August 13 – 19, 1998
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:
- Wool and Cotton Batting — An extended thread on wool batting experiences — quilting ease, shrinkage, washing, and loft — with reports on Hobbs wool batts and New Zealand wool batting. (see the article on quilt batting)
- Family Quilting Histories — Members continue sharing quilting heritage stories, including a three-generation redwork quilt and a call from Quilting Today magazine for ‘Then and Now’ submissions.
- Victorian Hair Art and Mourning Culture — Discussion of Victorian hair weaving traditions, a hair art museum in Independence, Missouri, and Queen Victoria’s elaborate mourning rules for dress and fabric. (see the article on Victorian mourning customs)
- Cheater Cloth Identification — A member asks for help identifying a possible cheater cloth in a set of 9-patch blocks. (see the article on cheater cloth)
- British Quilt Study Group — Celia Eddy announces the planned October launch of the British Quilt Study Group and an inaugural study day in Manchester. (see the article on quilting in Europe)
- Political Quilts and the Gold Standard — Members discuss Gold Standard quilts and recommend Julie Powell as the expert on political quilts.
Date: Thu, 13 Aug 1998 22:47:33 -0400 | From: anniedes [at] juno [dot] com (Annette Desautels)
I visited St. Charles, Missouri and found a GREAT quilt shop. The name is Karel Owens Kalico Patch. It is at 330 S. Main in old St. Charles. If you are ever in the area or passing through, please make sure you visit her and the shop. The shop is just packed with goodies and Karel is a dynamite person. (No affil just a great shop)
Annette Desautels anniedes [at] juno [dot] com
Date: Thu, 13 Aug 1998 22:21:23 -0700 | From: “Joy Neal” <jcneal [at] crcwnet [dot] com>
I am very interested in these quilt ancestor stories. My grandmother on my mother’s side always had a quilt in the frame when we went to visit. She finished quilts for a fee inorder to supplement her social security. Now I know that was remarkable for the 60s. I just learned to quilt by observing her and inherited her quilt scraps and books. She made a quilt for each of us grandkids for our graduation from High School and another for when we married. I used to love to open the closet and look at the stack of quilts just waiting for us.
I ran across an article in a 1906 Missouri newspaper as I was doing family research that really warmed my quilting heart. This was about my great great grandmother (other side of the family) It was a short article and about her quilts!! It reads she is 87 years old and just finished her 23rd quilt in three years. She made them for her grandkids and family. It even describes her last one as having 1751 pieces. They commented that this was remarkable since she broke her arm the year before in a fall. I wish I knew where the quilts went. My grandfather moved to Washington State with his family when he was small and in those days you didn’t just travel home to Missouri very often. I don’t think he ever made it back. I went back in 1975 and visited his cousin who was 92 at the time. Living alone and still driving, she was one sharp lady. I didn’t see any family quilt evidence, but that was before I really got into quilting so I may not have noticed. I have often wonder if the quilt blocks I received from that side of the family were hers or if they were my paternal grandmother’s mother. They are Jacob’s ladder blocks of turn of the century fabrics, hand pieced of course. I know they are not that grandmother’s work, not only the age is too old, but her idea of a quilt was BIG squares sewed together on the machine and tied into a lap size cover. Quilting must jump generations, since my mom is not really interested in quilting. She has done some, but doesn’t have the passion I do.
Date: Fri, 14 Aug 1998 07:50:57 EDT | From: CToczek [at] aol [dot] com
Annastina,
I have heard of *collective memory* and find it an interesting topic. Actually I tend to believe it because it would explain my numero uno spot as family quilter since the closest connection I have is my grandmother’s dress- making and *utility* quilting. (the last of which I’ve never seen-they’re gone)
Memory MUST be in the genes…..it would also explain why my Scottish/Norman genes hate the heat and love the cool mountain air so much!
<G
Carla in the mid-Hudson Highlands
Date: Fri, 14 Aug 1998 07:52:10 EDT | From: EGinebaugh [at] aol [dot] com
I really enjoyed all the informative posts on cotton batting. It started the gears turning, and besides creating a lot of smoke <G, more questions arose. What about wool batting? I’ve heard it is very easy to needle. Does it shrink as much, more, or less than cotton? If I do trapunto work, do I have to use wool yarn with wool batting? Or can I use cotton yarn with the wool? Is the shrinkage factor different? How about loft comparison between wool & quilters Dream Request & Select?
Thanks for all your help,
Liz in Michigan
Date: Fri, 14 Aug 1998 08:41:42 EDT | From: Baglady111 [at] aol [dot] com
I have friends who are looking for quilt shops in Erie, Pa..guess it would be too much for ask for a quilt show as well..
