August 4 - 7, 2006 - QuiltHistory

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Quilt History Resources, Quiltmaking Techniques & Construction, 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:

Brackman’s Quilts and Slavery Book — Members discuss the press release, preorders and expected release of Barbara Brackman’s book on quilts and slavery.
The Quilts of Virginia Book — Where to order the Virginia Consortium of Quilters documentation book, and reviews of its content.
Quilt Frames and Mountain Mist Blueprints — A new owner of a handmade quilt frame gets advice on side tension tapes and frame setups.
DMC Floss Stability — Members discuss whether DMC embroidery floss holds its color, and how dye changed over the decades.
Dots and Buttons on Quilts — From Rachel Roggel’s button quilts to dotted pottery and a 1534 inventory of quilts with buttons.
Nancy Page Nursery Rhyme Blocks — A search for missing blocks from a 1937 Nancy Page nursery rhyme set.

Date: Fri, 04 Aug 2006 13:57:38 +0200 | From: adi hirsh <adamroni@>

A quick google search yielded the following:

http://www.okhistory.org/folk/articles/Charm%20Strings.pdf

Incidentally, the Victorian love of buttons was not limited to charm strings – I have a collection of lace making bobbins dating to mid to late 19th cent. The weights at the bottom of the bobbins, intended to keep the thread straight while making the lace, are buttons obviously collected for their aesthetic value. They are quit lovely, and some have wierd and wonderful names, such as “Kitty Fisher’s Eye” – a gray translucent glass bead with a dot design, named after a famous 18th cent. actress, homely hand made glass beads, fancy Venetian glass beads, home-made bone beads – in fact, the buttons are as interesting as the bobbins themselves, and I can quite understand the desire to collect as many as possible. (Yes, I did have quite a few fields of interest before being bitten by the quilt bug) Ady in Israel

From: sue reich

“Quilts of Virginia 1607-1899: The Birth of America Through the Eye of a Needle” is spectacular. I hope that all of you Virginia ladies who are responsible treat yourselves to a wonderful weekend in celebration of a job well done! Most sincerely, sue reich

Date: Fri, 4 Aug 2006 12:37:34 -0400 | From: ctquilting@

This summer I purchased a handmade quilt frame with the Mountain Mist blueprints. The frame was in such bad condition(spiders, wet & moldy muslin leaders and layers of dirt) that I purchased it for $5. After scrubbing off the dirt, gently refinishing the shellac and/or varnish and woodstain, replacing the muslin leaders on the two “poles or winding bars”, I found a gem underneath the years of dirt. The blueprints had building instructions and how to put a quilt into the frame on the back. The blueprints are 1931, 1932 rewritten. I understand that these blueprints were sold for many years, into the 1960’s.

How did people attach or stretch the quilt on the sides? I’ve no clue but will include what the Stearns & Foster Company recommended:

“The strips of tape that have been tacked to the top of each end rail are now used for stretching the quilt from end to end. Pin these strips to the edges of the quilt to keep it taut. If you have not tacked tape onto the end rails, use strips of tape or muslin in this way: Pin one end of the strip to the edge of the quilt; bring it back spirally around the end rail and pin again a little further along the quilt edge; use about three strips of tape for each end rail.”

NOTE: To stretch the quilt as taut as possible, wind as tightly as the bars will permit without bending, and then use the strips of tape on the end bars to take up any remaining slack; pin the tapes to the ends of the quilt.”

The end rails had seven upholstery tacks. There weren’t any remains of twill tape or muslin.My question is this: I don’t know how long to make these end tapes. I have some good cotton 3″ wide twill tape that I purchased in town. I thought of cutting 18″ long tapes and tacking them on but that may not be long enough if a small quilt is in the frame.

Any thoughts on how long these tapes might be? I’ve asked some older quilters but they either don’t remember or didn’t bother with side tension.

The quilt history list is very interesting and helpful with so much of quilting history. I checked the Mountain Mist website but did not find much. I did find another quilt frame like this one on Ebay for sale but there were no “end rail tapes” on it either. Maybe people just didn’t bother with side tension? My mother was part of a church quilting group that met for 35 years; they had 3 frames but she didn’t know either. Maybe it’s just a waste of time to inquire about this.

Thanks so much, Susan Webb Titusville,PA

Date: Fri, 4 Aug 2006 10:42:09 -0700 | From: <suereich@>

On May 11, 1884, in the Davenport Daily Gazette, Davenport, Iowa was repor ted the following: “Mark Twain’s house in Hartford re- sembles a crazy quilt made out of bricks.”

