August 12 – 13, 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:
- Northern California Quilt Events — Julie Silber announces two Northern California events, a Fort Bragg trunk show and a Petaluma outdoor quilt show, for lovers of antique quilts.
- Suede and Leather Quilts — Members recall and discuss quilts and garments made from unconventional materials like suede and leather.
- The Underground Railroad Quilt Code, Revisited — A caution about reproducing copyrighted WWII-era “Victory” quilt patterns reignites debate over the Underground Railroad quilt-code story. (see the article on Underground Railroad quilts)
- Bed Turnings as a Teaching Tool — Quilters share how they use “bed turning” presentations to introduce guild members to quilt history and care.
From: karenquilt@
Gail, personally speaking, I was referring to just quilters in my post because I find it an”interesting” phenomena — from my personal perspective — that more quilt-makers don’t show more interest in quilt history. <g> But they probably find me “odd” that for all my love of quilts, even though I know how to, I don’t make quilts that often myself. Perhaps they think of me: “How can she be so passionate about quilt history and not make more quilts herself?” <g> Well, I’m not all that interested in sports myself, but millions of people are. Each to her own passion, I guess. (I can only wish they would spend that kind of money supporting quilt history!!) But I digress.
The Quilters Hall of Fame certainly attracts more than quilt historians or quilters. As a restored historic house, we attract historic house buffs, too, as well as those interested in local history. The fact that the Marie Webster House was built partially from the lumber of a local grand hotel that was torn down when the natural gas boom in the area went bust, also attracts other kinds of historians. But they all get exposed to some quilt history when they come visiting! And speaking of going outside quilt guild circles to share quilt history, I suspect that the recent wide dissemination of the myth of quilts as signals on the Underground Railroad has also increased awareness and interest in quilts and their history far beyond “the usual” quilt circles. I suspect the popularity of this myth may have even encouraged many quilters to seek out additional quilt history for the first time in their lives. Myths and their power to move and intrigue people are timeless and here to stay.
Speaking of myths, I just received a solicitation mailing from an Indian school in South Dakota. They were offering tickets for a raffle quilt. The opening paragraph reads: <<Living and working on South Dakota’s reservations, I have seen many star quilts in my life. But, it wasn’t until recently I learned something special about star quilts. Each quilt has a flaw. Whether intentional or not, the quilt is not perfect. This is to remind the quilt’s maker and receiver of a very important lesson — we are human, and no one is perfect…The star quilt has long been a sign of honor to the Lakota (Sioux) people. Early in the 1900s when the Lakota women were taught to sew and quilt, sewing circles developed so women could socialize. Since then, the star quilt has turned into an important part of Lakota culture. A star quilt is given to honor people, like a horse or buffalo robe was given in days past…The next time you make a mistake, or see that of another, think of the Lakota star quilt and the Lakota boys and girls…>> And so this myth of the deliberate mistake in quilt making lives on in a yet another variation of its original telling.
Sincerely,
Your passionate and obsessive quilt historian. <VBG> (just ask my husband)
Karen Alexander
From: Xenia Cord <xenia@>
My interest in quilt history began, as many have heard from me, when the university where I was teaching asked for a grad course for returning non-traditional students (mostly women teachers working on Master’s credits). The course(s) morphed into community quilt exhibits so the students could have hands-on experience. Along the way I realized that I needed to understand the process if I was to correctly interpret and teach the history of the product. And so – with agonizing slowness and a growing resistance to ever doing the “A” word (applique) – I also became a quilter. Some of my best friends are the women I quilt with weekly.
The next step was investigating historic quilts at a more basic level, so I began a study of the creation of cotton fabrics, and the methods of surface color application attempted over the past several centuries; an in-depth study of chintz followed. During those community quilt shows – where we documented, photographed, and displayed over 1000 quilts in 3 years, with few repeats – I met many older women and a few men who had quilts to dispose of and no comfortable outlet. So I left the university behind, in favor of selling antique quilts on consignment.
Membership in the American Quilt Study Group was like discovering family I had never known existed. And then came QHL – an entire world of good friends and interesting people. And involvement over the past 4 years with the Midwest Fabric Study Group has been equally rewarding, as like-minded people meet for self-directed study of historical textiles.
And one day I looked around and realized that I knew a lot, and that I was old! Maybe that’s a logical progression, but I wish I had been able to undertake my independent studies earlier, with the advantages available to students today.
