain white (though a little grayed with time) homespun looking linen on the back with very nice cotton on the front. It is French, and entirely corded — no batting. The cording is made up of pieces of string loosely twisted together. The cotton string isn’t very tightly twisted — perhaps hand spun? The pattern of the trapunto is very reminiscent of a palampore. Three trees of life start from the bottom and work their way up with Jacobean style flowers and leaves. The three panels were created individually, then sewn together, and are the width of the fabric — selvages still in place on the back. Quilt as you go! Easy to take with you and work on over time, no quilting frame required. The fabric is 20 inches wide, but couldn’t homespun be any width? There is a small scallop at the hem, and the scallops are stuffed. This weekend I can post a picture on our eboard. It is appropriately worn for a quilt several hundred years old.
I will see if I can request this catalog through our library, but I am doubtful that I can. Plus this quilt is silk, English and has yellow stitching. Not sure it would help me date mine.
Thanks, all.
Kay Triplett
Kay – please post a picture. It sound as if you may have a Provencal coverlet from the 18th or 19th century, but there’s no way to tell without looking at it.
*rubs hands together in anticipation*
Karen Evans
From: “Christine Thresh”
Could someone please explain “backstitch.” The term has been used in recent postings and I cannot picture it in my mind.
Thank you.
Christine Thresh on an island in the California Delta http://www.@
A backstitch is when one makes a stitch, brings the thread up a short way down the stitch line, then brings the thread back over the stitch line to the hole left by the original stitch. The result is a continuous row of stitching that looks like a series of chain loops from the side.
Here’s a definition: http://inaminuteago.com/stitchdict/stitch/Back-stitch.html
Hope this helps!
Karen Evans
From: “Christine Thresh”
I went to the site, but no pictures came up.
Thanks anyway, Christine Thresh on an island in the California Delta http://www.@
I read in Blanket Statements about the forthcoming exhibition, and since I hope Annette Gero is still on this list, I would ask you, Annette, to tell us how we can order the catalogue you mention. (I believe I’m not the only one interested, therefore I’m writing to the list). Greeting from Europe to you, Annette, hope you’ll be here again soon! Margareta
From: Laura Fisher
Dear List—thank you thaank you thank you for that comprehensive information about the Eastern Star quilt pattern. I printed it out and pinned it to the quilt, hopefully the info will remain with it as it travels through hands.
How about information on that familiar FOUR EAGLES (with cigars in their beaks!) Pennsylvania applique quilt. I have seen soooooooo many that it must have been a published pattern or “manufactured” by some quilt collective. Who came up with the design? What ARE those cigar- like things? I have seen them made of fabric that ranges over quite a time period–I have one now about 1880s of red and green calicoes with a great diamonds pieced sashing between the four eagle quadrants, and I see solid colored ones from the early 20th century. Some have an open circle/star in the center. Any info would be most appreciated.
Laura Fisher
From: Kathie Holland
Laura, I would love to see a picture of your quilt, is it on your website? I happen to LOVE eagle quilts and am fasinated by them….. has any studies been done on eagle quilts over the years? If so where was it published? Thanks, Kathie in NJ
From: “Beth Davis”
Laura, Here is some basic information on the eagle used as a design so frequently: Two hundred and twenty years ago—on June 20, 1782—the bald eagle became an American icon when the Second Continental Congress decided to use its image on The Great Seal. The Congress had considered another bird—not the wild turkey championed by Benjamin Franklin, but a fanciful eagle inspired by the imperial eagle of the Eastern Hemisphere. In altering the earlier design, Charles Thomson, secretary of the Congress, substituted the native bald eagle suspended on spread wings, “to denote,” he said, “that the United States of America ought to rely on their own Virtue.” Incensed by the decision, Ben Franklin would become the bald eagle’s greatest detractor. Viewing the national bird through overly anthropomorphic spectacles, he judged it immoral because it pirated fish from the osprey, cowardly because it retreated from the aggressive, yet comparatively small, Eastern kingbird. In the minds of many Americans, North America’s second largest bird of prey (after the California condor) is a fitting symbol. It’s image graces currency, stamps, art, architecture, and corporate logos. So the boldly designed eagle with a quiver of arrows in one talon, and an olive branch in the other, may have been intended to encourage patriotism. An explanation of the eagle seen on the dollar bill masy give us some clue as to the “cigar shape”: ‘escutcheon on the breast of the American eagle displayed proper, holding in its dexter talon an olive branch, and in his sinister a bundle of 13 arrows, all proper, in his beak a scroll, inscribed with this motto: E pluribus Unum.’ The cigar shape was probably developed from over-simplified patterns (either the olive branch or the arrows?). I know that I read somewhere that there were a few other symbols seen in the eagle’s talons-but I’ll have to look through my books & notes.
