February 23 - 26, 2006 - QuiltHistory

Fabric Identification, Oral History & Documentation, Restoration & Conservation

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:

Sourcing Extra-Wide Vintage Fabric — Members identify a now-relocated California retailer once known for selling 80-inch and wider fabric.
Clementine Hunter Biography and Quilt Market — Members clarify facts about folk artist Clementine Hunter’s life and the market for quilts attributed to her.
Historical Head-Covering Traditions — A tangent on religious head-covering customs across Christian, Jewish, and Islamic practice, relevant to costume and textile history.
Evaluating an Inherited Family Quilt Collection — A member who inherited over 100 quilts and quilt tops asks for guidance on evaluating and documenting the collection.

Date: Thu, 23 Feb 2006 17:43:46 -0800 | From: Julie Silber <quiltcomplex@>

Another question for you good people:

I recently did a day of quilt appraisals at a museum here in California. I was shown an all white wholecloth, hand quilted “Bride’s Quilt.” I would have pegged it at circa 1920 – 40, BUT . it was made of one un-seamed piece of fabric. Measured 80 x 80 inches.

Please enlighten me: what is the earliest time eighty inch wide fabric was available. (This non-sewing girl did not know it was EVER available.) Help me get smarter, please.

Many thanks,

Julie Silber

Date: Thu, 23 Feb 2006 22:09:37 -0500 | From: “Teddy Pruett” <aprayzer@>

<<<The calm you experienced in your re-enactment of piecing a quilt – and putting on correct period clothes – is called “experiential anthropolgy”.>>

Oh, merciful heavens, that does sound grand!! Isn’t it divine that I was doing something so important and lofty? Heck, I thought I was just dressin’ up. It’s a bit like folks who “engage in dialogue” and I’m merely talking. Ain’t education a grand thing??

In all seriousness, Newbie, thank you for the tidbit. I truly wasn’t aware the term could be used in that way. Now I’ll have to find a way to drop this into conversation…….

Teddy Pruett Currently Craving A Cultured Existence www.teddypruett.com

_________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/

Date: Thu, 23 Feb 2006 22:09:03 -0500 | From: joan kiplinger <jkip@>

Julie — I can’t give you the earliest date, but many mills in the early 1800s — Jackson and Naumkeag for example — specialized in bed and others sheetings so extra wide -width looms were available to weave a variety of cotton cloths. Do you know what type of fabric was used for quilt — muslin, cambric, etc??

Date: Thu, 23 Feb 2006 22:29:04 -0800 | From: “Maureen” <maureen@>

I’ve been working at Southern Oregon Public Television for the last year and a half and have enjoyed the opportunity to bring public television to our regional quilt groups.

Just yesterday we had private screenings of The Great American Quilt Revival (produced by University of North Carolina’s public television) for local quilters. Two art quilters, Karen Flamme of Oakland CA and Karen Bates of Ashland OR displayed their incredible textile art and in her introductory presentation, Flamme drew a parallel between the evolution of quilts as an art form in the 1890s, 1920s and 1970s as compared to today’s art quilts. The events were co-sponsored by the Mountain Stars Quilt Guild of Southern Oregon.

What an experience.

We didn’t have that many attendees, to tell you the truth. About 15 at the afternoon screening and about 10 at the evening. But we talked! The history of quilting is so alive! To see people like Georgia Bonesteel, Jean Ray Lauray, Yvonne Porcella, Cuesta Benberry, Jonathan Holstein and others and to hear them talk about pivotal moments in quilt history was almost overwhelming. To see the work of these incredible artists in books for so long and then to see them and hear them speak about the women’s movement, about quilting as an expression of freedom and cultural change was so very, very moving. And the future of quilting is so near!

If you haven’t seen the film, rent it, borrow it, buy it or talk your local public television station into airing it.

You’ll hear Barbara Brackman talk about the first time she heard about the UGRR (1980!), hear the outrage of those who picketed the Smithsonian when that revered institution licensed foreign manufacturers to sew quilts from the Smithsonian collection (including the Harriet Powers bible quilt), and see the transformation of Marie Webster’s home into the Quilter’s Hall of Fame.

Enough now. But I am going to finish this wonderful quilt that I’ve been working on for more than 5 years — Experiment with Color for Barbara Black, to thank her for helping me through a hard patch. And I’m going to enter it into the next Mountain Stars Quilt Show, in April 2007. Then I’ll give it to Barb.