Please email me at baglady111 [at] aol [dot] com if you can tell me of fabric shops..many thanx…JANE of THE FEEDSACK CLUB
www.hickoryhillquilts.com/feedsacks.htm
www.his.com/~queenb/feedsack.html
www.his.com/~queenb/guildprogram.html
Date: Fri, 14 Aug 1998 09:10:40 -0400 | From: Nancy Roberts <robertsn [at] norwich [dot] net>
Family quilt history is so interesting and many of you have shared such great (and varied) stories about yours. Quilting Today is starting a new feature called “Then and Now” about this very topic. If you have (or have access to) a quilt or quilts made by your ancestors and are a quiltmaker yourself, perhaps you’d be interested in sharing photos and your story in this feature. E-mail me if you’re interested and I’ll send you details.
Nancy Roberts (co-editor)
Date: Fri, 14 Aug 1998 09:24:30 EDT | From: JQuilt [at] aol [dot] com
jean wells has a shop Stitchin Post the URL is:
http://www.stitchinpost.com.
jean jquilt [at] aol [dot] com
Date: Fri, 14 Aug 1998 09:55:54 EDT | From: JQuilt [at] aol [dot] com
My grandmother was a young widow ..with 4 young children…and she supported them all by her talented skills as a dressmaker…She also could knit, crochet, and embroider…
She taught my mother all of those skills and my mother taught me(starting me on cross stitch at 6 yrs and knitting at 7)
My granddaughter(3 years) knows how to dial 911 and the Chinese restaurant take out telephone #…
Jean jquilt [at] aol [dot] com
Date: Fri, 14 Aug 1998 23:24:16 +1000 | From: nomad1 <nomad1 [at] ibm [dot] net
Merry May,I just laughed when I read about your Mum stapling or taping down hems, as that is exactly what I used to do too!My Home Ec mistress used to groan, rant and rave etc etc. I just wish I could find her just to show her how much this has changed!My family, especially my Mum who is not into sewing let alone quilting, is still recovering from shock at the mere thought of me even picking up a needle as I was such a tomboy. She had to do needlework as a young girl, but gave it up as soon as possible and got away with it as the nuns living close by did breathtaking needlework.
TTFN,
Hiranya from Australia :
Date: Fri, 14 Aug 1998 10:51:21 -0400 | From: Bizmark Storms <quilts [at] inforamp [dot] net
Diane Shink – you e-mailed me about Canadian Appraisers. Cannot get back to you – messages are getting returned. Please contact me again. Thanks. Sorry to the group about this personal message. Am in search of an appraiser for many antique quilts. Cheers, Bizmark.
Date: Fri, 14 Aug 1998 11:34:54 -0500 | From: Swede <kittyboxers [at] toledolink [dot] com
Sewing of clothes was in my family but when I ‘discovered’ quilts a few years ago it felt like coming home. I had always known my great grandfather was something called an ‘itinerant tailor’ in the northeast of England, but didn’t know what that meant until I was reading up on British quilting. Apparently it may have included ‘stamping’ patterns on quilt tops on the villages he passed through.
It’s no mystery to me where I get my love of quilting and needlework. My Swedish gm won prizes in many areas ~ everything from weaving to tatting to quilting. It was just a way of life. I was privileged to know her and be influenced by her until I was 19. My Swedish aunt is a master dress maker, knitter as is her daughter (my cousin) who taught me to crochet when I was 10. BTW, I’m 41 years young now!
My father, a sailor who was a whiz at macrame (from tying all those knots!) and sewing leather, canvas – not to mention repairing clothing, used to hem my dresses and pants. Dad taught me how to sew and passed on a disturbing ability to have to keep everything “straight” and “even”. A fever for measuring was one of his gifts to me.
On the Italian side, my mom was gifted in the areas of upholstery and drapery. Two of her sisters sewed and knitted. Mom showed me how to put a bobbin in the treadle machine I found (it was an “antique” left behind by former owners of our new house) but she lost interest in anything textile later in life (when I was interested in learning!) Actually, Mom discouraged me from learning anything related to the domestic arts. In her mind this was something “lowly” and not esteemed as a craft. You only made your own if you “had to”.
So for a long time, I didn’t do much at all with textiles. But ~~~ genes win out! I just couldn’t stay away from it, try as I may! Quilting satisfies 3 urges in me – 1. to work with and touch different textures of fabric. 2. to create a picture or statement. 3. to create something of beauty that is use
Date: Fri, 14 Aug 1998 11:02:09 -0500 | From: “Larry and Sonya Sayler” <lsayler [at] feist [dot] com
Well I guess it is about time I quit lurking & make an appearance. The ancestor thread finally won out.
I guess you would have to say I come by quilting, sewing & needlework naturally as when you look at my family history I didn’t have a chance not to.
An aunt on my father’s side was a material hoarder. I think the fabric shops saw her coming & when she passed away I inherited 4 pickup loads (with toppers) of fabric. Some would definitely have won the “ugliest” prize. I have had to use my imagination to it’s limits to think of ways to use it all and than some went in garage sales because it was just so bad. Also my Dad’s Mom was into sewing. I have balls of rags that she had torn to use for braiding rugs and even some quilt squares that she never got finished, that I’m trying to figure out how to make them all fit together.
Wish me luck!