Regards Beth Davis
From: Laura Fisher
Again, thank you all for sending me info. The quilt is out being professionally laundered, once back, I wil try to put it on my website, along with other eagle stuff. (this posting business takes time–and skill! I can’t believe I may have to get yet one more computer, and maybe an energetic student, to post more things so they can generate more informative interaction! Thanks for your patience. i take computer baby steps–I just got a wireless mouse–how wonderful–one less tangled wire!!!
Laura Fisher
From: Sally Ward
Whilst looking for something else today on the website of the Victoria and Albert Museum in London, I stumbled upon the description of an exhibition to be held in Autumn 2009, entitled ‘Quilts’. The puff on the website was trying to sell it to corporate clients, and the spec makes interesting reading:
‘Quilts. Autumn 2009…(this exhibiton)….will deliberately challenge traditional perceptions and showcase British quiltmaking, placing its development within the context of historical and social changes from the 16th Century to the present day. From sumptuous historic bedcovers to controversial contemporary art, the universal appeal of the quilt promises to make this one of the most successful exhibitions of the year’
For anyone looking for a reason for a European trip in a few years time, or planning group tours, this might be worth noting.
Sally Ward
From: Sheryl Till
Hi everyone,
I remember reading somewhere that soaking linens with a sodium perborate based product can cause bleeding/ghosting of dark colors/blues but I can’t remember where I read it. Can anyone help? Someone wants to clean up some vintage butterfly blocks that have dark embroidery work and I’d like to save her a problem if possible. Many thanks. 🙂
From: “J. G. Row”
A few years ago I learned that someone named Judy Roche was running a quilt study group once a month at an almost local quilt shop. I signed up and began 2 years (or was it 3) of applique and Turkey Red bliss. For each meeting we would be given reading or research assignments and would be invited to bring in examples from our own collections to illustrate the time period, or color, or style under study. Sometimes our assignments were to report back on aspects other than quilting so that we could more easily relate the quilts under study to their times.
But what made the classes so extra special were the quilts that Judy brought as illustration each time — quilts from her own collection. Once a month she’d lug as many as 10 or more quilts to the shop. It didn’t matter what period of the 19th century we were studying — Judy had examples in depth to share with us.
Now you have an opportunity to see over 40 of the spectacular quilts from Judy’s collection at the Vermont Quilt Festival. http://www.vqf.org/exhibits.html If you can possibly get to Vermont you should go. But if travelling to Vermont is impossible for you, you will have 2 more opportunities to view the collection.
Judy has told me that in the 3 coldest winter months selections from her collection will be warming up the Brandywine River Museum in Chadds Ford Pa.!!! http://www.brandywinemuseum.org/index.html They will be there for the months of January, February, and March. (Another field trip for SQSG, for sure.)
After Pennsylvania the quilts will travel to another venue farther west — much farther west. But since there are no firm dates yet, I won’t announce the location. You folks on the west coast should start saving your pennies.
Do you remember how everyone said that we had to see the quilts at the Shelburne when they had their show, because who knew when they could be seen again? You need to see this collection, whether in Vermont or Pennsylvania, or ????. Make the time. Take the trip. What joy these quilts will bring you!