Enough now.

Best regards.

Maureen. In Ashland, Oregon where it is finally spring and we won’t see rain until October.

Date: Thu, 23 Feb 2006 22:54:19 -0800 | From: “alan” <alan@>

I just pulled a quilt out of my collection (haven’t looked at them since moving here). I was thoroughly puzzled by the edge I saw. It’s a nice c1880’s one-patch, triangles, scrappy with lots of madders. Very sweet. But the damndest thing is *I don’t remember it* !! It’s definitely something I’d collect, but I have no idea when I acquired it. I know I have problems in the brain, I’ve lost some of my long term memories, but this? <LOL>

But if any of you are in the Bay Area, you’re more than welcome to stop by and look at the babies. I like to show them off.

Alan

Alan R. Kelchner Mixed Media Textiles http://alanrkelchner.com (in process) http://www.livejournal.com/users/sffreakish/

And even in our sleep, pain which cannot forget falls drop by drop upon the heart, and in our own despite, against our will, comes wisdom to us by the awful grace of God.

Aeschylus, 3rd c BC

and then:

“And there is nothing to be done, The cathedral is sinking Under the weight of souls and tears and prayers Delivered unto the awful grace of God. “

(M. Tafoya)

Date: Fri, 24 Feb 2006 06:55:15 -0600 | From: Xenia Cord <xenia@>

The rush that Maureen describes when hearing about American quilt history and seeing the ‘greats’ discuss it from their own perspectives is the same enthusiasm felt by members of the American Quilt Study Group. If her words – and your interest – inspire further involvement, why not join AQSG and spend real time with enthusiasts who are ‘singing from the same song sheet’ <g>?

You can read about AQSG and download a membership form by going to: http://www.h-net.org/~aqsg/

We have a distinct advantage in this country in that most of those who are doing cutting edge research and publishing, who are creating quilts that will become significant in our great heritage, who are the venerated spokespersons of our interest – are alive and approachable. Why not take advantage of this and join AQSG, where so many of them find a home?

Blatantly affiliated!

Xenia

(And yes – badger your local PBS stations to show The Great American Quilt Revival, and/or buy the DVD from the Quilters Hall of Fame, Marion, IN)

Date: Fri, 24 Feb 2006 07:32:49 -0500 | From: “Linda Heminway” <ibquiltn@>

I’ve gotten a number of questions from you all regarding my grandmother’s quilts and posted them to the Kodak site to be viewed, if anyone would like. http://www.kodakgallery.com/Slideshow.jsp?mode=fromshare&Uc=b1dqjnvj.4ct5jywn&Uy=-ncgehe&Ux=1 Also sneaked in a photo of my relatives, my cousin Lee (back right standing) is the one who owns the Dresden plate quilt I will restore and the one who gave me the quilt that Grandma made. I made this pilgramage to Massachusetts to visit them, primarily as my uncle is wheelchair bound and he couldn’t make it to my parent’s burials. I lost both my mom and dad in the last five months, so getting these quilts and even seeing and touching them was a very highly emotional experience for me. Any information you can all give on these quilts is greatly appreciated! I shall have to contact someone about the NH quilt documentation, I think, as they are now in NH and I know their maker and history. Also, just one other thing that was really cool. One of our members has an ancestor with my family name and has contacted me about genealogy information! The Derry family are direct descendants of John Alden and Miles Standish and we have huge albums of family genealogy stuff, goes WAY back! Linda Derry Heminway Plaistow NH

Date: Fri, 24 Feb 2006 06:53:58 -0600 | From: “Rosie Werner” <rwerner@>

I doubt if it is a kit quilt. Most kit designers left lots of room for fancy quilting, and these butterflies are pretty crowded together. (Reminds me of the Fall when the Monarchs are gathering for migration.) The center basket may be from a different source than the butterfly pattern. I’m working on a comparison of kits with baskets now, so if I come across one like this, I’ll let you know. However, the butterflies could be die-cut and I include the die-cuts as kits. I haven’t studied them enough to be able to tell you what company may have sold them. Rosie

Date: Fri, 24 Feb 2006 07:03:46 EST | From: KJB139@

How do I get a copy of this film???? I am very interested in seeing it!!!