For those of you coming to the AQSG Ice Breaker dubbed “The All Connecticut Night” at Nook Farm during the 2006 seminar, you are in store for a real tr eat. Nook Farm, home to The Mark Twain House and Harriet Beecher Stowe Center is as quintessentially Connecticut as you can get. Below are some web sites to inform yourselves before you have the tours of both houses. Impressed by the Nook Farm literary community in Hartford, CT, the Samue l (Mark Twain) and Olivia Clemens built their unique home in 1873. The house was designed by architects Edward Potter and Alfred Thorp, with interior rooms decorated by Louis Comfort Tiffany, Candace Wheeler, Samuel Coleman and Loc kwood deForest. The architecture is a prime example of ‘continental picturesque’ . Tom Sawyer and Huck Finn came to life during Mark Twain’s years at Nook Far m.

http://travel2.nytimes.com/2006/01/06/travel/escapes/06trip.html?n3DTop%2 FFeatur es%2FTravel%2FDestinations%2FUnited+States%2FConnecticut http://www.marktwainhouse.org/ http://www.antiquesandthearts.com/hh/hh1098.htm http://www.pbs.org/marktwain/learnmore/chronology.html In addition to the tours, in the Great Hall of the Museum is The Mark Tw ain Book Store with a concentration on The Man and his accomplishments, also featured are Louis Comfort Tiffany and William Morris. There is a 75 seat theater with a continuous running film about the man by Ken Burns. In the 170 seat auditorium will be Carla Bue with quilts from her family collection, a ll with Connecticut provenance. In the Hall itself, will be museums and historical societies and private collectors with Connecticut quilt gems in their collections. It will take you some time to make your way to the refreshments and tours on the second level. The walls of the Great Hall, grand stairs and second flo or balcony are etched in stone with 70 of The Man’s famous quotations. The upstairs gallery’s exhibit is showing “Twain, Tiffany and other Treasures: Highlights from the Collection of the Mark Twain House & Museum. Next in the cafe, also on the second floor, apple crisp, coffee, tea and cider will be available to replenish your energies for the tours and quilt exhibit at the Katharine Seymour Day House. The piece de resistance “Unfolding History” will be staged in two separat e exhibit areas, the Harriet Beecher Stowe House, and the Katherine Seymour D ay House gallery. Approximately 10 quilts from the late 19th century represen ting the types of quilts Stowe and other women of her intellectual and social st ature would have had in their homes will be shown in the Harriet Beecher Stowe historic house. All of these quilts come from the Stowe Center collections and include a crazy quilt with Beecher family provenance and a presentation qui lt given to Stowe sister-in-law Eunice Beecher. An additional eight to ten quilts on loan from other institutions will be exhibited in the Katherine Seymour Day Gallery. These quilts represent dist inct time periods or styles of quilts but may not have a direct connection to St owe. Among the proposed loans are a hand-painted silk 18th-century quilt; a Connecticut made calamanco created to replace an earlier quilt donated to t he Revolutionary War effort; an 18th-century quilted petticoat; a signature qu ilt; a quilt made to raise funds for the early anti-slavery movement; and a quil t believed to be one of the earliest patchwork quilts made in the United Stat es. These quilts will be arranged chronologically, and the exhibit will address how quilts were used as status symbols, as means of artistic and political expression, and how they reflect women changing roles in society. http://www.harrietbeecherstowe.org/index_home.shtml http://www.cwhf.org/hall/day/day.htm http://ncwhs.oah.org/archive_1.htm So ladies, if you have not signed up for the Thursday night ice breaker, you will be kicking yourselves and drooling for the rest of the weekend with th e exclamations of delights coming from those who attended our All-Connecticut night. sue reich

Date: Fri, 4 Aug 2006 12:26:42 -0700 | From: <chrisa@>

She also had a wonderful set of 9 Nancy Page nursery rhyme blocks from 1937, and another 8 blocks are missing. I am on the hunt for a source of the missing blocks. The blocks illustrate the rhyme One Two Buckle My Shoe. The children are redwork with appliqued clothing.