Judy in Ringoes, NJ judygrow@
From: “Jan Drechsler”
Around the dates September 4th-5th, 2004, there was a QHL discussion on Eagle quilts with some of our experts such as Lucinda, Xenia, Julia Zgliniec, Pat Cummings and probably others. Search the qhl archive for eagles, eagles and more, and eagles beak. I saved their comments, but don’t feel comfortable sending their comments out to qhl again. I also remember a longer discussion than the few I saved, so an archive search may prove fruitful for anyone interested. — Jan Drechsler NEW E-MAIL ADDRESS: quiltdoc@
Quilt Restoration; Quilting teacher
Hello to all, I am trying to complete my collection of Uncoverings. I need the issues from 1984 through 1989 and the 1996 issues. If you have extra copies of these or are downsizing your books, please contact me off list at _JLHfw@_. Thanks, Janet Henderson
From: “Teddy Pruett”
The very specific quilts with the four eagles diagonally set on the quilt must have been quite popular. I have had three of them come across my appraisal table in the past few years. A lot of people from Pennsylvania retire here to Florida. I probably know more about Pennsylvania quilts – (and NY and NH and Vt and MA) than I do about southern quilts. Quilts from the north show up on appraisal days in a 10 to 1 ratio over southern quilts. Don’t you think that’s interesting?? Teddy Pruett in steamy, humid, icky north Florida
I tried to post the pictures of my quilt from Provence which is perhaps from the 1700 – completely corded and backstitched. The best picture is held up to the light where the cording blocks the light, but the light passes through the fabric. There is no batting/wadding, and the cording appears perhaps handspun. Tried to post the first picture and got this message.
Could not save note – This attachment is too large. The total size of all attachments on your eBoard is limited to 20 MB.
If anyone would like me to email pictures, and you think you can help me date the quilt, just let me know.
Kay Triplett
From: “Karen Evans”
My, that’s interesting…and it’s old, all right. I’m fascinating by the way it looks against the light, and the places where the stuffing has come out. It’s certainly been used over the years.
Have you checked the pictures in Kathryn Berenson’s book on Provencal quilts? What I can that isn’t against the light isn’t as densely stuffed/corded as the ones in her book, but I don’t have it in front of me right now. But the pattern certainly doesn’t look like any 19th century whitework quilt I’ve seen – maybe late 18th century?
*Definitely* check it against the Berenson book, and see if anyone else on the list can help. It’s a great piece – did the seller know anything about it that might help?
I hope this does some good – thanks for showing it to me.
Karen
From: Gail Ingram
Dear List Members,
Mercy Maude! While going through emails in effort to clear up some space on my server, I reread my own response to a query re home economics classes of days gone by.
First, I realized what a valuable function VINTAGE FABRICS list serves. I bet we all feel better for having the opportunity to unburden ourselves of old grievances. Alas, I know I felt better.
At the time, that is.
Reading it again, I noted that the English teacher alluded to an incident in Trollope’s “Vanity Fair.”
That would be Wm. Makepeace Thackeray’s “Vanity Fair.” The incident, of course, occurred when the charity student, feisty little Miss Becky turned and heaved out the window of a departing coach the big fat copy of Samuel Johnson’s Dictionary the mistress of the young ladies’ school had reluctantly bestowed on her at graduation for her achievements.
I have so little information to contribute to this list that I suppose I can at least be grateful to have given some pleasure to those who knew the difference in Thackeray and Trollope (Thackeray wrote big fat books in one volume; Trollope wrote series of moderate-sized books that had to be read in sequence and so might be seen to have written one really big fat book). It has been my experience that few more universal pleasures exist than to witness an English teacher make a grammatical or syntactical error. I can only hope that having the same soul mix up writers offered at least a degree of that pleasure.
And Joan, that little boat and sea metaphor: I like it!
Gail
From: Joan Kiplinger
I am posting this per discussion with Kris. The eboard does have its ceiling. As part owner of eboard with Kris, I every so often delete old photos which have been posted by the Vintage Fabric list to free up space. If those on this list who have photos more than 3 months old on the eboard would remove them, this will solve the current problem. Also for future postings, it would be helpful to remember this 3-month limitation to assure continued free space.