So I think it is possible to buy quilts and to build them, without conflict of interest.
Xenia
From: “Rosie Werner” <rwernerrconnect.com>
Someone here used the term “bed turning” as an opportunity to teach about caring for quilts. Now, I’ve seen it in an ad for a local quilt show. It’s a new term to me. What does it mean? Rosie
From: “Lynne Z. Bassett”
Dear All,
Several of you have written to me to comment on my article on “Horace Greeley, Mark Twain, and an 1872 Calico Print” in the latest Blanket Statments. Thanks for your interest! I only just received my copy of Blanket Statements in yesterday’s mail, so I didn’t realize until then that all of my footnotes had been left out (I don’t know why). If any of you want the complete article, WITH footnotes, please contact me privately and I will be glad to send you a copy.
Best, Lynne
From: Chris Flynn <lovechris@>
Hi Rosie…. I’ve been doing bedturnings for our guild’s quilt fair for the last three years. Basically, I put out a call for quilts and guild members bring me wonderful vintage quilts. Most have wonderful stories of surviving fires, the depression, etc. At the fair, We place all the quilts in an interesting order on a vintage bed. Then, at the given time, two “white gloved bed turners” ceremoniously turn down each quilt as I talk about it’s design, age, history, etc. It has been very moving, especially when there is great grandma, grandma, mom, and baby daughter, all with a connection to the quilt!!
Bedturning started as a method of selling quilts. I think the Wisconsin quilt book talks about that. The Amish sell their quilts that way also. In recent times, though, guilds have been using bedturnings as a method of looking at history of quilts. I’ve included redwork tops, crazy quilts and yoyo quilts, explaining the difference. Last year we had an amazing quilt from the 30’s, beautiful tiny quilting stitches…. all finished with knots on top!! The quilt owner was stunned…. had never looked at it so closely.
I use a vintage yardstick as a pointer. Sometimes ask the audience to guess how many squares…. name that design, patch, etc.
Hope this clarifies a bit. Chris in California
From: “Louise” <ltiemannstny.@>
I was a quilter first, then fell in love with the history. Not sure how I got hooked, but I started collect ephemera several years ago. I guess I wanted all the old quilts I saw, but couldn’t afford to buy them, so in some twisted reality I thought I could make them all myself and set out to get some of the patterns. That is when I ‘met’ Ruby Short Mckim, Eveline Foland, Florence LaGanke, Margaret Techy, Nadine Bradley, Anne Orr, Mrs. Danner, and the list goes on (and on). Oh and of course, The Ladies Art Company.
I have amassed quite a collection that I share with the 3 guilds I am a member of. I bring in my latest finds for the ladies to check out. I have been invited to share my collection with several other guilds in the area. I also have several old tops, quilts and blocks using the old patterns that I incorporate into my lectures.
Our local Sertoma club has an antique show every year, and this past year they chose to focus on vintage quilts as the premier exhibit at the show. Guild members brought out their old family quilts and purchased collections for the exhibit. I did some research on the patterns and documented the stories about each quilt. These, along with b/w photos of the quilts were published in the show catalog. I was my first experience as a curator, but probably won’t be my last.
While at the show, several quilters fell in love with some of the old quilts I had in my collection – and I of course had the newspaper clippings – now they too are making replicas.
I have made Ruby McKim’s 1930’s Fruit Basket quilt using my hand dyed fabrics and taught the class at a local quilt shop.
Whenever I teach a class, or share an old pattern, I always include the history about the designer and other patterns they may have designed.
Hopefully my little endeavors will stimulate the interest in quilt history. Every once in a while I meet someone who shares the passion – and it’s always a thrill to find someone who can speak the language of old quilts.
From: Julie Silber
Announcing two Northern California events for Lovers of Old Quilts:
1. Saturday, August 13 — a ONE DAY, ALL DAY event in FORT BRAGG, California (3 hours north of San Francisco):
MORNING: Julie Silber, Jean Demeter, and Joe Cunningham are working with Ocean View Quilters. 10 a.m. – Noon — a TRUNK SHOW of rare and historic quilts from various important collections including the Esprit Quilt Collection.
AFTERNOON: “Antique QUILTS Roadshow” — the public is invited to bring in quilts made prior to 1950 for an afternoon of information, sharing, and fun with the same three stooges, I mean “experts” — as in the morning. Should be surprising, amusing and informative! For more info: quiltcomplex@ — HURRY!