This may be old news to share, but I just came across an eBay seller today who is selling the One Two Buckle my Shoes pattern series- her name is mbejane. She is fact ahs many many sets of old patternss for auction that she put onto cds, taken with the old newspapaer clippings when this is the case. The item # 280013238456

Kim Wulfert www.antiquequiltdating.com

Date: Fri, 4 Aug 2006 12:50:16 -0700 | From: <chrisa@>

Do you think that DMC is more stable than other early 20th century flosses? I am beginning to think not. I did the rub test first with a white cloth before dunking and just completed washing three embroidered quilts without incidence!! One was a redwork quilt, another a greenwork quilt and yesterday a bluework signature fundraising top. I let this soak for quite a long while -I actually forgot about it and it wasn’t till my husband reminded me when we had gone to bed that it was still soaking in the tub! Am I getting older or what!! and it did not lighten at all. NO color lost in any and the white was really brightened, so it proved worthwhile.Such a chore though. Finally the weather in CA has returned to normal so that it isn’t so humid nothing dries!

Kim Wulfert www.antiquequiltdating.com

Date: Fri, 4 Aug 2006 20:08:40 EDT | From: KathrynHerrmann@

Sue, Your recent posts concerning the Mark Twain house in Hartford and the newly published Virginia quilt history book coincided with own reading of your wonderful contributions to the Connecticut quilt history book, Quilts and Quiltmakers Covering Connecticut. I purchased several state quilt history books recently during my first visit to the MAQS in Paducah. I brought them all on vacation and have been reading them all cover to cover on the beach-yes, quilt history is a good beach read! My husband and his family have been involved in New England textiles for about 100 years and he enjoyed hearing about the different textile mills in Connecticut.

I’m about to finish Holstein and Finley’s Kentucky Quilts 1800-1900, The Kentucky Quilt Project. It’s a wonderful read, too! I look forward to reading the new Virginia book, “Quilts of Virginia 1607-1899”.

-Kathryn Sterling Herrmann Currently on Hilton Head Island, SC

Date: Fri, 04 Aug 2006 22:18:34 -0400 | From: “Teddy Pruett” <aprayzer@>

Okay, okay – I just know that some of yall are out there trying make button charm strings. Here’s the best way to do it – advice passed on after suffering through doing it wrong umpty times.

FIrst, get about a zillion buttons. Take one out, and place it at the edge of the desk or table. Then take out the second button and compare it. Is it the same? If it is, toss it back. If it is different, it becomes button number two. Place it underneath button number one. Take button number three – compare it to the first two buttons. Is it a match? If so, toss it. If it is different, it becomes button number three. You only have to do it a couple of thousand times to get to 999. I helps to separate your buttons by color.

Now that you have 999 different buttons, it is time to string them. Get a piece of telephone cord – the kind that you plug into the back of the phone and into the wall. Cut the outer plastic wrapper off to reveal the many colored wires in the middle. These wires are your friends. They are the only thing strong enough to hold the enrmous weight and have enough bulk to keep from tangling. Please pay attention to this: DO NOT USE FISHING LINE!!! The first time you pick the charm string up, it will twist and knot and you will want to slice your wrists with your rotary cutter or eat cheesecake with beer or something like that to get even with yourself for being so stupid and wasting all that work.

Now cut the wires into manageble lengths – I usually cut them about four feet long. Now, thread the buttons from both ends toward the center. Just trust me on this, okay? After the sections are filled with buttons, you twist the ends of the wire together. As I said, one of my strings is 44 feet long. You will want to do it in sections. Can you imagine scooting one little tight-butt button down 44 feet of wire???

Now, put something pretty on both ends of the string – I put a curtain ring at the top ofmine so I could pcik it up easily, and put a pretty tassle at the end. Now, get a big old fruitcake tin and wind the charm string into it like a snake. ANd have a cup of tea.

And yall know what? I could have embellished this just a bit, and sold it to a magazine. But no, I am “gratising” it to yall. My good friends. But if I see it in a magazine I’m coming to get ya.

Teddy Pruett Beam me up, Scotty – Outta this swamp and into the Rockies www.teddypruett.com

Date: Sat, 5 Aug 2006 00:32:01 -0400 | From: “J. G. Row” <JudyGrow@>

Thank you, Teddy, for your instructions on making a button string, written with your own brand of humor included. I don’t know of anyone else who could have elicited a chuckle from reading instructions of that kind.

I’ve been playing with my mother’s button collection of late, but mostly putting them back in the cookie tin they came from. They are very utilitarian buttons and nothing like the gorgeous collection we saw on the link a couple of days ago, and nothing like the wonderful collection I saw displayed in your own state, Florida, a couple of weeks ago.