Than on my Mom’s side of the family, I had 2 great-aunts that quilted anything & everything. Beautiful work. Plus my Mom’s sister does quilting that is absolutely beautiful. Perfect hand stitching. She has won many ribbons at the state fairs. My mom likes to sew, but more the clothing end not the “crafty” end as she calls it.
Of all the cousins & such I’m the only one that is into quilting & needlework. I have two wonderful DIL that love to do this type of thing also, so it is fun to share ideas with them when we can. Well I guess I’ve rattled on long enough, thanks for letting me share with you. I enjoy all the comments & stories.
Have a great day.
Sonya in Kansas
Date: Fri, 14 Aug 1998 11:56:57 -0400 | From: “Judy Grow” <Judygrow [at] blast [dot] net
There was a big article on the front page of our local county weekly paper yesterday that the county fair would no longer have a Needlework and Home Arts Show, a staple in the Fair’s 139 year history. Although the organizers excuse was that they had to downsize the fair and are trying to keep it agriculture oriented and needlework isn’t agriculture, they are placing craft vendors in the building ususally devoted to needlework. In recent years the show averaged 100-200 competitors with 500 pieces submitted. I think that is pretty good participation.
It seems to me installing more vendors, who will have to rent their space, is merely a way to raise more money for the promoters , and not a way to downsize the fair. After all, they are utilizing the same amount of space in the building built for and devoted to Needlework and Home Arts, and will cost the promoter’s as much money.
A letter to the editor is in order here. It just doesn’t make sense to me!
I assume this is quilt history related, as county fairs have always been a venue for quiltmakers to show their stuff and win recognition. Not any more in Hunterdon County, NJ.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Fri, 14 Aug 1998 12:19:43 -0400 | From: “Judy Grow” <Judygrow [at] blast [dot] net
After seeing the swatch book Laura Hobby Syler keeps to help her date quilts, and hearing from Debbie Roberts and others about their books, I have started one too. It has been such a pleasant occupation, going through my collection of of old blocks and quilts and either putting them in the book or having them color copied for the book, and then arrangeing them by type, date, and color. I hope to be more positive about dating after I take the course in Omaha this September.
It set me to thinking about contemporary fabrics, and how future quilt historians will be able to utilize this tool for dating what are today’s contemporary quilts. So I’ve started going through my stash and cutting pieces to start a new notebook of fabrics that can be bought today. I am cutting 4″ x 6″ pieces along the selvedge, especially the part of the selvedge that has the designer and company information printed on it, and writing the date purchased (approximate year) in permanent pen right on the selvedge.
I have asked my local quilt shop to save me those pieces when they cut fabrics for classes, and they have agreed to do it. We’ll see if they come through. She used to sell those fabric scraps by the pound but has discontinued keeping that basket.
Is there anyone else on the list doing this? I assume when my stuff goes up for auction after I die, if I haven’t previously targeted someone to receive my quilt history stuff, they’ll bring in a pretty penny for my heirs if the auctioneers are smart enought to target the right buying audience. What maudlin thoughts so early in the morning!
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Fri, 14 Aug 1998 12:26:17 -0400 | From: Steve Greco <GrandmasAttic [at] compuserve [dot] com
In response to the question about redwork, the books that I carry at the shop that seem to have the best information about the Penny Squares (as they were called) are Historical Penny Squares by Willa Baranowski (AQS) and A New Look at Redwork by Cindy Taylor Oates of Taylor Made Designs. There is also a cute little book called “The Red Book” by Diane Arthurs from the Powder Mill Company which is full of wonderful designs. Laurene Sinema of The Quilted Apple shop in Arizona has given talks about redwork at several quilt markets. She has developed a little book showing vegetable patterns and also encourages making up some of her other patterns in redwork. Betty Alderman of Betty Alderman Designs has a couple of redwork patterns, including a redwork calendar and a Sunbonnet Sue done up in redwork. Jack Dempsey Company carries stamped embroidery patterns that can be done up in Redwork. And, of course, there are several Aunt Martha transfers that can be used for redwork.
As for colors to use, Baranowski likes to use DMC 304 (turkey red) to do her penny squares. Diane Arthurs in “The Red Book” uses DMC 321 (a Christmas red) for her redwork and Laurene Sinema suggests DMC 498 for her redwork. I personally have also used DMC 816 with very good results. Of all these colors, the one that I have seen used the most is DMC 498 and it is the one that I seem to sell the most for redwork designs. Laurene Sinema also suggests when marking redwork patterns, that if you use a red pigma pen (size 01) for marking your pattern, when you start embroidering over it, should you not get totally complete coverage, who’s to know if you’ve used the red pigma pen?
With the Jack Dempsey stamped patterns, they come in 50/50 cotton/poly blend (which drives me crazy) so I just retrace the patterns onto 100% muslin. Works very well. We carry all of this stuff at our shop and do very very well with it. I got hooked on redwork myself after attending one of Laurene Sinema’s lectures at quilt market and then finding some 1910 blocks at a local antique shop. Recently, I came across (and purchased) a redwork child’s quilt made in 1915 by a 10 year old girl from nursery rhyme patterns of the time. I was fortunate enough to receive (sewn to the back of the qulit) the full provenance of this quilt!
Rachel Greco
Grandma’s Attic Sewing Emporium
155 SW Court Street
Dallas, OR 97338
1-503-623-0451
Date: Fri, 14 Aug 1998 15:39:11 EDT | From: BrickWks1 [at] aol [dot] com
I also just got a copy of Merikay’s and Bets’ book from Rutledge Press — it’s terrific!!!
In many ways, it and Barbara Brackman’s book on Civil War Quilts are a good complement to each other. B. had a lot about historical events and trends. The Southern Quilts book gives some info B’s book doesn’t, but best of all, it has page after page of actual Civil War-era quilts. The accompanying stories were interesting, but it was the up-close look at the quilts themselves that I appreciated so much. This is well worth your money, and Hickory Hill stocks it. The price is less than for many quilt history books: only $19.95! Yes, that was a commercial plug, but I’m not getting a cent for saying it…
Cindy Brick
…now if only Merikay or Bets would do an article on Civil War-era FABRICS for some magazine…
Date: Fri, 14 Aug 1998 15:59:56 -0500 (CDT) | From: Marcia Kaylakie <marciak [at] eden [dot] com
I am looking for a vintage/reproduction website that might be called vintage and vogue or something like that. Now, I have acertained that it is not Vintagevogue because I have already spoken with that lady and she says she doesn’t carry fabrics. Can anyone help me? Marcia Kaylakie in glorious, rainy Austin, TX
Date: Fri, 14 Aug 1998 21:27:29 -0400 (EDT) | From: dcl924 [at] mindspring [dot] com (Diane Lockwood)
DH (Jim) and I took the old Civil War quilt to the Atlanta History Center Thursday to donate it. We were joined by Rob Holland (editor of TVQ), his wife Lynn, her parents Bob and Barbara North, Jean Ann Eitel, editor of QUILTS magazine, Clare Gilliland president of my Georgia guild (Lavendar Mt.), Dawn Young-Shaeffer, also a LM member. Dawn is coordinating the 1999 and 2000 Georgia Quilt Conventions.
Besty Wayburn, Curator of Costumes and Textiles, and Gordon Jones, Curator of Military Collections met us in the lobby. They took us into the inner sactums of the museum! We spread the quilt over a table so all could oooh and aaahh over the old dear. Rob took photos for a story he’ll write for Jean Ann’s magazine. Jim took pictures of the whole proceedings for our rememberance.
I provided the Betsy and Gordon with all the records I’d been able to gather pertaining to the life history of the quilt. I had been able to track down all but the actual maker of the quilt. With the geneology information generously provided by Martha Jo Thompson of Pickett’s Mill State Historical Park (near Dallas, Georgia) finding the maker will be possible for the AHC. Jim and I were very happy to find a safe and appreciative home for the quilt but Besty and Gordon were even more happy to receive a quilt with all the history I was able to provide. They said that they often receive “orphans”. Literally in paper bags with no labels, no history. They were beside themselves to have all the paperwork I gave them.
Betsy said that the quilt may be shown with the Georgia Quilt Project display planned for November of this year. Gordon said he’d like to work it into the Civil War displays he does. Most of the time it will be a teaching tool for the textiles department.
Please please please….always label your quilts! Don’t say to yourself “oh, it’s just something I did for myself, not big deal” or “it’s just a baby quilt” or “no one will care in 50 or 100 years”. WRONG! It **is** important!
Label label label!!!!!!
The AHC gave free passes to all in our party. We saw a fabulous Afro-American Quilt Display. Anyone within driving distance of Atlanta should see this display!
Date: Sat, 15 Aug 98 08:59:29 PDT | From: “Maxine” <MaxQuilts [at] worldnet [dot] att [dot] net>
<<What about wool batting? I’ve heard it is very easy to needle. Does it shrink as much, more, or less than cotton? If I do trapunto work, do I have to use wool yarn with wool batting? Or can I use cotton yarn with the wool? Is the shrinkage factor different? How about loft comparison between wool &
quilters
Dream Request & Select?>>
The only time I have used wool batt was in an Amish style railroad crossing quilt I did about 12 years ago. It was so lovely to needle that I ended up getting quite carried away while doing the quilting . . . I did have some bearding through the backing fabric, but I think it had more to do with the quality of the fabric than the batt. There was a great deal of lanolin in the wool batt that I used which impregnated the fabric giving it a wonderful silky feel. I steamed the batt before I used it which gave it a high loft which it has retained to this day. It is dry cleaned once a year, otherwise it is on the bed, winter and summer. When it comes time to make another quilt for myself, it will definately have a wool batt.
Maxine
No civilized person ever goes to bed the same day she gets up. MaxQuilts [at] worldnet [dot] att [dot] net
Date: Sat, 15 Aug 1998 08:27:47 -0500 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Audrey,
Ceceila did an article on the British Quilt Study Group for the May issue of the Vintage Quilt and Textile Society newsletter, but no URL was given at that time, she does give her E-mail as <celia [at] eddy [dot] u-net [dot] com>
Laura
Date: Sat, 15 Aug 1998 16:57:11 +0100 | From: “Celia Eddy” <celia [at] eddy [dot] u-net [dot] com>
As several people have discovered, my U.K. quilting website, Northern Lights, isn’t any longer available.
BUT..
A new version should be going on-line in October.
I’ll post a notice to let you know when it’s up and running. The British Quilt Study Group should be launched on October 31st, if everything goes to plan.
If you want information about the Inaugural Quilt Study Day to be held in Manchester on that date, please e-mail me.
Celia [at] eddy [dot] u-net [dot] com
Cheers,
Celia.
Date: Sat, 15 Aug 1998 10:04:31 -0700 | From: Susan Nixon <Desertsky [at] arizonaone [dot] com>
Hello, quilt history buffs,
I’m back on the list. Don’t all cheer at once. =) I have a question and I know someone on this list will know the answer.
It’s about Irish Chain.
I understand the pattern dates back to about 1814. What I’m curious about is, does it actually come from Ireland? Were they made there, or only here?
Anyone?
______
__/ | | \__
/
| |
\
\_/| / \ |\_/
You can’t shock a bull.
| @ @ |
He’s herd it all before.
\
/
| ^^ |
\ __ /
\/
Date: Sat, 15 Aug 1998 14:02:28 -0400 | From: roosien <roosien [at] ibm [dot] net>
This is for Liz in Michigan from Chris in Michigan! I have used a Hobbs wool batt and loved it! It quilted like butter! The quilt was for my daughter, but she has not washed it yet – so sadly I have no info on shrinkage. However, the second batt I bought from Hobbs had huge wrinkles in it that would not relax – so I have not used it, because I don’t think you can “quilt them out”.
Hope this helps, chris
Date: Sat, 15 Aug 1998 14:14:01 -0500 | From: “quilts.r.me” <quilts.r.me [at] MCI2000 [dot] com>
> To: robertsn [at] norwich [dot] net
> Cc: Mom <lake.maven [at] worldnet [dot] att [dot] net> Subject: Generations Quilt
> Date: Saturday, August 15, 1998 2:12 PM
> Hi Nancy,
> I received your request for ancestoral quilts on QHL.
> I’ve got a quilt that took 3 generations to finish; myself, my Mom, and her Mom. The full size top is redwork cross stitch design. Then it is quilted extensivly with feathers, swirls, etc…. My grandmother started it back in the early 60’s. She finished all of the redwork, but never assembled the 3 large sections. My Mom found the quilt top rolled up in the back of a closet. She assembled the top, sandwiched, basted and
loaded
> it on to an old floor frame. She began quilting…………….
> At some point in the early 70’s, she was working on it one evening, and I asked her to show me how to make the stitches. She did. I was 10.
> For some unknown reason, the “Generations” quilt was put away (again).
> I grew up, moved away, graduated college, . Then one day in 1995, my cousin asked if my Mom had ever finshed the redwork quilt. The answer
was
> no. I didn’t even know where the quilt was stored. I’d not seen it
since
> I’d left for college in 1981.
> I asked Mom about Nanna’s quilt. Mom replied that it was in storage
(still
> on the floor frame). Since my cousin wanted to borrow & use the floor frame, I retreived the quilt out of storage. It was 2/3 quilted. This
was
> in July. My cousin & I (same grandmother) decided to secretly finish the quilt and present it to my Mom for Christmas that year. The two of us worked on the quilt nightly for 3 months. It was finished, bound,
wrapped,
> and presented to my Mom Christmas 1995. I knew Nanna was smiling
somewhere
> up in heaven.
> I’ve been quilting ever since. I remember that quilt 25 years ago; sitting at that floor frame, sharing time with my Mom. Quilting is now
my
> passion; my therapy. When ever I have a difficult day, I just think
about
> getting home to my quilting studio. In there, no one can harm me. My
cats
> & dog take over the chairs & floor and sleep while I piece a top or hand stitch a quilt. They are silent sentries guarding my domain.
> The “Generations” or “30 Year Quilt” was created in Dalton, MA in the
early
> 60’s. It was shipped to Jacksonville, IL sometime in the early 70’s
where
> it was assembled & basted. The quilting began in IL. It was then moved
to
> storage in Kansas City, KS, and Birmingham, AL respectively. It was dragged out of storage in July, 1995; moved to Auburn, AL and completed
in
> December, 1995.
> Artists: Mary Wilder, Dalton, MA
Patty Wall, Jacksonville, IL
Cindy Wall, Jacksonville, IL and Auburn, AL
Gretchen Glahn, Auburn, AL
> Cindy Wall, Auburn, Alabama, USA quilts.r.me [at] mci2000 [dot] com
> A diamond is just a chunk of coal that made good under pressure.
> unknown
Date: Sat, 15 Aug 1998 12:27:07 +0000 | From: “Monika Jones” <monikaj [at] mail [dot] cdsnet [dot] net>
Liz and all………..in my last quilt I used the wool batting from Hobbs. Wonderful to quilt, tiny stitches are possible. I washed it with Orvus in a front loading Washer at the Laundry. Dried it between sheets on the deck. Quilt looks great. For wrinkles in the batting I would suggest using a steam iron over the wrinkles, without touching the batting.
Monika Jones
Date: Sat, 15 Aug 1998 18:21:20 -0400 | From: debatqps [at] juno [dot] com
Judy,
We keep a loosleaf notebook with small swatches & pertinent info on almost all of the bolts that we finish up at the shop. We have had too many people come in looking for a fabric and we knew we had it but can’t remember who made it or where we got it from. Now we just go to the book. I wonder how many other quilt shops are doing this and how many of these books will be around years down the road. I would also imagine the fabric companies themselves keep some sort of records now???????
Debbie at Quilting Possibilities in NJ
Date: Mon, 17 Aug 1998 21:33:45 -0500 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] ne
Roberta, et al..
I’ve tried several times to contact Jill and get more information on the gold standard theory. Seems that I may have one in my possession, too. Lisa and I (VQTS)did an exhibit at the University of Texas at Dallas on “Silent Statements” and I included a quilt that has one “gold piece” in it. I told the group when I gave the lecture that I couldn’t substantiate this, that I had heard this at a the QRS conference, during a “sharing session”, but at any rate, it made for a good story. If you get any more information on this, or if ANYONE knows more, let me know. It is really an interesting subject.
And don’t let those guys keep you off line! There is just too much going on here!!<G>
Glad you are finally “on” with us!
Laura
Date: Mon, 17 Aug 1998 22:47:39 +0930 | From: Karen Bush <Birdsong [at] worldnet [dot] att [dot] net>
I *think* I mis-worded (is that a word?) my last post… I meant that the hair was used in embroider as LATE as l940’s, not as early as….I figured that the ‘vogue’ had probably gone out after the Victorian era, and was surprised to see that they were still doing it in the l940’s….sorry. I probably hadn’t had enough coffee before I posted…:) kb
Date: Tue, 18 Aug 1998 16:03:27 +0800 | From: Con Van Maanen <convan [at] ozemail [dot] com [dot] au
This is Roberta talking. I’m in and I’m doin’ it yay. Special Gidays to Laura,Sharon, Cindy,Mary & Susan. I woke up this morning, switched on the computer and there you all were. I’ve been at the W.A.Quilting Association today checking through their library for information on Gold Standard quilts. I found some interesting stuff ( will share anything I think will be of interest after I have had a chance to have a proper look) but nothing specific about GSQs. Went through some old Quilter’s Newsletter Magazines as well and guess what I found in the November, 1994 issue – our very own Barbara Brackman from QRS and some lovely little quilts designed by Jo Morton, also of QRS fame. I think my next move will be to contact The American Quilt Study group and see if they can help. I think Sharon you had better let me know the deal about these photographs so that I can put clearer faces to the fuzzy ones I have floating around in my head. If you are wondering how I’ve got to the computer on my own – my men are out! But guess what I’m supposed to be cooking tea – pity about that.
Love Roberta,
Weather still windy and wet.
Date: Tue, 18 Aug 1998 07:22:21 -0400 | From: “A.A. Harkavy” <aardvark [at] ime [dot] net
Anne Scott mentioned New Zealand’s magnificent wool batting in her post in this morning’s digest. I have had the privilege to test that batting, and it is truly wonderful stuff. It hand quilts like a dream, washes well in warm water (gentle agitation, gentle spin). I put my samples in the dryer on *air* until mostly dry, then gently stretched back to size and finished drying on warm. Though my samples weren’t huge, I felt that this test reflects what is likely to happen with a larger piece. Finally, the black batt was luxurious and wonderful, and I tested it with black fabric backing and a group of bright-and-black patches for the “front”. I urge anyone who wants to see what a wool batt should be to take Anne up on her generous offer to share a source list.
Addy
<aardvark [at] ime [dot] net>
Date: Tue, 18 Aug 1998 08:30:13 EDT | From: Quilt97 [at] aol [dot] com
When one of our two local quilt shops recently closed, I purchased a wool batt in error – thinking I had picked up one of the cotton batts. Thanks to Anne Scott for all her helpful information about wool batting. This isn’t the first time I’ve found answers on QHL before I’ve asked the question! 🙂 Thanks also to Roberta for the mildew remover recipe. It sounds like something to keep on hand and hopefully, never need.
Elisabeth
Date: Tue, 18 Aug 1998 08:32:04 EDT | From: [from unknown, signed “Elisabeth”]
Yesterday I discovered another reason to have more than one quilt in progress: when the sewing machine must be unplugged due to a violent thunderstorm in the area, hand quilting can still be done.
Elisabeth
Date: Tue, 18 Aug 1998 10:24:42 EDT | From: [from unknown, signed “Teddy Pruett”]
Hi, all. Please don’t forget about Julie Powell – she is a collector/historian and all-time expert on political quilts. I won’t presume to offer her address on the list, but I am sure you can find her if you try. If anyone knows about Gold Standard quilts, it would be her. she. whatever.