Kathy B

Date: Fri, 24 Feb 2006 09:37:03 -0500 | From: Sandra G Munsey <munsey@>

Julie:

In the 1950s and early 60s there was a company in California that sold 80 inch and even wider fabric – but I don’t know if they manufactured it themselves. If I remember correctly they even had monks cloth that was wider than that. It was sold for use in making draperies (for all those CA picture windows of the time?). Bad news – I don’t remember the name of company. They carried heavy weight basic fabrics like monks cloth primarily, but there also was lighter weight for linings. I think the company was located in southern Cal.

Sandra on Cape Cod

Date: Fri, 24 Feb 2006 11:28:18 -0500 | From: “Sharon’s” <sstark@>

Julie, and all,

I don’t know the earliest they were available, but my 1925-26 Sears catalog lists unbleached 90 inch wide sheeting at 46 cents a yard, bleached is 50. Other available widths: 54, 63, 72, 81 inches. Guess they had to make bed sheets from something….

Sharon Stark

> Please enlighten me: what is the earliest time eighty inch wide fabric was > available. (This non-sewing girl did not know it was EVER available.) Help > me get smarter, please. >

Date: Fri, 24 Feb 2006 11:20:59 -0600 | From: “Marcia Kaylakie” <marciark@>

Hi Xenia, If you could, I would like to pick your brain about an item I am appraising for an estate to be donated to a university. It is a collection of 500 feedsack squares in about 8 large ring binders. No duplicates. All colors represented. Current replacement on the market is running $30 per 50 but I feel that the collection is worth more due to the non duplication thing and the idea that the whole represents more than the sum of the parts. Any thought on this? Thanks, Marcia Kaylakie

Date: Fri, 24 Feb 2006 12:39:07 EST | From: Feedsackfanatic@

Marcia,

I’m not Xenia, but I can give you some input re the feedsack squares. I sell 100 different 6″ feedsack squares on Ebay from time to time and have had final bids anywhere $35-$105. 100 different 4″ squares go for slightly different amounts. It depends on the size of the squares you have and the market at the time you put them up for sale.

Paula in GA

Date: Fri, 24 Feb 2006 07:40:22 -0800 (PST) | From: ANNE CARTER <akcarter46@>

My mother recently passed away leaving at least 100 quilt tops, completed quilts, and bits and pieces of quilt projects. She was also part of the Vermont Quilt Festival and helped with some of the documentation of VT quilts. The family loved her and the quilts she left behind. But how do we determine is the quilts, etc are worthy of documentation and her life and story are part of the greater history of quilting?

vegetable46

Date: Fri, 24 Feb 2006 12:47:57 -0500 | From: “vegetable46” <akcarter46@>

My 87 year old mother passed away a year ago, leaving behind at least 100 completed quilts, quilt tops, paper pieces, unfinished projects, fabrics etc. She helped with a state quilt festival and quilt documentation from time to time. How do I decided that her quilts and etc should be documented or leave anything that increases the general knowledge of the quilt world? I am a professor and could do some research on my own, write etc, but do not have knowledge in fabrics, fabric history, etc.

Also I am in the process of finishing some of the quilt tops. So far all I have done is go to a quilt shop and have an elderly store worker who seems to know something about fabrics help me pick out a fabric from the store for the binding and backing. Should I be recording this, finiding older fabrics to finish the quilts with? How do I maintain the integrity of the quilts?

Date: Fri, 24 Feb 2006 12:41:11 EST | From: KathrynHerrmann@

Hey, Try one of these sites.

-Kathryn in N.C.

_http://www.quiltrevival.com/_ (http://www.quiltrevival.com/) georgiabonesteel.com

Date: Fri, 24 Feb 2006 14:55:13 -0500 | From: “Pepper Cory” <pepcory@>

Does anyone have a spare copy of the 1984 Uncoverings that they’d sell me? If not, would a kindly lucky possessor of the same make me a copy of the article by James Liles called “Dyes in American Quilts Made Before 1930” ? I would be most obliged! Please contact me off-list at pepcory@ or call (252) 726-4117. Pepper Cory (who’s trying to make a manuscript deadline!)

Date: Fri, 24 Feb 2006 12:33:20 -0800 | From: “Margaret Geiss-Mooney” <mgmooney@>

Good afternoon, fellow QHLers – I think Sandra is talking about Homespun Fabrics & Draperies, now in Ventura, California. Their website is: http://www.homespunfabri@ 10 foot wide fabrics, ladies and gents! Regards, Regards, Margaret (Meg) Geiss-Mooney Textile/Costume Conservator Professional Associate, AIC mgmooney@

—–Original Message—– In the 1950s and early 60s there was a company in California that sold 80 inch and even wider fabric – but I don’t know if they manufactured it themselves. If I remember correctly they even had monks cloth that was wider than that.