2. August 13 – November 6, 05, “Pieces of the Past: Quilting Traditions,” an exhibition of 42 regional quilts at the Grace Hudson Museum & Sun House, 431 South Main Street, Ukiah, CA. This exhibition is organized by the museum and Dawn Moser, textile historian. Special events throughout the run of the exhibit. For details: www.gracehudsonmuseum.org
Thanks, Julie Silber
From: “Velia Lauerman”
Several years ago a quilt magazine carried a story from a Mexican lady, maybe Martinez, who traditionally made a wedding quilt of satiny fabric which she called a COLCHA. The quilting on the colcha resembles whole cloth with a medallion motif on the entire piece. Mom made bedcovers in Texas with my grandmother and many friends and passed on the desire to sew and hand quilt to me. She always called the pieces colchas which interprets in English as a mattress or bedcover quilt. Would just love to see what Mrs.. Martinez or her family is doing these days with her tradition of the wedding quilt. I will hunt for the story in QUILT, QUILTERS NEWSLETTER, or one like it. It was about the 70’s. Great words Gail. Velia
From: Judy Schwender
I was referring to the general public. I have given quilt history presentations to a library group as part of a grant project about women, a American Association of University Women chapter, a class at a Women’s Week program at a university, and several guilds, and women’s groups. Also numerous school groups (although those were not in-depth.) So far no Elks, Moose Lodge, or men’s or general public groups. When Ken Burns does a history of quilting program for PBS, when quilt history is included in American history curriculum in the public schools, THEN I will say that most folks are interested in quilt history.
One aspect of the discussion about the popularity of quilt history that I think has been overlooked is the importance of quilt research to the larger arenas of historical research and cross-disciplinary research. It is vitally important that quilt scholarship be used as source material for fields outside the quilt world. Ultimately, that is the goal, don’t you think? To allow quilt history to assist in completing the big picture of human history? We are a small part of that picture.
Folks who research the history of plumbing, the history of asphalt, the history of native crop cultivation, the history of frying pans, the history of toothpicks- they are all doing what we’re doing, just with different artifacts. And hopefully, all of this research will help us understand who we are. When someone asks me about quilt history, I don’t start off by asking, “Have you read Women’s Work–The First ,000 Years by Elizabeth Wayland Barber?” But sometimes I want to. Each and every quilt that is pieced today has a heritage that goes back that far. As a informal educator in my work, I know that sort of depth won’t work with 99% of the public. That 99% will be interested to varying degrees and for varying lengths of time. My job is to gauge the degree and time length and forge ahead. Quilt history ain’t NASCAR!!! Judy Schwender
From: <chrisa@>
I have not received mine either!! Please send the footnotes on.
Hey- PieceWorks accepted my article on a whitework wedding quilt for their May/June wedding issue!!
How are things with you? Is the book nearly done? Going to AQSG?
Kim
From: <chrisa@>
Judy, it’s funny that you should mention ” history of asphalt, ” in a post arguing for increasing the interest in quilt history through good research so that other more established historical fields will turn to it and include it in their evaluations and conclusions. I couldn’t agree with you more. One of the ways we history quilters “informally educate”, a good choice of words here, is by helping museums with their quilts and display of them and their signage etc. We all know this on the list, I know. So where does the asphalt come in?
Our Santa Barbara Coastal Quilters Quilt History Study Group is helping the Carpenteria Historical Society Museum to rotate their bed quilt display every month, lending our own quilts too, and will restore their 1850s Star of Bethlehem with a Turkey red print swag border quilt , fabulous, that has been on the bed way to long. We met with the director recently to discuss this and he gave us an in-depth tour. One of the first displays was asphalt!! The Chumash Indians used the fine asphalt, natural to Carp, to make bowls, tools, and if I remember correctly, jewelry, and so on. These are on display not far from the quilt and sewing machines and laces. Asphalt production put Carp on the map and employed many people for years!
The director is thrilled to have our group helping him. He hadn’t noticed the brown spotting occurring on the white areas of the quilt. It felt damp to the touch- a coastal museum’s lament, he said. He didn’t know the quilt was so old or special, as it didn’t come with provenance of much history prior to the generation that donated it. This director does not place signage by each item or have a list posted that describes or dates the items, or a paper that a visitor receives with such information. There are some signs, and special exhibits get additional signage, but mostly this minimal approach defines his professional approach to the museum’s ambience and mission.