Teddy Pruett
Date: Tue, 18 Aug 1998 10:26:17 -0400 | From: “Kelchner, Alan” <Alan.Kelchner [at] stdreg [dot] com
Geez Louise, what a weird feeling. Roberta in Australia said she remembered Laura et al from QRS 1997, and whammo! Her face swam into my mind as *I* remembered *HER* !
Love it <G>. Glad you’re here, Roberta.
Alan
Date: Tue, 18 Aug 1998 12:30:52 EDT | From: [from unknown, signed “Deb G”]
I am very new to the list so perhaps this has already been covered……..but I have a book that has many Victorian traditions in it and one of them is hairweaving. Evidently women used to cut off a lock of their hair and weave in into a beautiful design, almost Celtic looking, and sometimes add an embelishment such as a dried flower, etc…. this was inserted into a card or locket with the famous saying, “When this you see, remember me” or something similar. From what I remember reading this was primarily done between women friends and sounds like it was a hobby to collect your friends hair. Some of the women had books full of these works of art and would have new friends add their hair to the book with a personal message, not unlike a high school yearbook. My best friend finally cut her hair after 41 years, (trimmed in the interim, not 41 years worth), but it was very long and blonde and I would love to attempt this craft with her hair.
Eventhough I’m new to this list I can tell I’m going to love it……….I don’t know about quilting being genetic but I do believe I must have lived before to love history and quilting the way I do.
Have a great day all,
Deb G
Date: Tue, 18 Aug 1998 17:08:32 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net
Hi, All – on 8/8, Nancy Kirk said:
< The only early dated piece of cheater cloth we’ve had was an 1884 calendar printed by the Bemis Company.
Had great cheater patchwork of
1870’s fabrics.
I also have a quilt of this type, calendar pages from 1881. It is printed in madders and browns, with “sashing” between the calendar months that resembles patchwork, with floral ribbons and several geometrics in red and in brown. The “pattern” created looks something like a pinwheel.
Back is natural muslin, and it is self-bound, front over back, and quilted. I have no mfg. source for this fabric – Nancy?
How did you learn that yours was Bemis?
Xenia, in Indiana (off until Friday, but responses welcomed!)
>I had said that the quilt I have came in a presentation box that opens with the bulk of the box serving as a lid, and the quilt resting in attached leaves of tissue on the shallow bottom. This box is not a child’s casket. The box is about 3″ deep, by 14″ from front to back and 24″ from side to side. It is heavy white cardboard with an applied pebbly paper surface.
The box sounds like the kind used to preserve wedding dresses. Which might be a good idea for some of the heirlooms people want to preserve but still peek at occasionally.
Date: Tue, 18 Aug 1998 22:59:26 -0400 | From: Mary Beth Goodman <mgoodman [at] albany [dot] net
I learned to do these little folded, origami type squares from Mary Mashuta’s clothing book not so many years ago. A smaller square of fabric is used for the base, and a larger square of fabric is used for the top of the “block”. The sides of the larger square are pleated to make the larger fit the smaller square of fabric, and the sides are sewn together, to hold the pleat in place. The result is a geometric, 3d shape in the center of the square, which is then handled like any small pieced or appliqued block. TOnight at our guild meeting a member turned up with an old family quilt – mostly wools with some possible silk squares. She was doing a bit of handwaving – possibly 1700’s, all hand sewn, but she asked for assistance while admitting that she doesn’t know anything about old quilts. This quilt/throw was made of 2″- 2.5″ squares of different wools and an unknown fabric. My exam convinced me that the blocks were sewn together by machine. The backing is wool, as is the ruffle! There is no batting or quilting, and the piece is not tied. From peeking inside the quilt through one of the “silk” blocks, it would appear that a buckram like fabric was used for the smaller base squre. The overall size is large crib or throw size, I’d guess.
I’ve never seen a quilt made using this technique – it’s not really like biscuits that are individually stuffed. Each square is made and sewn together to make the top.
It is an interesting piece – I always enjoy seeing something I’ve not seen before!
Any ideas on when this technique might have originated? Hard to date mostly solid color, different weaves of wool.
Mary Beth Goodman
Date: Wed, 19 Aug 1998 14:02:45 +0800 | From: Kath Balfour <balfourk [at] echidna [dot] id [dot] au
I saw a very interesting exhibition of “hair art” — mostly from the Victorian era at a place called the Hair Museum at 815 West 23rd St, Independence Missouri, phone 816-252-HAIR. It’s located in the Independence College of Cosmetology and owned by a collector named Leila Cohoon. I saw Leila interviewed in the museum on Good Morning America and it seemed so bizarre I couldn’t wait to check it out!