Date: Fri, 24 Feb 2006 16:41:46 EST | From: Mitzioakes@

If you live in Vermont (home of VQF) you could contact them direct, and any reputable quilt shop would probably just LOVE to see and talk about your treasures. Keep me informed of what happens to this irreplaceable find. Mitzi from Vermont

Date: Fri, 24 Feb 2006 17:02:30 -0500 (GMT-05:00) | From: Matt Arnett <marnett@>

Clementine Hunter was born in the late 1880s and died in the late 1980s. She lived on Melrose Plantation near Natchitoches, Louisiana for almost her entire adult life. She was employed as a domestic worker at Melrose, which became an artist’s center in the 1940s. She took up painting, using paints and brushes that were discarded by one o f Melrose’s guests. Her artistic career was encouraged by artist and art lovers that visited the Plantation. She was also a quiltmaker. I have seen a number of her quilts. All of the o ldest ones are, for the most part, traditional patterns, with some creative fabric choices. The later quilts (and I didn’t see the one that was for sa le so I can’t comment on it) were, as far as I remember, for pictoral. Most of the ones I’ve seen are “pictures” of Melrose Plantation, some with huma n and or animal forms. They have more in common with the types of paintings she did than with what I would think of as the types of quilts that would have been found in the area at the time. To my eyes (and I have seen a lot-= though this won’t make me too many friends) they are heavily “influenced” b y patrons and the commercial market. An entire chapter of a book could be w ritten about outside influences on artists, particularly southern African American artists, by the interests of outsiders, particularly dealers and co llectors. Think more recently of Sarah Mary Taylor, who never conceived of hands, and chickens, and fish, and other pictoral images until a patron req uested she start making that type of quilt. Similar to Hunter, Taylor’s ear lier work (and I am not claiming to be a scholar of Taylor or Hunter) seems to have been more traditional as well. Taylor’s mother, Pearlie Posey, was also an active quiltmaker, whose quilts were very typical of quilts that w ould have come from her area (Yazoo City, MS). In 1980, Taylor made one of her applique quilts (which are about all you ever see now) at a buyers sugg estion. Her mother then started doing her quilts the same way, as they sold a lot faster and for better prices than her more traditional (I would say in a traditional African American style, but some may not agree with that catagorization). Likewise, Clementine Hunter’s later quilts (my guess would be after the lat e forties/early fifties) were almost entirely pictoral. As for the price someone was asking (I think I read $18,000), that doesn’t seem to have come from out of left field. I have seen a number of her quilts being offered for sale through her prima ry dealer, and I believe the dealer of her estate, for as much as $40,000 (= I could be a tad high, but I’m older than I used to be). I’m certain that I ‘ve seen them in the low to mid-twenties, and I do seem to remember one tha t was significantly higher. Her paintings, which are much better known (aga in, I am not a fan personally, but to each his/her own), routinely are offe red from about $5,000 up. My recollection is that the older and more comple x, the more expensive. She had quite a large body of work by the time she passed away (more than 40+ plus years of production), living and working at an artists’ enclave. The dealer I mentioned, Micky Gilley of Gilley’s Galle ry in Louisiana, could certainly answer more questions should any one have them. I too would be happy to answer more questions, but what I’ve just wri tten represents the most time I’ve spent thinking about her work in my lif e. Mr. Gilley also produced a book about her (I’m thinking it was done in a bout 2002 or 2003). There is more information in that book than you would e ver need to know. I hope this has helped. Have a good day. Matt BTW, I will be in Washington D.C. with Mary Lee Bendolph and Louisiana Bend olph, two Gee’s Bend quiltmakers, for a talk at the Corcoran Museum of Art on Sunday, the 26th.