However, it was my strong feeling that the quilts we placed on the beds, and in the exhibits down the road, had to have signage, because the mission of our group helping was first and foremost to educate the public about the role of quilts in history and women’s studies. He was rather taken back at first, as this sign would stand out indeed. Lucky for us, there is an old rather low, trunk at the foot of the beautiful bed and it would be the perfect place for a rather large sign.
After talking about what a sign about the current quilt might have said. Hearing that we actually had something to say that will add education to the tours they provide to school children and adults, he did agree to the sign. He didn’t know all there was to say about a particular quilt! I think this would apply to a great many people- they don’t know how interesting and full of information an old quilt is. We will write the words for the sign and he will add the provenance from the records before printing it. Our part will include the social history or significant events in the era of the quilt, the style and pattern and their significance, if any, the fabrics, the date, and perhaps an estimation of what the woman may have been thinking when she made this quilt, like in a friendship quilt.
I think educating the educators and the history-loving people and places will help tremendously. There is a certain authority that a museum or public building has, that an individual, everyday, unknown quilter does not have. Look how far art quilts have come to be known and accepted because of their use in hospitals, public buildings and exhibits in galleries, not quilt show. Look what the Whitney museum did for quilts and for Gee’s Bend. Exhibiting them in local quilt shows would not have made the same impact. Each of the museum’s toady that proudly exhibit antique quilts are doing a great service to the field of quilt history.
Kim Wulfert www.antiquequiltdating.com
—
Hi fellow QHLers – And as you are driving up Highway 101 on your way to For t Bragg and Ukiah, stop off in downtown Petaluma as the OUTDOOR quilt show is in the downtown area all that day (Saturday, August 13). Yes, even thoug h I am a quilt conservator, I do go!
From: Gail Ingram
Lynne, I want the complete article. I was interested in the first piece of fabric, because Xenia had given me a square a couple of years ago and that launched a search for who it was—who had said “Iknow…” I read more about sugar beet production and Luther Burbank than I ever thought I would read! At that time, X. had concluded, for reasons I now forget, the frock coat/lab coat fabric was Burbank.
If you ever want to know about the emerging sugar beet boom in Michigan and Indiana in 19th century, just let me know. Somehow, I don’t think this is going to come up in conversation.
Spent two weeks with Judy Roche and saw your name in that guest book. Lord, isn’t that little guest house blessed? Indeed, isn’t the home that Pat and Judy have created blessed?
Thanks for the offer, Gail
From: Judy Knorr <jknorr@>
We just returned from a three week trip from Long Island, NY to Logan, UT and I just had to share some input about the Quilt Museums I visited. I contacted Karen Alexander before I left for some information about the Quilters Hall of Fame/Marie Webster House in Marion, IN. We stopped there on our way home and thoroughly enjoyed it. My husband was intrigued with all the restoration that had been done on the house and that kept him occupied while I looked at the quilts! The docent who showed us around was well versed in all the facts and I learned a lot from her. I brought home some brochures to encourage others from my area who might be travelling west to make the stop. Just be sure to check ahead for days and times they are open. We found one of the most difficult parts of planning for the trip was scheduling so we would be in the town or city when what we wanted to see was open. I also spent a day in Lincoln, NE and went to the International Quilt Study Group display on the second floor of the Home Economics building. They house the James Collection and the show in their gallery this summer was Political and Patriotic Quilts, a special interest of mine since I have made so many of these. I was thrilled to see their storage facilities and learn how their quilts are cataloged and stored. Their new building should be ready in 07 right across the street. The campus dairy store just across the green serves delicious ice cream so allow time for that when you visit.! There were two other quilt displays in Lincoln that I also visited. Luckily, the city is an active railroad center and my DH was delighted to drop me off at the museum and take his video camera to photograph trains! The trip was a Quilter’s Dream and it certainly opened my eyes to the need for all of us to support quilt museums and their efforts to preserve our quilt heritage regardless of where in the country they are located! Judy Knorr
From: “J. G. Row”
Judy Knorr,
Since you are interested in political quilts, and by your own admission have made some, would you be interested in, and perhaps agree to make and share with the world in quilt shows, a quilt that Sue Reich and I designed, and have each made to express our feelings on a particular political subject?
It is a prickly design which can be made in patriotic prints of red, white, blue, and gold, or as Sue has done, in a focus fabric — a specialty batik whose chameleon design echoes the quilt-maker’s strong feelings about the subject.