To delete is very simple: – www.vintagepictures.eboard.com – at top of right screen select post/ edit mode – enter vintage for password – same screen will appear with edit/delete in each box – select your box; click delete; that’s it. – or repeat same process and click edit if you wish to change or add to a previous posting
To post photos to eboard: – www.vintagepictures.eboard.com – see Welcome/Directions box – contact Kris or myself if you have any problems
For all the people who have asked about the availability of Social Fabric, there is a copy available on eBay.
From: JLHfw@
Dear Friends, As I posted earlier, I am trying to complete my collection of Uncoverings. Does anyone have an online bookstore that specializes in out of print or older quilt and/or needlework books? Please reply to me off list at _JLHfw@_. Thanks, Janet
From: Xenia Cord
Anyone seeking back issues of Uncoverings should turn first to AQSG itself. Many of the issues have been reprinted, although some years remain out of print. Email Executive Director Judy Brott Buss, AQSG2unl.edu.
Xenia
From: Kaytriplet
I was able to post the pictures tonight of the quilt from Provence. Several people (including me) deleted some of their older postings. I am interested in the age of the quilt, and wondering how old it could possibly be. Thanks everyone!
Kay Triplett
From: “Karen Evans”
Historic Deerfield is having another symposium in the “In Search of Origins” series, this time on samplers. Here’s the list of speakers:
http://www.historic-deerfield.org/documents/LECTURELIST.pdf
Karen Evans ——=_
From: Julie Silber
Hi, Julie Silber here. Does anyone know of a group known as “Colored Friends”? I have a signature/fundraiser quilt, circa 1930, with their embroidered name. I am particularly interested in what may be a church related group in Atlanta. I think it may go back to the Civil War, but any information on such a group anywhere at any time would be appreciated. Thanks.
Hi everyone. I’m new to the list and am trying to identify what the heck the pattern is on an antique quilt top a friend purchase in Houston. One blocks are 11″ squares of muslin with a strange red and green applique that looks like a football, olive, nut perhaps. Does anyone want to give it a shot? Thanks for any help, Cindy Young, Newark, CA
From: Judy Kelius
At 12:51 AM 6/14/2005, you wrote: >Hi everyone. I’m new to the list and am trying to identify what the heck >the pattern is on an antique quilt top a friend purchase in Houston. One >blocks are 11″ squares of muslin with a strange red and green applique >that looks like a football, olive, nut perhaps. Does anyone want to give >it a shot? Thanks for any help, Cindy Young, Newark, CA
Hi Cindy – welcome! It is hard to know what you are describing without seeing it. Could you post a photo to the eBoard? (Joan Kiplinger just gave the instructions which I am copying here for your convenience: To post photos to eboard: – www.vintagepictures.eboard.com – see Welcome/Directions box – contact Kris or myself if you have any problems)
That said, many applique designs were created by the quiltmakers so it is not always possible to give them a common name or sometimes even identify what they were supposed to represent, if anything <GR>!
– Judy
Cinda, I lived in San Antonio 8 years: Go to the River Walk, the Alamo, there are 4 other old missions you can see, the sunken gardens, el marcado, Eat BBQ at Rudy’s, if you can get out there. Mexican food at Mi Tiera. Have Fun! Polly Mello
From: Crm793@
I found a really nice article entitled “Chemistry, Star of Fashion!” about the age of the colorists in early 19th century Alsace. It’s in a newsmagazine called Chemical Heritage, summer 2005, and is written by Joyce Storey, a professor of textile design at Philadelphia University. Samples of the fabrics and topics about the technique, French taste, the chemical style of printing and support for the industry are included.
This magazine is delivered to our house (husband is retired chemical engineer) and I would not have read it except for the fabric samples on the cover. I don’t know where you can get the magazine, maybe in your local library?
Carolyn Miller
From: Gail Ingram
> This magazine is delivered to our house (husband is retired chemical > engineer) and I would not have read it except for the fabric samples on the > cover. I > don’t know where you can get the magazine, maybe in your local library? > > Carolyn Miller
Oh, Carolyn, don’t try to make us believe you aren’t over there reading chemical books right and left. <g>
Gail
From: “Julia D. Zgliniec”
Dear Carolyn and QHL, Thank you for the notice about this magazine. I googled Chemical Heritage and came up with the web page and instructions for ordering this issue. http://www.chemheritage.org/pubs/pub-nav2-current.html
Regards, Julia Zgliniec
> Dear Carolyn and QHL, > Thank you for the notice about this magazine. I googled Chemical > Heritage and came up with the web page and instructions for ordering > this issue. > http://www.chemheritage.org/pubs/pub-nav2-current.html > > Regards, > Julia Zgliniec
Thanks Carolyn and Julia. I do read Chemical Engineering magazines when I have time, but didn’t know about this one! I just subscribed on their web site. You never know what you will learn at QHL!
Kay Triplett
From: Karen Alexander
Dear QHL Members, Last year many of you were very generous in donating items for the Quilters Hall of Fame Grand Opening Auction and, due to the generosity of quilters like you, we raised $10,000 for the on-going expenses of QHF: i.e. keeping the Marie Webster House full of rotating exhibits; maintaining the offices and archives of The Quilters Hall of Fame; plus tackling the production costs of our first book. Our call went out two months ago for this year’s auction but the response has not been nearly as great as last year, so I am here again to ask if you could go on a treasure hunt in your sewing rooms again to find some items you might once again donate. We are seeking finished quilts of any size, tops of any size, handmade dolls; pieces of fabric from your quilt stashes that we can bundle together; books by our Honorees; quilted or patchwork vests; and whatever else could tickle a quilter’s purse to entice her to whip out her check book. You all know exactly what I am talking about, I=B9m sure! So please, dig deep in those closest and sewing rooms and see if you can find a few items to part with and send them to QHF care of Jean Chambers, 406 Gardner Court, Marion, IN 46952-1916. This year’s Celebration dates at which Bets Ramsey of Nashville , TN, will be inducted are July 14-17, with the auction Friday night, July 16=. Check out our website at www.quiltershalloffame.org to see all the exhibits hanging during Celebration. Thank you for all your support of QHF!! Karen Alexander Press Secretary The Quilters Hall of Fame
From: c
Hi evryone, I’ve posted a photo on the eBoard of the quilt I asked about earlier. It is listed as Antique Quilt Top and is has red and green oval shapes about 8″ in length appliqued on 11″ muslin squares. Thanks for all of the responses I’ve received so far. Any information about the top is greatly appreciated. Also any suggestions for quilting the top or if it should be left alone, Thanks so much. Cindy Young, Newark CA
From: Audrey Cameron
Hi All,
Here is a note about an new book published in Britain. I have not seen it & I am reporting it as it was listed in a magazine British Archaeology July/ August 2005:
The Textile Industry of South West England by Marilyn Palmer & Peter Neaverson ISBN 0752431331 price in English pounds 17.99
The book unites the production of textiles (primarily wool, linen, & silk) with chapters on fabrics, fashion, the fulling mill, the role of the clothiers, workshops & mills, the houses of the workforce, & the current state of the textile industry remains today.
Audrey Cameron in a sunny but still cool Lincolnshire
From: Judy Kelius
At 01:54 PM 6/16/2005, you wrote: >Hi evryone, I’ve posted a photo on the eBoard of the quilt I asked about >earlier. It is listed as Antique Quilt Top and is has red and green oval >shapes about 8″ in length appliqued on 11″ muslin squares. Thanks for all >of the responses I’ve received so far. Any information about the top is >greatly appreciated. Also any suggestions for quilting the top or if it >should be left alone, Thanks so much. Cindy Young, Newark CA
Thanks Cindy! That’s a fascinating pattern… has an “Op-Art” look to it! It was probably the maker’s own design – it doesn’t look like anything I recognize. There’s a lot of disagreement about whether or not to quilt old tops, but personally I think if it is done with designs and materials appropriate to the period (i.e., all cotton), it will probably lengthen the life of the piece. Plus applique quilts are usually strong enough to hold up under the stress of quilting, not always the case with pieced quilts where a lot of printed fabrics were used, especially those weak browns.