I was not disappointed. For the price of a couple of dollars, Leila escorted me into a locked room containing about a dozen large old glass and oak display cases–the kind once used in department stores. As she stood sentinal, I was allowed about 15 minutes to peruse the exhibition. I don’t recall whether there was any hair embroidery. There were were around 500 pieces of hair jewellery and ornaments such as brooches, watch fobs, crosses on gold chains,and wreaths made of human hair, delicately wrapped, twisted and woven using what appeared to be a crochet or macrame technique. Also 150 hair wreaths, many including religious designs with crosses,flowers or horse shoes. One wreath has a centrepiece of a stuffed and mounted bird.
Some items were obviously “memento mori”, made from the hair of a deceased loved one. Others left space for more additions of hair from family members.
A big feature is a marvelous family history album dating from 1725 to 1900 with cartes visite for each member containing a sample of their hair. (You can just imagine the possibilities of DNA research into the family tree…or follicle!)
This is a remarkable exhibit, and if you’re in the vicinity (and into Victorian sentimentality bordering on the macabre), I recommend it. As an extra added attraction, you get a free postcard with a picture of Leila in the museum.
Date: Wed, 19 Aug 1998 01:53:57 -0400 | From: “Judy Grow” <Judygrow [at] blast [dot] net
In a set of 9-patch blocks I have there is one block that has 4 patches of what I believe to be a cheater cloth. I am wondering if anyone can recognize it from my meager description and let me know anything they know about it. Of course it is hard to tell the complete pattern from 4 2 1/2″
pieces, but the fabric is red and black, with a mariner’s compass rose in one “patch”, small allover in another.
I’ve been pretty quiet this week, spending a lot of time sewing sleeves onto the quilts that I will enter in our Guild’s show the first weekend in October. I was going to use 90″ muslin because I knew I had some up in the attic. When I went to look, I also found a box of very old white linen damask tablecloths, gotten from my MIL when she moved into a nursing home. I took one out, and figured that if I cut/ripped around the small holes, I could get 5 sleeves from one cloth, with no piecing needed. so I did, and it sews like a dream.
Doing this reminded me of an old quilt that I have that had some linen patches in it, and when I quilted through them there really was a difference. It was like quilting through butter! I wonder why we don’t see more linen in old quilts? I assume it will last at least as long as cotton, probably longer because the fiber is longer than cotton. We still have ancient Egyptian linen around, and in decent condition, considering its great age.
I know some of you old linen aficienados would like to come at me with an axe for what I have done, but honestly, this was stained and useless for anything else. I am thinking of using some of the others in the box for whites in quilts. Someday.
I also found a wonderful cross-stitch/needlepoint shop nearby in New Hope, called the Gazebo, and saw some gorgeous threads — cotton, linen, wool, silk, in all weights and zillions of colors. There was nothing like all that when I was writing my books on adapting antique needlework for todays methods and materials back in the ’70’s. I’m almost tempted to start embroidering again. HMMMM. There is a redwork project I have in mind…………
I haven’t written about the barn/studio in a while. It is almost closed up, but at least 2 more months of work willl be needed before it is habitable. Adam is using wood from other buildings for everything, so the handwork is formidable, because some of the wood is twisted. But you can see his hand in every thing you look at. The beams and posts are all hand hewn, and he did it all right here, so I now know how much work it takes. All the joints are dove-tailed or lap-joined, with pegs, even on the porch posts outside, and all done by hand.
The floor boards for the second floor loft are almost all down, and they also came from an old house now taken down. A couple of them are 18″ wide and almost 20 feet long!
I wish, when it is finally done, that we could invite everyone on the list to come and spend a day working on handwork in it. It will be a perfect space! With lots of light. There will be 10 windows with 2 of them in the gable ends, and that is not counting the clerestory windows. Now that I see how much light there will be I am having second thoughts about displaying any quilts in it.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 19 Aug 1998 16:16:01 +0800 | From: Con Van Maanen <convan [at] ozemail [dot] com [dot] au>
Alan,
I remember you. You’re the patriotic quilt guy a? How are you managing all these women/grandmother’s quilt ancestory stories? Funny thing is my dad earned his living from a sewing machine – he did/does upholstery, motor trimming, makes tents and tarpolines. I think this may have had a negative effect on me connecting sewing machines with work and must say I am still more comfortable with handwork than machine. Getting back to my Dad though – he didn’t have a formal education as such but I can remember him chalking out designs on large pieces of green canvas cutting them out and sewing them together to make things as big as circus tents. I don’t remember him unpicking! I never saw him actually work things out on paper – which is not to say he didn’t. Anyway, if you have time I’d love to know what you’ve been doing over the last year. Love Roberta.
Date: Wed, 19 Aug 1998 08:32:36 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net
Queen Victoria, mourning her beloved Albert, turned mourning into a culture. There were rules for who could wear what in terms of color and style while in mourning, and these rules were further complicated by the wearer’s relationship to the deceased, the age of the wearer, geography, and social status. Of course those most affected were women, whose clothing styles were more diverse than men’s.
Mourning prints, also called Shaker grays, were black and white prints in a small scale that reads gray from a short distance. They were especially popular around the turn of the century, until the 1920s, when they had slipped to “wash dress” status. There were also “half-mourning” prints in grayed lavenders, and a lot of other nuances.
Xenia, in Indiana