Matt Arnett Tinwood Media 512 Means St. NW Suite 305 Atlanta, GA 30318 ph. 404.607.7172 cell. 404.234.8050

Matt Arnett Tinwood Media 512 Means Street Suite 305 Atlanta, GA 30318 tel.404.607.7172 cell.404.234.8050

Date: Fri, 24 Feb 2006 22:15:58 -0500 | From: “Newbie Richardson” <pastcrafts@>

Dear list I thought you might be interested in a recent find. I have been catolguing/condition reporting the costume collection of the James Monroe museum in Fredericksburg VA. He was our 4th president – minister to France (1803-1810) Gov. of VA – several times, Secretary of State, etc. Historians and contemporaries describe him as a very modest, hard working fellow who cared deeply about the new Republic as well as his family. MOnroe scholars think he has not gotten the attention he deserves as a “Founding FAther” because he was not glamorous nor tainted by scandal! He was certainly not flamboyant nor fashion forward, unlike Jefferson. His clothes bear this out, interestingly enough. But he knew enough about the French to dress in the latest style while in Paris at the court of Napoleon. ( When in Rome do as the Romans do..) So, out of a box pops one of the most eye catching silk embroidered polychrome waistcoats I have ever seen! ( I thought of you, Karen) Initially we dated it c1804/5 – probably for wearing at court – but here is the quilt related part: parts of the embroidered trim were satin stitched over stiff paper cut outs – just like those applique quilts of the late 18th early 19th century in Britain. The paper cut outs were used for the satin embroidered edging all around the collar, the fronts, the pocket flaps as well as for a “polka dot” edging used to outline the border. Very cool. The embroidery was abraded not from the paper – it was not acidic- but from the extensive use of the vest as “fancy dress” costumes worn by later generations who abused it.

The other thing that was intriguing is that part of the embroidery design involves silk net – MACHINE made silk net! so that puts this waistcoat at 1808 Right?( Invention of bobbinet machine by John Heathcoat) does anyone on the list have a dictionary that gives an earlier date than 1808? I know that the silk knitting machines were doing a version of knitted lace in the 1790’s ( as soon as the spinning Jenny could spin cotton really fine, I think) but I have read that it was really not produced commercially..is that right? What do you say Joan? I do know that when you survey the history of clothing, the use of lots of netting as embellishment takes off like a shot about 1811 – when it becomes very available – sort of like how fast the microwave oven spread or digital cameras took over – once the technology made it “affordable”. But the style of this waistcoat is definitely before 1810 and aesthetically and proportionately it is spot on 1804….which right now I can’t say because of the machine made net component. I can see I need yet more books in my library! Newbie

Date: Fri, 24 Feb 2006 22:21:17 -0500 | From: “Karen Evans”

Newbie – that sounds fascinating! Any chance you can post a picture? I’d love to see it!

Karen

Date: Fri, 24 Feb 2006 22:41:07 -0500 | From: “Lynne Z. Bassett” <lzbassett@>

Dear Newbie,

I went to my copy of _Lace Machines and Machine Laces_ by Pat Earnshaw (1986), and it certainly sounds that there were machine-made nets available before the 19th century. She says: “It was in 1768 that modifications of the Stocking Frame machine, more profound than any that occurred in all the years since it was first invented, began to transform it from a knitter of tangible stockings to a knitter of near-tangible nets.” (p. 21) Also–“Other experiments…produced Robert Frost’s tickler net of 1769 which had some pattern areas of solid plain stitch; Frost and Holmes’s two-plain net of 1777; and Thomas Frost’s square net of 1781 (patent no. 1294) which was not sexangular but ‘diamond-wise in squares,’ each mesh having four equal sides.” And then–(pp. 21-22) “All other nets, however, were soon eclipsed in the commercial market by the products of the pin- and point-net-machines. The former was the invention of a workman called Harvey in the employ of Else…. Else in 1779 registered a patent (no. 1235) for the preparation of yarn for ‘French or wire ground lace’; while in the same year Harvey’s patent (no. 1238) was for ‘Apparatus applicable to the Stocking Frame for the making of lace called Brussels, or double ground lace.'” Earl goes on to describe other lace machine inventions in the 18th century. So, I would suppose that it is possible your vest is as early as the style suggests. The other thing to consider, though, is the conservatism of court dress….

There is a fragment of an embroidered 17th-century velvet vest in the collection of the Connecticut Historical Society that is worked over paper as you describe.

Hope this helps!

Best, Lynne

Date: Fri, 24 Feb 2006 23:10:09 -0500 | From: “Karen Evans”

I haven’t actually seen it, but there’s a *gorgeous* altar frontal from the 15th century (it’s worked in silk and or nue on linen, and shows the Virgin and Child) that is appliqued backed with stiff paper. It’s pictured in Kay Staniland’s =Medieval Craftsmen: Embroiderers,= and is just magnificent.