We visited our son in Ocala, and he planned a day for us in St. Augustine. We spent a considerable amount of time at the Lightener Museum, housed in the old Alcazar Hotel, a museum of 18th and 19th century collections, a few paintings, but mostly things of material culture. Tucked in a couple of tall showcases on the second floor was a lovely display of buttons sewn onto cards and arranged by type with explanatory notes.

I wish this conversation on QHL had taken place in early July — I would have paid more attention to them.

Answering another question, besides using buttons to strengthen the ties in tied quilts, I have seen a number of contemporary quilts that use small white pearl buttons as stars in the sky, and as counters. I think Nancy Breland, who writes for QNM frequently and is my neighbor of sorts in NJ has used tiny white buttons in a number of quilts.

On another note — I have been reminded by my realtor’s anniversary card that it has been a year since we left our home of 20 years in Ringoes. I think it is appropriate that I now stop calling myself The Ringo Kid. Ya hear that, Gail?

I will now assume the graceful and ladylike persona of…

J. G. Row Flemington NJ

Date: Sat, 05 Aug 2006 07:26:49 -0400 | From: Judy Kelius <quilts@>

I see that Barbara Brackman is coming out with a new book, Facts & Fabrications: Unraveling the History of Quilts And Slavery: 9 Projects, 20 Blocks, First-person Accounts, at the end of the year. Anytime I see anything to do with quilts and slavery I tend to shudder, but knowing Barbara’s reputation, I trust this will be fact rather than myth. Does anyone know anything about the book? Since it is being published by C & T, it will also have quilt patterns, not pure history, but I personally like her America’s Printed Fabrics book with the same approach.

My Lancaster quilt guild’s program this month is about the “Underground Railroad quilts” . . . I’m boycotting that meeting! I think the speaker will be perpetuating the myth, but perhaps I shouldn’t jump to that conclusion. I just don’t know if I could control myself if I do decide to go <GR>! I see another local guild, in Allentown, PA, has the same program scheduled this fall. I’m hoping Barbara’s book will slow down this train . . . that’s why I’m so interested in learning what it contains.

Date: Sat, 5 Aug 2006 06:52:35 -0500 | From: “Marcia Kaylakie” <marciark@>

I guess the first time I was astounded by the use of buttons on quilts was seeing one of Rachel Roggel’s quilts. Astounding, and the quilt weighed a ton! (figuativeally) ! Rachel and her family visited me here in Austin while she attended a bead and embellishment show and later I sent her a box of boutton that lots of people contributed to her. I wonder how she is doing and if she and her family are in Israel now and are they safe? Rachel, if you’r out there and can read this let us know that you are! Marcia Kaylakie

Date: Sat, 05 Aug 2006 15:26:50 +0100 | From: Sally Ward <sallytatters@>

> I guess the first time I was astounded by the use of buttons on quilts > was seeing one of Rachel Roggel’s quilts.

Thanks for mentioning this. I’d never heard of her, but found her website

http://www.roggel.com/postindex.html

Sally Ward

Date: Sat, 5 Aug 2006 10:30:27 EDT | From: ARabara15@

Susan, I use a 19th century floor frame. I use long strips of muslin looped around the end rails. I’ve made them long so that I pin them and let the excess hang from the underside of the quilt. That way if I am quilting tops of varying sizes I don’t need to reattach strips to the end rails. Looping them around also will not damage the frame by reattaching strips.What a great find!

Donald Brokate The Crazy Quilt Collector Trenton NJ

Date: Sat, 5 Aug 2006 11:06:42 -0400 | From: “J. G. Row” <JudyGrow@>

Sally, I love the Rachel Roggel quilts!

I’ve always loved design made with dots. An elderly customer I’ve long lost track of , she may be gone by now, used to decorate old wine bottles with dots of paint applied in geometricdesigns, almost like cross-stitch patterns. The dots would have dimension on the glass — I don’t know what kind of paint she used.

Lately I have found the prizewinning potter, Ricky Maldonado. All of his surface decoration is made with dots. I can’t afford a teapot but they were the first thing of his that I saw and they grabbed my attention immediately. They were in a book about teapots of all sorts published by Lark books. And his platters! Wow!~

http://www.rickymaldonado.com/

I hope to own one of his pieces soon! One of the smallest things.

A few years ago at a flea market I bought a large jar of tiny white mother-of-pearl buttons. So far I’ve only separated them into two jars — 2-hole and 4-hole. but someday I may get an inspiration and start sewing them onto cloth. Maybe make myself a pearly suit and go out onto the street singing and dancing.