I drew it all out in Electric Quilt and can send you, or anyone else who wants the pattern, the EQ file. It can be completely pieced on foundation papers.
It makes a striking 4-block quilt with pieced sashing. The design uses elements from New York Beauty, Steps to the White House, Thorny Ticket, and a block that I designed and call, “Blue Dress”
Our name for the pattern is “Hillary’s Defeat.”
From: “Karen Musgrave”
I’d like to thank Karen Alexander for mentioning Quilters’ S.O.S.-Save Our Stories, the oral history project of The Alliance for American Quilts (www.centerforthequilt.org). As volunteer co-chair of this project I am always happy to sing the praises of what we are accomplishing. We are quickly approaching having 500 quiltmakers interviews with accompanying photos on the web. And all these interviews can be accessed online, free to anyone who wants to learn from them. These inspirational interviews help quiltmakers, collectors, students and others see and appreciate the incredible artistry and diversity of today’s quiltmakers and their quilts. This is also a manual on how to conduct quilt oral histories and I’m proud to report that 59 copies were downloaded in July our slowest month for visitors.
While The Alliance does not have a building, it does have a place that is huge and impressive on the web. It’s open 24 hours a day, 7 days a week and it’s FREE. No meeting or appointment needed.
How many of you use the Quilt Index for research? This incredible resource is setting a new standard for quilt documentation. An IMLs grant is funding the newest phase to expand the Quilt Index to more than 15,000 quilts and the associated documentation for searches across the collections (DAR Museum, AQS, The Rocky Mountain Quilt Museum, the University of Nebraska-Lincoln Libraries, and more) for patterns, individual quiltmakers, themes, techniques and many other characteristics. Moreover, it will result in a model for repositories–of any size and anywhere in the world–to make thematic collections of any kind more accessible and useful for education and research. I know I’m impressed.
I hope you will consider supporting this organization by becoming a member and/or making a donation. Remember the history of quilts is still being written today–by all of us.
Thanks, Karen Musgrave Quilters’ S.O.S.- Save Our Stories, volunteer Co-Chair The Alliance for American Quilts www.centerforthequilt.org
From: “Marilyn Maddalena Withrow”
To those of you who asked about a Bed Turning, check out my website — www.marilynquilts.com — for a description of the Bed Turnings I’ve presented to groups. It’s just a different and interesting way of presenting quilt history……it can be arranged in any way the presenter likes — all red and white quilts, or all signature quilts, or whatever — mine is done in historical perspective. Marilyn Maddalena Withrow Professional Quilt Appraiser, Judge, Historian, Designer and Lecturer “The Quilted Rooster” at Foots Creek Farms www.marilynquilts.com and www.footscreekfarms.com
From: Elpaninaro@
> In fact and perhaps incorrectly, I think the real connoisseur must be > interested both in the act of quiltmaking and the larger context in which > that act occurs. > > I know that a collector of a given painters’s works might not be a painter > herself, but she would understand and appreciate the art more had she at > least had some experience painting. And the painter who knows nothing of the > history of his art is hobbled. >
I think this is dead on correct. It is one thing to genuinely appreciate the beauty of a quilt, an orchid or gemstone in the act of seeing it, but understanding the context in which it exists and has come into being just adds so much more.
That so much more is impossible to even put into words- as I have learned in recent months with my quilt collection, the same lessons I have learned with all the other things I have grown to treasure.
Take care,
Tom.
Date: Fri, 12 Aug 2005 11:38:52 -0700 | From: <chrisa@>
I happened to run across the suede leather quilt Laura Fisher said was in a past Quilt Engagement Calendar. It’s 1995, Jan 29 begins the page. It’s called a variation of Robbing Peter to pay Paul, based on that pattern’s concept, not the traditional pattern. It’s nothing like it. The border is narrow and scalloped. The patches have the same type of look , with scallops on both sides running diagonal across the square. It’s dated 1960 and is made using many colors – blues, reds, magenta, tans and browns, orange… It’s hard to tell for sure, but it looks like the squares are sewn together not with right sides together, but a wrong side on top of a right side and top stitched down. It’s probably from Maryland the text reads.
Kim Wulfert www.antiquequiltdating.com
Date: Fri, 12 Aug 2005 21:52:58 EDT | From: MargaretFahey@
J. G. Row
Now why don’t you just send that along to me so I can adapt it ti
May The Best Woman Win we’ll see who that might be.
Margaret
From: “Kathy Moore”
About Drunkard’s Path and the UGGR, Tom posted: “When the Drunkard’s Path block was displayed, the runaways would know to zigzag their path to make capture difficult.”
On the surface this sounds more reasonable than the idea of a quilt being crafted with hidden directions and messages- the notion that a given quilt type that someone in town would possibly have on hand could be used to subtly send more general signals.
Or is it that simple? I do get the gut feeling that “zigsagging” your path to make capture difficult would ALWAYS have been a good idea.”
Tom, I think you’ve answered your own question here.
Please pardon my presumption, but you seem to have bought the premise that quilts were used to convey information to escaping slaves.
My advice to you is to take two aspirin, put your feet up and just THINK ABOUT IT!!!! Logic will surely intervene and you will realize the impractibility of this premise.
1. If you are escaping from a plantation, you would be traveling at night. You wouldn’t be able to read quilt patterns in the dark.
2. If you try to get close enough to see a quilt pattern in the dark, the farm animals, especially dogs, will make noise or bark and chase you and they might event catch up with you and attack you. At the very least they will alarm their owners and anyone else nearby and you’ll get caught! Pretty risky, don’t you think?
3. In all the research done by really good academic historians there has not been one word of evidence or suggestion that quilt patterns were used to instruct escaping slaves.
4. Furthermore, there have been no eyewitness accounts found by slaves and former slaves (reference the WPA oral interviews of former slaves).
5. Furthermore, some of the patterns designated as having been used in these quilts aren’t known to have existed before the Civil War. If they did exist then, there is no documentation to that effect and a lot of people have been looking for this information for a long time.
It sounds like you want to embrace this romantic story about the Underground Railroad and quilts and that you would like to accept it as true. Unfortunately, it is more likely that it is a mixture of misreading the historical evidence and a strong need to believe in a romantic notion of the nobility and kindness of a small group of people dealing with difficult times.
I, and many others, just want people to stop and think it through and realize the illogic of the whole premise. Let’s not impose any more myths on the historical record about that whole ugly era. Let’s let truth and reason prevail and can we all please stop fighting that ugly war????
Enough said.
Kathy Moore Lincoln, NE
From: Laura Fisher <laurafisherquilts@>
Kimberly et al–concerning the suede quilt in the quilt calendar, one entire side was suede, and the other was the leather. From the way it was top stitched, it seemed suede was the intended face.I called it an RPPP variation ’cause I it had some similarities to that pattern, but I couldn’t find a more exact historical title for that design. All’s I know as they say in Pa is I had never seen another and it was a fun find that delighted Cy Nelson. What would it cost to make it now?! It’s probably more do-able today, what with the abundance of leather goods around, and the technology of the sewing machine.
I am doing an article, maybe an exhibition about quilts made of non-traditional materials. I would would love to learn about things list members have seen. I’ve seen a cellophane bread wrapper yo-yo, blue jean back pockets quilts, quilts made of ribbons from state fairs, convention visits, political campaigns, etc., quilts in which the entire garment was sewn in, not just cut pieces of fabric, neckties opened out and sewn together so they still look like ties; felt souvenir banners, 19th and 20th century complete handkerchiefs. What else???!!
Laura Fisher
From: Laura Fisher
For those of you on the list wanting to make a Hillary’s Victory quilt, here are two vintage pieces that might inspire….!! Does anyone (Xenia) know who published the V quilt and when? It has varied embroidered flowers, blocks that say Freedom, Liberty, Victory. Looks a little younger than WWII, was it created between the two WWs? Laura Fisher
Date: Sat, 13 Aug 2005 18:52:56 +0100 | From: Sally Ward <sallytatters@>
UK Quilt Artist Michelle Walker has made a number of quilts using plastics,, amongst other things. Four are illustrated on this page:
http://www.axisweb.org/seCVPG.aspx?ARTISTID=6459
Another UK maker, Pauline Burbidge, is also using innovative materials including plastics and pressed flower petals.
http://planetpatchwork.com/passtvq/tvq26/burbidge.htm
Sally W
From: Elpaninaro@
> It sounds like you want to embrace this romantic story about the > Underground Railroad and quilts and that you would like to accept it as true. > Unfortunately, it is more likely that it is a mixture of misreading the historical > evidence and a strong need to believe in a romantic notion of the nobility and > kindness of a small group of people dealing with difficult times. > > I, and many others, just want people to stop and think it through and > realize the illogic of the whole premise. Let’s not impose any more myths on the > historical record about that whole ugly era. Let’s let truth and reason prevail > and can we all please stop fighting that ugly war???? >
Hi Kathy,
Thank you for an excellent analysis of the big picture. I appreciate it.
I have no need or desire for any of the stories to be true- I just like to try and get a real understanding of what makes sense and what is actual fact when it comes to these revisions of history.
It is a real disservice to rewrite history to suit modern viewpoints and tainted notions of what might have been, and it is good to see people fighting back on this one issue. Too often I think these sorts of revisionary attempts are not challenged because people fear being called racist etc.
Thank you again for laying it all out in succinct terms.
Take care,
Tom.
Date: Sat, 13 Aug 2005 15:03:22 -0600 | From: Xenia Cord <xenia@>
> Without any firm information (and too lazy in this heat to research > through my books), my feeling is that the V quilt was a WW II creation, > linked to Beethoven’s Fifth, and Churchill’s V for victory sign, and all > the other ‘victory’ usages of WW II. Someone can happily correct me… > > > Xenia > I happily affirm you.
I just hope that should I run for public office, the members of this list would provide some politically viable “coverage” on my behalf.
Don’t run for your needles, folks.
Gail
P.S. Do you folks in Indiana and New Jersey and Pennsylvania know how your plaints of heat sound to us who walk through solid walls of heat each time we exit our air-conditioned homes? Buck up. Show that pioneer spirit. Buy an air-conditioning system and use it. <g>
From: <chrisa@>
Oh Laura, that sounds like a really great topic for an exhibit AND a catalogue please.
The coolest non-fabric quilt I have seen was in Ashland OR, at the University Gallery. It was a double wedding ring. They were large and round rings, and the individual pieces were cut to shape from pieces of tin cans with printing on them, like beer and soda cans. The rings were “quilted” (not really, but placed) on to a background which was an enlarged pattern for a double wedding ring, looking more like an architect’s blueprint. The dimensions, instructions, diagrams for piecing and arrows were written in and around the rings, here and there. It was big and hung on the wall. It was colorful and had an overall blue and grey tone.
Kim Wulfert www.antiquequiltdating.com ——=_NextPart_000_0079_01C5A00C.BFEC18E0–
From: Dana Balsamo
Hi Gail, Heat doesn’t bother me at all…I am quilting in a cool new finished basement, half of which, is a sewing studio for me…the other half is occupied by by hubby’s home office and obnoxiously large TV. But, I guess it is all what a person is used to. Local ladies (or those willing to take the ride) are welcome to join me…there is always wine and chocolate, the kiddies are in bed by 8:30. Don’t worry, I am not having TOO much fun!
Judy G, Are you going tomorrow, and when is your next studio meeting…I am starting to fill my calendar…BOTH kiddies are in school ALL day as of Sept 9th!!
Hugs, Dana
Gail Ingram <gingram@> wrote:
P.S. Do you folks in Indiana and New Jersey and Pennsylvania know how your plaints of heat sound to us who walk through solid walls of heat each time we exit our air-conditioned homes? Buck up. Show that pioneer spirit. Buy an air-conditioning system and use it.
Material Pleasures Affordable Antique and Vintage Quilts, Linens, Lace, Textiles, Buttons & More! www.material-pleasures.com
From: “Brenda & Roger Applegate”
I am looking for a photo of a quilt made from the Nancy Page Grandmother’s Garden Quilt. I am looking for a photo of one or maybe where I can find copies of the original patterns. I have Eleanor Burns’ quilt book that gives some information and found a photo of the Garden Bouquet in The American Quilt. I
Brenda Applegate ——=_N
Date: Sat, 13 Aug 2005 | From: <suereich@>
In my AQSG study center, “Quiltmaking That Saw Us Through the War Years” last year, and this year, Victory “V” quilts are extensively covered. Yes, the famous Victory sign inspired many V quilt patterns supplied by Kansas City Star, Rainbow Quilt Company, newspaper articles and women’s magazines. Berthe Stenge’s award winning Victory quilt is at the Chicago Institute of Art. The famous Hatfield and McCoy families pieced and quilted their own version, now owned by the Ohio State Historical Society. More humble versions were made by women using red, white and blue bias tape for their Vs. The New England Quilt Museum will be opening World War II era quilts this week. There will be at least three versions of V quilts shown. The exhibit runs through to the beginning of November. sue reich
From: “kim baird” <kbaird@>
In the collection of the International Quilt Study Center in Lincoln there is a quilt made of duffle cloth. Duffle cloth is a very heavily felted woven wool fabric. It is about 1/4″ thick.
This quilt is made of squares that are butted together and whip stitched from the back side. There is also decorative embroidery on top of the seams. You can see the quilt on their web site, it is number 1997.007.0311 http://www.quiltstudy.org/
While wool is a traditional quilt fabric, I’ve never seen another quilt made of duffle cloth, have you?
Kim Baird (M.A. student, University of Nebraska-Lincoln)
From: Louise
Brenda,
Hello, I collect many of the old patterns. I may have a complete set of these, but not sure – some times I have to ‘complete’ the set with several different newspapers that ran the series in the 1930’s. If you are interested, I can check to see what I have. Best regards, Louise
From: Sally Ward <sallytatters@>
The Victory “v” is known to feature on quilts made by the Red Cross in America to send to Europe during WW1 and WW2, both in motifs on fabric and in block patterns (there is an example in the collection of the QUilters Guild of the British Isles). I’ve also seen one which worked in fabric alternative blocks of the a Red Cross and the morse code “dit-dit-dit-da” call sign (that being Morse for V).
Sally W
From: Sue Reich
Before you all go reproducing the “V” patterns designed by the Rainbow Quilt Company during WWII; be concerned about copyright laws. These patterns are too young to be in the public domain. If the company has been purchased by another entity, then you must track that down and get permission before you proceed. If they will be used for your own personal use and are not to be used for public or monetary purposes, you’ll be O.K. (The patterns designed for the “HD” quilt are in the public domain, except for the “Blue Dress” block. That was Judy’s creation of genius.) A Rainbow Quilt Company “Victory” quilt will be on display at the New England Quilt Museum. I am fortunate that it belongs to me. I also own a top featuring more V patterns and the other floral patterns which accompanied the designs. Any time I show these quilts, requests for the embroidery designs follow. If you would like further information about them, and you own the cds produced by Patricia Randolph of the Nimble Needle Treasures, you can read about the Victory patterns and the Rainbow Quilt company in an article written by Cuesta Benberry. http://www.nimbleneedletreasures.com/ . sue reich
From: “Brenda & Roger Applegate”
Debby, The Garden Quilt is on page 245 in a book by Roderick Kiracofe called The American Quilt: A history of Cloth and Comfort 1750 – 1950. It is a full page photo and is quite nice.
Louise, I would be interested in knowing how Eleanor Burns stuck to the original quilt patterns for the Garden Bouquet quilt or if she deviated very much. I guess I would be interested in the originals if you have them. Also what size of block did they recommend. We tend to enlarge our blocks for quicker piecing today and I would rather make the original size.
Thanks very much to both of you for looking.
Brenda Applegate ——=
From: Xenia
The last I heard, the Rainbow Block Company was still owned by William Pinch’s daughter in Florida, so the designs are clearly still under copyright.
Xenia
From: Laura
Thanks everybody for the kind info on quilts made of unconventional materials.
I just remembered my horse racing quilt made of jockey silks, signed by winning riders with the names of their championship horses — it’s now hanging in the new Steve Wynn Las Vegas hotel gameroom for anybody who might be making a trip there!!
Keep ’em coming. I’m especially interested in vintage and antique material. Contemporary quilt artists have no boundaries it seems, so I’ve heard of quilts made of condom wrappers, soda can pull tabs, etc.
Laura
p.s. I sent images to the Lyris List manager hoping that’s the way to be able to post the ideas for Hillary Victory quilt!!
From: “quilt25” <quilt25swbell.net>
I have been tied up in a conference, just sighed back on and have a question. What is a Hillary Victory quilt. Scary thought, this.
Peg in North Texas
From: “Jean Carlton” <jeancarlton@>
Hi all, For a quick look at a Victory quilt look in your “Minnesota Quilts; Creating Connections With Our Past” ( you DO have yours by now, don’t you?) Page 42. —-
🙂 Jean
From: “kim
I forgot one of my favorites. It’s a quilt from the 1940’s in red, white and green cotton broadcloth. The red is from a highway worker’s road flags. There was a blizzard, and the quilter could not get out to buy fabric, so she used what was on her son’s truck. He was a road builder.
Kim