So…paper backing is certainly possible. And Lynne’s right about machine-made knitting and lace predating 1805. It sounds like the piece Newbie found is a prime example.

*loves this list*

Karen Evans

Date: Fri, 24 Feb 2006 22:31:45 -0800 (PST) | From: karenquilt@

Thank you, Xenia for that plus for QHF!

Dear QHL members,

May I put in a plug too for QHF! Please DO consider ordering your copy of The Great American Quilt Revival from The Quilters Hall of Fame. There is an order form on our webste that you can download as printable pdf file – www.quiltershalloffame.org

QHF was very instrumental in helping get this documentary produced and all the interviews were filmed in Marion, Indiana, during the Grand Opening of The Quilter Hall of Fame in July 2004. Though we did not produce the film, we carry the DVD in our gift shop and make money ONLY if we sell it directly ourselves. Or you can call QHF at 765-664-9333 and order it using your credit card. $25 plus shipping.

Blantantly affiliated!

Karen Alexander President The Quilters Hall of fame Member of AQSG since 1981

Date: Sat, 25 Feb 2006 10:04:25 -0600 | From: Xenia Cord <xenia@>

Pepper, I have the book but very little time to copy the Liles article for you – AQSG board meeting is coming up next weekend, and I am scurrying. I am away Mon, Wed, and leave for the mtg. Thurs.

What’s your time frame? If you don’t get a copy elsewhere, let me know and I will try…

Xenia

Date: Sat, 25 Feb 2006 11:06:28 -0500 | From: “Newbie Richardson” <pastcrafts@>

I did take pictures. I will see if they turned out and if I can get my husband to post for me sometime next week. I am off to the Small Museums Conference this afternoon. But I did think of you when that thing popped out of the box! N

–

Date: Sat, 25 Feb 2006 11:11:46 -0500 | From: “Newbie Richardson” <pastcrafts@>

Lynne, Thanks so much! I need to get me that book! Now I need to re-examine the net under the loop to see how many sides to the design – 4 or 6. The Brtish court was conservative – but not the French. Court dress in 18th c and early 19th c France was over the top to the nines. This waistcoat is actually “conservative” for high style. If that makes sense. You are a dear, thanks Newbie

Date: Sat, 25 Feb 2006 11:09:03 -0800 | From: “alan” <alan@>

I’m not real clear on this – are these sample books or collected fabrics?

Alan

Date: Sat, 25 Feb 2006 11:13:17 -0800 | From: “alan” <alan@>

> But how do we determine is the quilts, etc are worthy of documentation and her life and story are part of the greater history of quilting?

Ann, we all are a part of quilting history. In my book, your mother is worthy of documentation, if for no other reason then she was your mother. We are not all important people in the overall scheme of things, but she’s important to you and your family. I’d say make a photographic record of her work, and then give copies to the family, maybe even that organization that collects stories (the name slips my mind).

I have a book in mind about my granddmother’s quilting bee. Not a great story, they were just ordinary ladies, but one I think should be out there.

Alan

Date: Sat, 25 Feb 2006 16:14:04 -0500 | From: “Pepper Cory” <pepcory@>

Could Lynne Bassett contact me off-list? Need phone #-thanks- Pepper

Date: Sat, 25 Feb 2006 14:36:44 EST | From: Mendofleur@

Hello Newbie,

Thank you for sharing such rich and varied information in your postings. I always look forward to reading them and keep many in a file for future reference.

Phyllis de Vries

Date: Sat, 25 Feb 2006 11:16:48 -0800 (PST) | From: ANNE CARTER <akcarter46@>

“are these sample books or collected fabrics?

Collected fabrics, quilt tops, completed quilts, unfinished projects, templates, thread, scissors, etc

alan <alan@> wrote: > But how do we determine is the quilts, etc are worthy of documentation and her life and story are part of the greater history of quilting?

I have a book in mind about my granddmother’s quilting bee. Not a great story, they were just ordinary ladies, but one I think should be out there.