J. G. Row Flemington NJ judygrow@

Date: Sat, 5 Aug 2006 08:09:50 -0700 | From: “ChrisA” <ChrisA@>

I took this from a description in the new C&T Catalogue. The book isn’t on their website yet. In part, the book features a sampler quilt, new, made for the book. Each block is named and it’s inspiration or source is described as it relates to that time.

BB “presents the most current research on the role of quilts during the time of slavery, emancipation, and the Underground Railroad. Eight quilt projects combine historic blocks with BB’s own designs.”

“What roles did quilts play- BB describes stories surrounding the UGRR”

First person accounts, military records, and newspapers and surviving quilts all add to the book

“You decide how to interpret the stories and history, fabrications and facts, as you learn about this fascinating time in history.”

“Excellent resource for elementary through high school learners- curriculum included.”

Comes out in November!!

Kim Wulfert

Date: Sat, 5 Aug 2006 10:23:56 -0500 | From: “Kim Baird” <kbaird@>

Judy– Thanks for the URL, I love his work, too. If you’re a dot fan, I assume you’ve seen the Australian dot paintings?

http://www.cooinda-gallery.com.au/gallery/20060621/index.htm

Kim

Date: Sat, 5 Aug 2006 11:25:49 EDT | From: TEXTIQUE@

Judy,

If you like dots on pottery, try finding some Bunzlauer from Poland. I adore the old and the new.

Jan The Springs

Date: Sat, 05 Aug 2006 16:52:57 +0100 | From: Sally Ward <sallytatters@>

They were in a book about teapots of all sorts > published by Lark books.

Those teapots aren’t teapots, they’re high-fashion catwalk models!! How elegant the shapes! What fun! Thanks for the link.

Sally Ward

Date: Sat, 05 Aug 2006 11:55:49 -0400 | From: joan kiplinger <jkip@>

For those of you who have or are pondering raiding the button tin to make button strings and would like to ID buttons, there is a great site sponsored by the button collectors society www.buttonimages.com. Provides information how to test and ID, clean, restore and store. Especially nice if you want to determine whether a button is bakelite, celluloid or plastic for instance, or glass or MoP vs vinyl, etc. etc. Also mother of pearl quick test is to bite down on button — it will be solid, gritty and cold.

<>J. G. Row wrote: A few years ago at a flea market I bought a large jar of tiny white mother-of-pearl buttons. So far I’ve only separated them into two jars — 2-hole and 4-hole. but someday I may get an inspiration and start sewing them onto cloth. Maybe make myself a pearly suit and go out onto the street singing and dancing.

Date: Sat, 05 Aug 2006 12:44:49 -0400 | From: Judy Kelius <quilts@>

Speaking of DOTS & quilts, have you seen the new line of repros from Judie Rothermel (due out next month) – FABULOUS! All DOTS!!! http://www.marcusbrothers.com/cgi-bin/fabricgallery/gallery.cgi?Category324

Thanks Kim . . . I look forward to finding out more about the book.

At 11:09 AM 8/5/2006, you wrote: I took this from a description in the new C&T Catalogue.

Date: Sat, 5 Aug 2006 21:45:04 EDT | From: Mitzioakes@

You made my day! Any chance of oking me to use your ‘instructions’ in a quilt history booth I am designing for my guild’s show in November? I would give you 100% credit for the exact instructions!!!!!!! – I may even try to start one of my own for a demo (I have lots of that telephone wire around my house, left over from the zillion phones we have had and used and torn out etc. from three kids and a home office (not to mention a quilter in the house. Just returned from a day at the Lowell (MA) Quilt Festival – time to go look at all my goodies I bought… Mitzi from Vermont

Date: Sun, 6 Aug 2006 10:05:29 -0700 | From: Alice Kinsler <alicek@>

We had a similar on-line buzz about Barbara’s upcoming book in my UNL History of Quilt class, so I wrote to Barbara and asked her for more info to share with the class. I’ve checked with her and she’s given me

permission to post her reply:

Glad to reply. I don’t know if anything is going to be revealed. We all know the facts, but I realized just telling people to forget that story isn’t going to work. They love the story. So I am trying to give them another way to use quilt blocks to tell an accurate tale. Attached is a press release that explains it. Thanks for giving me the opportunity to respond. Barbara

Facts & Fabrications: Unraveling the Story of Quilts & Slavery

Barbara Brackman, C&T Publishing. Expected publishing date: November, 2006 112 pages, $27.— the ISBN# 1-57120-364-8.

One of the hottest topics in the world of Black History is the story of quilts and the Underground Railroad. Americans eager to discuss slavery and emancipation are fascinated by tales of quilts used as codes and signals in the dangerous journey to freedom. The connection between a great American folk art, a mysterious secret code and the adventure of the Underground Railroad has created an enduring tale that is fast becoming a part of American legend.

The role of quilts in the Underground Railroad has gained wide acceptance, becoming part of today’s classroom learning for children and adults. Countless school curriculums include instructions for a quilt made in the secret code. Museum personnel organizing exhibits dedicated to the topic of escape from slavery feel obligated to include a symbolic quilt. Historians often are asked questions such as: Is it true that quilts were hung on clotheslines to signal escaping slaves of a “safe house”? Were quilts read as maps to tell escapees the route to safety? Did runaways use quilt patterns with names like the Double Wedding Ring or the Drunkards Path as code to communicate escape plans?

As a historian who has focused on both textile history and the Civil War period, I often have to explain that the story of quilts as code for those escaping on the Underground Railroad is a myth rather than a historical fact. My standard short answer: “We have no historical evidence of quilts being used as signals, codes or maps. The tale of quilts and the Underground Railroad makes a good story, but not good quilt history.

Historians, folklorists, museum curators and other professionals who study slavery and American history are quite frustrated that the myth of coded quilt patterns is becoming as established a cornerstone of American history as other appealing but false tales like George Washington chopping down a cherry tree or Betsy Ross designing the first American flag.

Last October, the American Folklife Society, the leading organization for professional folklorists, hosted a panel examining the accuracy of such stories. There is no lack of accurate information in print and online. When confronted by such historical facts, the general public refuses to believe these myths are fabrications. Some seem to view historians and folklorists as a gang of bullies, ready to pounce on a charming and innocent story. Historians, frustrated by myths that will not die, find the best that they can do is offer an accurate history, one some people might choose to accept. Yet, we do not want to leave the quilter, the curator, the story teller and the school teacher without the important hands-on learning tool that quilts can lend to a curriculum on slavery. Rather than removing the art of quilting from the story I hope to give them a historically accurate account of how quilts figured in the lives of enslaved African-Americans.

The book will include patterns for twenty quilt blocks to represent twenty chapters in the story from Africa to Reconstruction. Names like Catch Me If You Can, Lincoln’s Platform and Lost Ship are perfect for symbolizing various events, but it is important to emphasize that these patterns have NO historical connection to slave-made quilts. We can look at my pattern choices as an exercise in poetic license. Every artist knows the importance of symbolism in personal expression. Quilt pattern names are a form of poetry, imagery that can evoke the past and words that can add layers of symbolic meaning to a quilt’s visual beauty. In this book I give ideas for using pattern names as well as color and fabric style to create quilts symbolizing the story of slavery and freedom.

Date: Sun, 06 Aug 2006 13:47:55 -0400 | From: Judy Kelius <quilts@>

Thanks Alice! That is great information and I’m so happy you were able to share. Certainly slaves and other black Americans are part of our quilt history, and I am hopeful this book will help educate people about some of that. But as Barbara says, it is probably too late to stop the widespread information, especially since it is now taught in some schools (ugh!) I like the way she says it is a good story, but not good history!

At 01:05 PM 8/6/2006, you wrote: >We had a similar on-line buzz about Barbara’s upcoming book in my >UNL History of Quilt class, so I wrote to Barbara and asked her for >more info to share with the class. I’ve checked with her and she’s >given me permission to post her reply

Date: Sun, 6 Aug 2006 15:52:08 EDT | From: Palampore@

Judy, sounds like you have the supplies for the beginnings of a “Button Blanket” or wall hanging in that “style”. In my travels to the Northwest and Alaska I have fallen in love with them. What a great use for your buttons! Here is one of the many sites that give examples of them. _http://www.hud.gov/local/wa/working/onap/blankets.cfm_ (http://www.hud.gov/local/wa/working/onap/blankets.cfm) ]

Lynn Lancaster Gorges Historic Textiles Studio

Date: Sun, 6 Aug 2006 16:38:03 -0400 | From: “J. G. Row” <JudyGrow@>

Lynn,

I was thinking more along the lines of the Cockney Pearly suits

http://www.citynoise.org/article/930

But I love those blankets. I’ve framed a number of drawings and paintings from the Northern Pacific indigenous people — the iconography is the same.