Alan

Date: Sat, 25 Feb 2006 16:17:42 EST | From: Mendofleur@

I agree with Alan. I also might add that women, as we know, have struggled for recognition all through history. I feel my grandmother in her efforts to establish a creative life for herself in her needlework and gardening was as important as Mary Cassatt or Sonia Delaunay or Clarice Cliff or Jessie Wilcox Smith or Gertrude Jekyll. She just happened to live in isolation as a farmer’s wife doing the duties that were expected of her in this role. Honoring these “ordinary ladies” is our duty as grandchildren. I find it immensely comforting and reassuring to read about the seemingly simplistic lives of these unknown women. In many ways they give us a “roadmap” to follow with their strength of character, devotion to and honor of family, and a belief in their right to express their unique creativity.

These women and their lives remind me of a bit of prose I have framed and hanging in my home:

“To live content with small means, to seek elegance rather than luxury, and refinement rather than fashion…to be worthy , not respectable, and wealthy, not rich..to study hard, think quietly, talk gently, act frankly…to listen to stars and birds, to babes and sages with open heart…to bear all cheerfully, do all bravely, await occasions, hurry never…”

I think these tributes are necessary as well as liberating. They give us all so much hope and resilience in our own lives. So Ann, be confident that any documentation is worthy of any time you can give to it. And, most importantly, enjoy it!

Phyllis de Vries

Date: Sun, 26 Feb 2006 00:49:06 EST | From: PatKoerner@

Saw an oldie but a goodie tonight, Groundhog Day with Bill Murray and Annie McDowell. He keeps waking up to the same day over and over and there is a quilt on the bed. Its small pieces of floral prints set somthing like a double irish chain. I am very sure it was a Chinese import with knife edge and large hand quilting. The film was made in 93. Were those imports around then? pat moore

Date: Sat, 25 Feb 2006 22:26:34 -0800 (PST) | From: karenquilt@

AMEN to Alan and Phyllis! If we who are “in the know about quilt history” don’t capture our quilter relative’s history, who will? Can you imagine how excited you would get if you stumbled across such documentation about a quilter at a flea market, yard sale, antique mall, anywhere! Again, I encourage you to check out Q-SOS Q-SOS (Quilters – Save Our Stories) http://www.centerforthequilt.org/qsos/qsos.html

If you find their form too daunting — which it isn’t really, I’ll be happy to send anyone who sends me a self-addressed stamped envelope a copy of the shorter form I created several years ago for my lecture “Documenting the Family Quilt.” Contact me off-line by email.

Karen Alexander

From: vegetable46

wow, thank you for your inspiring comments. my dad was very well known in his field and gone often. Mom stayed at home and i have wonderful memories of it but I think mom always wanted a little something more and expressed it through her hands. She had just finished a quilt top minutes before she had her heart attack. She made the quilt after recovering from a stroke that paralyzed her right side. She taiught my family more in herlast year than the previous 20 at least. she does have a story to tell.

vegetable46

Date: Sun, 26 Feb 2006 11:50:49 -0500 | From: “Nancy Roberts” <aquilter@>

A well-written article on a current exhibit of African American vintage quilts appeared in the Arts and Travel section of today’s Star Banner (the Ocala, Florida, daily newspaper). You can see some photos of the quilts on display and read some comments from the collector/owner. An illustrated color catalog of the exhibit is also available for $5 and might be a nice item for your collection. Here are some links for further info: http://www.ocala.com/apps/pbcs.dll/frontpage for the article (titled “Faded Beauties”–about halfway down the page–you might want to check it out today, as I don’t know if they archive extensively) and http://www.cfcc.cc.fl.us/ for contact info on obtaining the catalog, contact person is Joleen Gonzalez. Hope you get a chance to check it out. Nancy Roberts

Date: Sun, 26 Feb 2006 11:09:50 -0600 | From: “Susan Wildemuth” <ksandbcw@>

On E-bay now, you see a lot of people selling “copies” of pre-WWII quilt books, catalogs, or newspaper clippings? They do say in their ads “this is a copy” from my original book. Are these items they are copying in the public domain?

Sue

Date: Sun, 26 Feb 2006 | From: deedadik@

Hi Pepper and Xenia, I have the article and will copy it tomorrow and mail it tomorrow. Dee

— Dee Dadik Certified Appraiser of Quilted Textiles 5689 Concord Hill Dr. Columbus, Ohio 43213 614-861-0478

Date: Sun, 26 Feb 2006 12:03:50 -0600 | From: “Susan Wildemuth” <ksandbcw@>

Thanks to those of you who answered my e-mail privately.

Here is a web-site with good information about copyrights that was recommended to me:

http://sylvias-studio.com/copyright_for_quilters_crafters.htm

Sue