J. G. Row Flemington NJ

Date: Sun, 06 Aug 2006 00:04:50 -0700 | From: Karen Alexander <karenquilt@>

I have not yet seen the book but I spoke with Barbara about the new book at the AQSG seminar in Denver in October. My recollection is that she said she wasn’t attempting to write a book whose purpose was to directly confront and refute the Hidden In Plain View story. Rather than write a book whose focus was “against” something, she said she wanted the focus of her book to present the documented history of quilts of that era and time using the most current research on slavery, emancipation and quilts; and to also present the reader/quilter with patterns and projects that reflected stories with actual documented facts. I too am looking forward to seeing what she has done with the “documentable” historical record. I suspect that schools and teachers will find it quite handy and useful for classroom purposes.

Karen Alexander

Date: Fri, 04 Aug 2006 17:55:28 +0000 | From: 1chartfp@

Is this book available for purchase anywhere? Amazon.com doesn’t list it at all. Barnes and Noble lists it as published in July 2006 but says it’s not available. I’d love to purchase a copy.

Thanks ahead of time.

Patti in Vancouver WA

Date: Sat, 5 Aug 2006 19:41:00 -0400 | From: “Bill Royse” <wroyse@>

Susan, Congratulations of your quilt frame. Concerning the tapes for the side tension, my mom (age 89) has been using a similar frame for years. She uses muslin strips, but your 3″ twill tape would be great to use. Her strips are much longer, maybe 36-45″. She wraps them around the side bar, all the way around with one end coming from the top and one from the bottom of the end strip. We bring the two ends together, place them on top of the edge of the quilt and safety pin through backing, batting and both ends of the tape. Usually 3 strips are plenty to give good support to each end of the quilt. We do not tack the strips to the wood, of it you do need longer strips, just cut some longer. If they are too long, just flip the extra ends away from the quilt. You will be glad you used the end strips when you are quilting near the side edges.

By the way, where is Titusville PA. Mom lives in Allentown.

Hope this helps , Marlene Royse Raleigh, NC

Date: Sun, 6 Aug 2006 20:23:25 EDT | From: Feedsackfanatic@

> Is this book available for purchase anywhere? Amazon.com doesn’t list it > at all. Barnes and Noble lists it as published in July 2006 but says it’s not > available. I’d love to purchase a copy. >

You can find this book and pre-order it at:

http://www.bestwebbuys.com/Untitled-ISBN_1571203648.html?isrcb-search

Paula in GA

Date: Sun, 6 Aug 2006 18:39:48 -0700 | From: <chrisa@>

That press release is written so well! It serves the cause above and beyond selling the book! How smart of the writer to include : “Historians, folklorists, museum curators and other professionals who study slavery and American history are quite frustrated that the myth of coded quilt patterns is becoming as established a cornerstone of American history as other appealing but false tales like George Washington chopping down a cherry tree or Betsy Ross designing the first American flag. ” And the sentence, “The connection between a great American folk art, a mysterious secret code and the adventure of the Underground Railroad has created an enduring tale that is fast becoming a part of American legend.” just makes me want to buy it and curl up for a good read or ride. And last but not least is “There is no lack of accurate information in print and online. When confronted by such historical facts, the general public refuses to believe these myths are fabrications. Some seem to view historians and folklorists as a gang of bullies, ready to pounce on a charming and innocent story.” It just puts a huge smile on my face.

Maybe Barbara wrote the press release too, I say Bravo to the person who wrote this- it is brilliant!!! I know the book will not disappoint. So glad this book has been written. It will provide much food for thought and be a singularly easy place to refer the uniformed to forever and ever… Thanks Barbara, and thanks Alice for getting it to us.

Kim Wulfert www.antiquequiltdating.com

—– Original Message —– From: Alice Kinsler To: Quilt History List Sent: Sunday, August 06, 2006 10:05 AM Subject: [qhl] Brackman’s book

From: “Karen Evans”

According to Peter Thornton’s book on the Italian Renaissance interior, the Capponi inventories of 1534 in Florence inventories refer to nine white quilts with small buttons (coperte bianche a botocini). The reference is on page 162.

Thornton doesn’t speculate as to what exactly this means, but I wonder if the buttons were placed at the points where the quilting lines met?

Karen Evans Easthampton, MA

Date: Mon, 7 Aug 2006 13:15:57 +1000 | From: “Peter Leate” <crafters@>

the stability of DMC colours varies with the time of manufacture. they have changed the dyes used from time the time – a few years ago it was to use eco friendly dyes I am told. At that time there were several greens in particular that were very susceptible to fluoro lights and tended to brown quite rapidly. some magenta or maroon colours were also prone to fading.

for what its worth the Presencia brand (made in Spain) are reactive dyed and use premium long staple Egyptian cotton- they are extremely stable and will withstand pure bleach without loosing colour

Peter Leate Cairns Craft Centre Ph 07 40313024 Fx 07 40131852 Showground Shopping Centre Cairns QLD 4870 We have>80,000 products with specialist departments in Art,Craft, Patchwork and Quilting, Haby,Papercrafts, Embroidery, Crochet and Knitting,Beads

Date: Mon, 07 Aug 2006 06:17:14 -0400 | From: Judy Kelius <quilts@>

Ignore the web sites that say it is available now – NOT! It will not be released until the end of the year, and based on my experience, that means maybe even later since production schedules can change.

Date: Sun, 6 Aug 2006 22:36:48 EDT | From: JLHfw@

http://www.bestwebbuys.com/Untitled-ISBN_1571203648.html?isrcb-search

Dear Paula, Have you found a site for the Quilts of Virgina 1607-1899 The Birth of America Through the Eye of a Needle? This is the book many of us are searching for. Regards, Janet in Fort Worth

Date: Mon, 7 Aug 2006 08:27:05 -0500 | From: “Andi” <andi0613@>

Thanks to Helene on Long Island for sending this to me. Thought I’d pass it along. There are beautiful images on the link.

Saw this listed in my new Fiber ARts magazine that came.

National Czech & Slovak Museum & Library – Special Exhibits

Andi in Keota, Iowa

Date: Mon, 7 Aug 2006 06:49:17 -0700 (PDT) | From: Kris Driessen <krisdriessen@>

Ironically, I have to give a talk this week on the origins of the Underground Railroad Quilt myth – if anyone is in the Coopersville MI area, they are welcome to come by and give me support. More information is here: http://tinyurl.com/z7hyz

Supposedly I am going to have both newspaper and television coverage. I hope it helps, but I doubt if it will. There is simply too much money to be made by perpetuating this myth. Hopefully, Barbara Brackmans new book http://tinyurl.com/gp6 will help.

What really bugs me is that we (the general public) happily repeat the myths but who tells the story of the REAL heros? This myth should not have the same standing in public perception as Harriet Tubman and Levi Coffin, but it does. And that is sad.

Kris
—
> Have you found a site for the Quilts of Virgina 1607-1899 The Birth of > America Through the Eye of a Needle?

Janet,

I found this book at several sites, although I didn’t go through with an order to see if they actually have it:

http://www.google.com/search?hlen&qQuilts+of+Virgina++1607-1899+The+Birth+of+&btnGGoogle+Search

Paula

Date: Mon, 7 Aug 2006 08:59:41 -0500 | From: “Karan Flanscha” <SadieRose@>

Why not order directly from the Virginia Consortium of Quilters:

This was posted by Bunnie Jordan back 0n 5-14-2006:

Recent postings about the current exhibit (1st of 3) at the Virginia Historical Society made reference to the documentation book of Virginia quilts. I am very happy to announce that “Quilts of Virginia 1607-1899: The Birth of America through the Eye of a Needle” by the Virginia Consortium of Quilters is now available for advance purchase with a special discount. (The book should be out this summer.) Go to www.vcq.org and click on “Documentation Project” on the top menu. Then click on “To order your copy…..click here” (which is right below the blue “Documentation Project” words). There you’ll see the cover of the book and a printable pdf order form (just click and print!) The pre-publication price is 20% off the list price. The book includes family owned and museum pieces; quilted armour of the 17th century, work by George Washington’s great-great grandmother, quilts made by slaves and quilts made by First Ladies. Hope you all enjoy it. Bunnie Jordan

Date: Mon, 07 Aug 2006 18:44:18 -0400 | From: bunjorda@

Patti and all, You can order the Quilts of Virginia book directly from the Virginia Consortium of Quilters at www.vcq.org. Select the book logo for your order form. Enjoy Bunnie Jordan

Date: Mon, 7 Aug 2006 20:35:20 EDT | From: JLHfw@

Thank to all who responded to my request for ordering info on the new Virginia Quilts book. I have ordered it directly from the Virginia Consortium of Quilters, best price and more importantly I want to support those hard working quilters who compiled the book. Thanks again. Janet in Fort Worth

Date: Mon, 07 Aug 2006 14:06:01 +0000 | From: pegbingham@

You can also go the to Virginia Consortium of Quilters website: