February 25 – March 4, 1999
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:
- Dating Fabric by Print Style — A member’s search for 1840s-era red print fabric leads into a broader exchange on identifying calico prints like Peter Pan and Concord by name and era. (see the article on dating quilts)
- Should an Antique Top Be Finished? — Members debate whether it’s appropriate to hand- or machine-quilt an unfinished antique top, weighing preservation concerns against the wish to actually use it.
- Debunking the “Prisoners Quilt” Legend — An Australian historian traces a colonial “prisoners quilt” story back to government-assisted emigration schemes for single women rather than convict transportation. (see the article on quilt folklore)
- Identifying State-Flower Embroidered Blocks — A set of vintage embroidered state-flower squares gets traced to an Aunt Martha’s iron-on transfer pattern with help from several members.
- “Dry Goods” and Historic Store Terminology — A question about the old retail term “dry goods” opens into a discussion of what the phrase covered and how it contrasted with perishable goods. (see the article on cotton and textile terms)
- Book, Museum, and Magazine Resource Sharing — Members trade notes on titles like Australian Quilt Heritage, a museum’s 1890s silk-diamond quilt, and a magazine’s call for quilting-history stories. (see the article on quilt museums)
Date: Thu, 25 Feb 1999 21:32:55 EST | From: ZegrtQuilt@
A friend of mine is looking for around 4 yards of 1840 red print fabric..preferably a ribbon fabric, a paisley or a small red print–American – and it can have other colors in it if it reads red predominently in excellent condition. If any of you have any leads please e mail me. Thanks Shelly Zegart
Date: Thu, 25 Feb 1999 23:02:10 -0600 | From: [from unknown]
I’m not a member of this list but have been passed a little correspondence about an alleged ‘prisoners quilt’ dating from the 1880s. Transportation of British convicts to Western Australia ceased in 1868, but in any case, no women were sent to Western Australia. Transportation to Van Diemen;’s Land (Tasmania) which included women, ceased in the early 1850s, and to New South Wales (again including women) in the late 1830s. So, as one of your correspondents said, it’s not a prisoners quilt. All Australian colonial governments had schemes to assist single women to emigrate in the second part of the nineteenth century. These women came out not specifically as ‘brides’ (so it’s not correct to refer to ‘bride ships’, although indeed many did ultimately marry) but to enter domestic sercice, which was often a government requirement as a pay back for the assisted passage. On board emigrant ships, these women were in government patrties under the care and control of a shipboard matron. They were often encouraged to undertake needlework and materials were provided for the purpose, It’s not impossible that some women from one of these ships could have made a quilt.
I’d love to her more !
Dr Jan Gothard, History Programme, Murdoch University, Perth, Western Australia Dr Jan Gothard History Programme Murdoch University Murdoch Western Australia 6150
Date: Thu, 25 Feb 1999 23:18:53 -0600 | From: Russell-Hill <russhill@>
Folks, I have a question I hope you can answer. A fellow bee member bought some embroidered squares recently while in Houston TX. These squares are of the state flowers. She has only 17 of them. we are looking for age and something about theses patterns. So here is some info to help.
They are on point the states name is abbreviated ie Mass. or Miss. This was before the change to 2 letters. there is a shield with the states name in it and it is at the bottom of the point holding the stems of the flowers. Alaska is part of this group and it is all spelled out where the others are not. The shield is like three points at the top curving down to a point at the bottom. They are in pretty good shape one or two may have some discoloring in a few places but I don’t think it saw much light because the colors of the floss are not fadded. Also the floss has some shine makes me think of silk.
I can’t think of any thing else to tell you but I will answer any question that i can. Your help would be greatly appreciated. thanks I also want to say thanks on the reviews of “Hidden…….” I have changed my mind in wanting to read it. Sounds to good to be true.
Debbie
Date: Fri, 26 Feb 1999 10:48:39 -0500 | From: laurel horton <kalmia@
Dear QHL:
Thanks for the responses to my query about stars with an odd number of points.
Audrey suggested:
>Check out The Smithsonian Treasury AMERICAN QUILTS, p. 48. The Groom’s Quilt by Benoni Pearce. This quilt was made in 1850 and look at the stars in the bottom row. The second block from the left has 13 points! The star in the middle has 9 points. Maybe they had better drafting tools in the 1850’s!
And I’ll do it as soon as I unpack my books–we’ve been renovating. However, sounds like the stars vary in this one, while the “Sunflower” is very carefully drafted and all the stars are identical.
Bobbie requested:
>Give us a few more clues such as the overall size of the piece. Were the colors representative of Pennsylvania Dutch quilts? Were their borders? Did the red print have black stems and leaves and yellow flowers? What color green? I’m looking at the quilt from an age point of view and not from the significance of the number 11. For all we know, perhaps there were 11 children.
The quilt is most likely 1850-1860. I haven’t measured it, but it is square and larger than the later quilts in the collection. I can’t speak to PA German quilts since my expertise is in the southeastern states. The quilt has sashing typical of the immediate local area: two solid red strips sandwiching a single white strip. The single border is narrow for this area and time, made from a red print with a small black figure–sorry, my snapshots don’t show the nature of the figure. Hmm. The maker had only three children, but she herself was the oldest of eleven. That’s the closest thing to a theory I’ve got at the moment. Thanks! (Maybe I’ll write a book about family size reflected in the number of star points. I could make the talk show circuit!)
Laurel Horton
Date: Fri, 26 Feb 1999 12:17:57 -0500 | From: Nancy Roberts <robertsn@
I’m gathering input for a potential magazine feature on how things have changed in the textile field over the years (and why, if that info is available and applicable). I had two thoughts which I’ll share below.
If you have any you’re willing to add, together we might come up with an interesting piece. Please post them if you have some and I’ll get back to you. Many thanks! Nancy 1) When learning to sew in home ec. class (in the late ’50s & early ’60s), we were taught to straighten fabric by pulling the daylights out of it. That was because fabrics were often printed off grain and would not hang properly in a garment unless we maltreated them in this way. When did that idea get phased out and why?
2) Terminology has changed. Fabric used to be more commonly referred to as “material”. Today, that term seems dated when used, though I do hear it used some.
3) Many quilters today prefer 100% cotton fabrics for quilting. There was a time several decades ago when 100% cotton was not the popular choice. Blends, stain-release finishes and wrinkle resistance were the by-words in fabric shops.
What would you add?
Date: Fri, 26 Feb 1999 11:22:15 EST | From: Bethquilt5@
At the Michigan State University Museum we have a ca. 1890’s silk diamonds quilt tied with clear beads. At first glance it appears to be an eight pointed layout like a lone star. Upon closer inspection the layout is seven pointed. The diamonds are pieced concentrically and there are no corners. It is too well executed to be one where the maker opted to leave off one unit of diamonds because things didn’t fit. It lays beautifully flat and is an intriguing piece.
Beth Donaldson Quilt Collections Assistant MSU Museum quilts@ or
Bethquilt5@
Date: Fri, 26 Feb 1999 12:00:56 -0800 | From: ptwkwhs@ (N Mussellam)
———-
> From: Nancy Roberts <robertsn@>
> 2) Terminology has changed. Fabric used to be more commonly referred to as
> “material”. Today, that term seems dated when used, though I do hear it used some.
Dear Nancy, My grandmother sewed every stitch that I wore until the age of 18- and then I still got many special outfits over the years that my GM and Mom tailored for me. My Grandmom is now 95 and fabric was always referred to as “goods” , and I always supposed that was shortened from Yard Goods. As we strolled through a yard goods dept of a department store ( yeah- remember when the best place to purchase fabric was in your multi storied department store )
she would stroke a bolt of camel and wool suiting and comment,” This is a nice piece of “goods”.
Anyone else know of this term used?? I always will think of this term fondly and remember her.
Nina in BC
Date: Fri, 26 Feb 1999 15:48:28 EST | From: JQuilt@
Small prints were called calico……Peter Pan and Concord were the most well known print fabrics…Calico came in 36 in. width..summer fabrics were linen,seersucker, pique, waffle pique and voile/lawn…toddlers/ young girls summer dresses were made out of gingham,dimity,dotted swiss and organdy….toddlers/young boys summer suits were linen and seersucker…
jean jquilt@
Date: Fri, 26 Feb 1999 21:19:50 EST | From: JBQUILTOK@
In a message dated 2/26/99 11:14:28 AM Central Standard Time, robertsn@ writes:
<< 3) Many quilters today prefer 100% cotton fabrics for quilting. There was a time several decades ago when 100% cotton was not the popular choice. Blends, stain-release finishes and wrinkle resistance were the by-words in fabric shops.
I read in an old quilt magazine that an older quilter recommended the poly/cotton blends over 100% cotton because it lasted so much longer. (Sorry, I don’t remember the exact year or the name of the magazine – probably early 80’s). I used my blend scraps from clothing in some of my early quilts until I realized they melted down some when hit with a hot iron. Then I switched to pretty much 100% for better piecing accuracy. Double knits were popular for a while also – they never wore out.
Janet
Date: Sat, 27 Feb 1999 05:19:54 EST | From: JBQUILTOK@
In a message dated 2/26/99 9:39:15 AM Central Standard Time, russhill@ writes:
<< A fellow bee member bought some embroidered squares recently while in Houston TX. These squares are of the state flowers. She has only 17 of them. we are looking for age and something about theses patterns. So here is some info to help.
They are on point the states name is abbreviated ie Mass. or Miss. This was before the change to 2 letters. there is a shield with the states name in it and it is at the bottom of the point holding the stems of the flowers. Alaska is part of this group and it is all spelled out where the others are not. >> If Alaska is in the group it had to be after Jan 3, 1959 – the date Alaska joined the Union. I have a reprint of the 48 States Flower quilt designed by McKim Studios & published in the Daily Oklahoman in the 1920’s or 1930’s. The state names in it were in a roughly circular design & vary from 2 letter abbreviations to spelled out names. There were 48 states at the time this was designed.
Janet
Date: Sat, 27 Feb 1999 09:12:03 -0800 | From: Julie Silber <quiltcomplex@>
Hi All, Julie Silber and My 2 cents worth: I have known Marilyn Kowaleski for almost 30 years — she has a fabulous “eye” and a great deal of knowledge. Living here in California, I have not been to one of those show/sales, but I have visited the shop on other occasions. Highest quality “stuff” from an honest and reputable dealer. This decades long quilt junkie HIGHLY RECOMMENDS Marilyn K and her shop. Julie Silber
Date: Sat, 27 Feb 1999 15:44:10 +0400 | From: Xenia Cord <xecord@>
IMHO, maybe quilting an old top is OK if it is for your personal pleasure, and IF you also clearly label the top as a multi-year project (for instance, you finished a quilt begun by your grandmother). The problem comes when old tops, recently quilted, are offered to the public without explanation, and with a price equivalent to similar quilts made complete at one time. Many who admire old quilts are not quilt-literate enough to recognize the recent activity, and I think most purists agree that the most recent (major) activity dates the quilt.
We are conditioned – have been throughout this century – to look at quilts as PRODUCTS of some activity, and not to consider as fully the PROCESS of creation. But the process – and when it takes place – has a lot to do with how we should assess the product.
Those who are more sophisticated in their understand ing often feel that there is more to a quilt than how it looks to the eye. Back, thread, batting, quilting design, intensity of quilting should all reflect the same period as the quilt top. Today’s 100% cottons often have a chemical “memory” that makes them behave, and behave differently from cottons of earlier decades. Processed cotton batts do not give the same appearance as hand-spread cotton wadding. Threads are manufactured somewhat differently, I think. We don’t quilt as closely or as intensely over the surface as quilters used to do (the batting, and also a difference in standards).
Finally, a rare top shouldn’t be quilted anyway; and quilting an old top should lessen, not increase, its value as an historical object. So, IMHO – this is like new wine in old bottles.
Xenia
Date: Sat, 27 Feb 1999 19:54:36 +0000 | From: “Debora C. Wykes” <wykesfcn@
< I have been pulling out all of the antique
>>”orphan” blocks that I’ve inherited or found… just wondering what others of you have done to display these. I’m going to be doing some redecorating in the spring and want to use these in my decor. Just want to know what good ideas are
Go to QNM magazine, January/February 1998 and there is a beatiful article “New Life for Old Blocks” bu Vivian Ritter with wonderful ideas for you. The mag. is carried in my small city library so it should be available for you. email me if you can’t find it.
Debbie in Monroe, MI
Date: Sat, 27 Feb 1999 18:03:33 -0800 | From: “R & L Carroll” <Robert.J.Carroll@>
Hello!
Peggy asks the difficult question of how much should one pay for a quilt that has recently been quilted.
As a quilt collector who is constantly looking for quilts at flea markets, antique shops, quilt shows, antique shows, and quilt dealer booths, I have seen my fair share of quilts that have been newly quilted. I have purchased a few of these quilts. If the quilting is excellent, there is plenty of it, batting is cotton, back is right, and quilting is done in a style or pattern consistent with the age, I would be willing to pay about 50%-60% of the price of the quilt , if, it had been quilted when the top was made. For example, if a quilt would sell for $600, I might pay $300.
If quilting is sparse, batting wrong, or something else looks wrong to me then I probably would not want to spend 50%. And if there are too many things that bother me I won’t buy it.
Usually the prices on these quilts are very reasonable, the seller probably knows they can not get full price. I have purchased a couple of these quilts for an amount equivalent to what I would have paid for the top alone.
So the way I look at it is, I have the quilting for free.
I teach in a quilt shop that has an 80 year old lady who does quilting for customers and I have seen dozens of plain looking old tops transformed into beautiful quilts with the proper quilting.
Is this the right thing to do to old tops? I think it’s up to the owner to make that decision. It is really no one else’s business. I don’t believe it lowers the value of the top, unless it’s a Baltimore Album or some other rare beauty or historically important top. The exception is machine quilting. I would not be interested in a quilt with machine quilting. The only antique quilts that I have ever seen with original machine quilting were plain utility quilts.
This is the opinion of one quilt collector.
Laurette in So. California
Date: Sun, 28 Feb 1999 04:01:41 -0000 | From: “Anne Copeland” <anneappraiser@>
–I agree with you totally, Laurette. It is up to the owner to determine what to do with the top, and it is, in fact, no one else’s business. Years ago, when we were all just getting into this, there was a lot of controversy about doing new work on an old top, or repairing quilts in bad shape. Knowledge and situations have changed, however, and we know better how to do a good job now, for the most part. I also have seen newly quilted antique tops that, as you said, sell for as much as a quilt of similar quality. There are certain quilt tops that cannot be quilted by hand because they would fall apart during quilting. Even machine quilting would be a strain, so those are sometimes simply backed and either tied, or have no batting, just a backing and binding. Again, it depends on the owners ultimate intent for the quilt.
Date: Sun, 28 Feb 1999 10:39:27 -0600 | From: Laura Hobby Syler <texas_quilt.co@>
Debbie, as to the state blocks, check out the Aunt Martha’s transfer patterns. I sold them in my shop years ago and believe that they are still available. They may be the set that your friend is looking for. Laura Is wonderfully springlike N. Texas At 11:18 PM 2/25/99 -0600, Russell-Hill wrote:
>Folks,
>I have a question I hope you can answer. A fellow bee member bought some embroidered squares recently while in Houston TX. These squares are of the state flowers. She has only 17 of them. we are looking for age and something about theses patterns. So here is some info to help. They are on point the states name is abbreviated ie Mass. or Miss. This was before the change to 2 letters. there is a shield with the states name in it and it is at the bottom of the point holding the stems of the flowers. Alaska is part of this group and it is all spelled out where the others are not. The shield is like three points at the top curving down to a point at the bottom. They are in pretty good shape one or two may have some discoloring in a few places but I don’t think it saw much light because the colors of the floss are not fadded. Also the floss has some shine makes me think of silk.
>I can’t think of any thing else to tell you but I will answer any question that i can. Your help would be greatly appreciated. thanks I also want to say thanks on the reviews of “Hidden…….” I have changed my mind in wanting to read it. Sounds to good to be true. Debbie
Date: Sun, 28 Feb 1999 19:12:20 -0800 | From: Barbara <qwhiltr@>
Question Does anyone know where I can obtain either the patterns or the kit for the redwork pillow shams that say Good Morning and Good Night in German? I know where to get the English ones, but I know I’ve seen them in German, but where I don’t recall. I’ll bet someone on this list would know!
Thanks in advance, Barbara Black in Ventura, California qwhiltr@
Date: Sun, 28 Feb 1999 23:26:21 EST | From: SadieRose@
Sorry, everyone, I haven’t forgotten….just been down several days with a very nasty flu bug. Think I am finally past the stage of “should I stay in bed & sleep or try to sleep sitting upright in the chair”, but still feeling pretty weak.
Yuck, I hate being sick!! I don’t even have enough energy to hand piece, that’s pretty bad!
Re SIMPLY QUILTS schedule I have not received the March/April program guide, will have to call & find out why. The last issue did not have a “renewal notice” on the cover…so I’m not sure what the deal is. In the meantime, guess you can check their website at www.hgtv.com Will let you know what I find out….
Karan (I don’t think this virus can come through your computer )
Date: Mon, 1 Mar 1999 10:31:10 -0800 (PST) | From: Kris Driessen <krisdriessen@>
Ironically enough, I just received a catalog from Sally Goodspeed who offers these redwork patterns. Her phone number is 410-235-6736. I don’t see an E-mail address, but I bet she has one.
Kris
Date: Mon, 01 Mar 1999 15:18:18 +0000 | From: Shirley McElderry <tigersoup@>
Debbie and fellow QHLers The State Flower blocks are probably the patterns from Home Art Studios in Des Moines, IA. Have a photocopy (courtesy of Susan Miller of Pella, IA) that is from “The Royal Neighbor” magazine, dated November 1933. The shield is at the base of the flowers, on blocks which are set on point. The pattern number is 720. There is a very elaborate border shown, as well as sashing with stars. All this extra attention to design is very common to VerMerhan’s patterns. Even though Alaska was not a state in 1933, VerMerhan obviously thought it should be(or would be, at some point in time)
included; in the literature accompanying the design is “”The Official State flower quilt contains the official flowers of each of the 48 states, and Alaska makes the 49th block, which is necessary to complete this unusual quilt.”
Shirley Mc from IA
Date: Sat, 27 Feb 1999 16:35:35 -0000 | From: “Jenni Dobson” <jenni@>
Sorry to readers for being so behind with the postings. (Have been = away.)
My friend Audrey Cameron mentioned (in digest no.53) Janet Rae’s book, = The Quilts of the British Isles as being out of print. The book was out = of print for some time but was reprinted by a different publisher. It is = now A Deirdre McDonald book, cover price 12.99 UK sterling. ISBN 1 = 898094 14 4. So far as I know, this edition is still available, having = bought some copies recently to give as gifts.
On the subject of the Log Cabin pattern, I mentioned to QHL my trip to = the Museum on the Isle of Man earlier in February. There, log cabin is = considered to be a ‘speciality’ of the island. Of course many quilts = were consumed by use and it’s difficult to know how far back the = tradition of using the pattern goes, though I saw some examples whilst = there. The Manx have a particular way of folding the strips back to = leave a small pleat, rather than pressing the strip right back to the = seam line. The strips are therefore cut wider than they first appear. = This extra width is also used when joining the blocks to enclose the = seam allowance and thus neaten the back of the quilt. So at the end the = final effect is of equal width strips. Hope that makes sense. I’d also like to refer people who enquired about the Australian convict = quilt to Margaret Rolfe’s book, Australian Quilt Heritage, which I = received this January from my Aussie penpal. On pp. 20-21, she writes = about the activities of Elizabeth Fry to improve the lot of women = convicts in the C19th and this spread to include those being = transported. There’s a pic. of one in a medallion style on p.21, with a = transcription of the dedication embroidered on it, dated June 1841. = (Margaret says Fry helped in this way, until 1841 & died not long after = in 1843 – this sounds as if the transportation of women to Australia = ceased in 1841 but I’ll see if I can check that & post it on the list = accordingly.)
This quilt is in the collection of the National Gallery of Australia in = Canberra – who probably have a website? & email.
It sounds as if it was the only known surviving quilt at the time = Rolfe’s book was written. The quilt turned up in Scotland, probably having been sent back to England soon after its making, but = nothing is known about it in between then & it appearing in the 1980s.
Hope this is of interest.
Jenni D. in UK.
I’
Date: Mon, 1 Mar 1999 22:18:21 -0000 | From: “Jenni Dobson” <jenni@>
Am still behind with my mail – sorry folks for dublicating some info = another person had sent but I hadn’t read far enough to know this.
Audrey Waite wrote about The Groom’s Quilt in answer to the uneven no. = of points in a pattern. In passing the name ‘Benoni’ caught my eye – as = the male name of the maker. Did you know there is a town of this name in = Transvaal in South Africa? I have friends who lived there for many = years. I believe it is an African name (rather than a European setler’s = name for the place) I mention it because I wonder if the maker could = have been of African descent?
Jenni D in UK.
Date: Tue, 02 Mar 1999 13:23:03 -0800 | From: Nancy Cameron Armstrong <narmstr@>
Margaret Rolfe, author of AUSTRALIAN QUILT HERITAGE (revised and updated by Margaret in 1998, published by J.B. Fairfax and now available in North America through Quilters’ Resource) recently had an inquiry about this quilt … this is what she had to say on February 26. 1999 “I think the evidence would not seem to support the way the quilt is described. Transportation to the New South Wales and Tasmania ceased in the early 1850s, although from 1850 to 1868 10,000 men were transported to Western Australia. So it is very unlikely to be a ‘prisoners’ quilt.
It could well have been made on board ship by a woman, or women, coming to Australia, as emigration of women was encouraged. However, if they know about how the women were given”three pieces of fabric,’ then why is there no other information about any names of the women involved (or at least their descendants), or the name of the ship involved? If the quilt is of �museum-quality,’ why was it both restored (new fabric added to centre), then quilted recently, thus making it less authentic? It looks like a beautiful quilt, and I am not against restoration per se, but if this a ‘rare’ piece, its authenticity and provenance are very important, and so the first consideration is usually to do as little as possible to change anything. I would like to know the real provenance on this quilt – where was it bought, when, by whom, and what story originally came with it. I would also like to know how it was pieced – were the pieces overstitched onto papers (typical English construction)
or were they seamed together? While knowing about its construction would not be definitive, it would be useful to know.”
Date: Tue, 2 Mar 1999 20:17:38 EST | From: Baglady111@
I realize that many guilds have their programs set for the year..but alot of quilt shops have speakers come in and I wanted to share this info with you..
TONI BAUMGARD of CA..will be here on the east coast in Oct…and while doing research she has some time to meet woth guilds or shops..TONI is well known on the west coast for her collection knowledge on REDWORK..her collection is extensive and her program a must…
Toni also does quilt repair..so give her a holler and invite her in before all dates are gone… Jane of THE FEEDSACK CLUB
Quiltfixer@
Date: Wed, 3 Mar 1999 00:02:59 EST | From: SAERoy@
I just wanted to share with the group the fun time several of us had at the Vintage Quilt and Textile Society’s Quilt College which was held last Friday and Saturday in the Dallas-Ft. Worth area.
Friday evening, we had a presentation by Elizabeth Kurella. For three hours, she educated us on lace history and how to identify basic kinds of lace and to distinguish machine made lace from handmade lace. Most of us left wishing we had as much knowledge in our heads as Elizabeth has in her pinkie finger! If you’re trying to learn how to identify different types of lace, I can definitely recommend her lecture. She had these mounted samples of lace that we could touch, inspect with magnifying glasses, etc. After that experience, I feel like I can use her books with a lot more confidence. Our group enjoyed learning from Elizabeth so much that we’re working on bringing her back for a workshop on dating lace.
If you’re interested in purchasing some of her books, you can contact her personally at ekurella@. I’m not a vendor, just a satisfied customer.
Saturday was a series of presentations by fellow QHLer’s. Terri Ellis shared with us the in’s and out’s of estate sale shopping. She gave us some great tips on estate sale etiquette and what to look for in estate sales.
Laura Hobby Syler and Karen Erlandson talked about different quilt restoration techniques and tested our fabric dating skills. While I love all the books that are out on these two subjects, it sure does help to see and touch.
Karen Erlandson and Aline McKenzie talked about African-American quilts. We talked about several different books on the subject. Karen and Laura shared with the rest of the group Eileen Trestain’s review of Hidden in Plain View which appeared earlier on QHL. We have such talented people in our QHL group! As always, show and tell was just too much fun. We got to see some incredible quilts. One woman brought samples of the quilts that her family had made over several generations. There was an 1850’s red, green and white quilt that was quilted with such tiny, precise stitches. She also showed a top that she was restoring that had scenes from Mother Goose done with the most incredible embroidery.
It’s always fun to spend a weekend with people who share our interest in antique quilts. If you’re interested in future Quilt Colleges, please contact VQTS at vqts1@.
Sharon Cheng Ft. Worth, TX
Date: Mon, 01 Mar 1999 21:43:41 -0800 | From: Patty Casselberry <friend@>
Hi Nina!
Me too! My grandmother was a tailor way back when…she died at the age of 106 or 96, depending on who does the math. At any rate, she and my Mom always referred to fabric as “goods”. In Home Ec – 6th grade?!?, good grief that was 38 years ago! – we purchased “material” to make our mandatory skirt. Now, I shop for fabric. Oddly enough, fabric stores have always been fabric stores to me…but when I shopped for material I went to JC Penny to get it because we didn’t have any fabric stores (now fabric shops) where I lived (central Florida). My grandmother lived in Steubenville, Ohio…do you suppose “goods” might have been a regional term?
> My grandmother sewed every stitch that I wore until the age of 18- and then I still got many special outfits over the years that my GM and Mom tailored for me. My Grandmom is now 95 and fabric was always referred to as “goods” , and I always supposed that was shortened from Yard Goods. As we strolled through a yard goods dept of a department store ( yeah- remember when the best place to purchase fabric was in your multi storied department store ) she would stroke a bolt of camel and wool suiting and comment,” This is a nice piece of “goods”.
> Anyone else know of this term used?? I always will think of this term fondly and remember her.
> Nina in BC
Date: Wed, 3 Mar 1999 06:18:26 EST | From: Lekhbah@
Libby, I thought you might br interested.
Kim
Date: Wed, 03 Mar 1999 14:05:21 -0500 | From: Peggy Notestine <notestine.11@>
Hi friends, A few things needed I am trying to locate an email or written address for the author of the book Watercolor Quilts. The authors are Pat Maixner Magaret and Donna Ingram Slusser…. would anyone on this list know how to reach them other than going through the publisher?
Re old quilt tops i bought an antique triangle (a 1000 pyramid)
utility quilt top several years ago in an antique store for $40.00 and then spent 5 months handquilting it. I knew that I would keep it in my family, but I wanted it to be as true as I could, so I quilted it in the Bishop’s fan style and used 100% cotton batting and backed it in Harriet Hargrave’s line of fabric at the time. I read “Clues in the Calico” and dated it between 1890-1910. It was full of cadet blues, blacks, reds, pinks, and those turn of the century shirting prints. Anyway, I remember having such fun reading that book and dating the top. After it was done, I clearly documented everything I had done to it, and to this day, it is still my favorite quilt I have ever done. And ever since I have read that book, I have been fascinated with dating fabric. I really admire the experts. I would like to think I would know a real gem if I ever stumbled across one before I did anything to it, but every time I watch the Aniques Road show and think of all these junky looking treasures that people have in their attics, it does give me pause. Someone also mentioned having never seen a machine quilted antique quilt that was anything other than a utility quilt. I happened to have a double Irish chain quilt that was done we think in 1930, but might be earlier if it was not my MIL’s aunt who did it, but MIL’s aunt’s mother. Anyway, I have this gem….the piecing is very nice but the machine quilting is so unusual in the open areas….it looks like almost something the old Spirograph game could make. It is heavily quilted, and although I wouldn’t say it was highly intricate work, it is most definitely elaborate. And I think in the chain part, it looks something like stippling. The quilt is just cadet blue and white and besides a foot long rip at the top edge of the quilt, the darn thing would be near perfect! I will someday have this repaired, but for now, I enjoy getting it out and looking at it.
Peggy in Columbus, OH Now down to 20 UFOs from 24 since January 1st….making progress!
P.s. And could somebody please explain why it would be called a prisoner’s or convict’s quilt it it was made by women coming to Australia to marry.
Were the women convicts, or were they marrying convicts, or did it feel like prison marrying someone you didn’t know…..!
Date: Wed, 03 Mar 1999 13:03:51 -0800 | From: Mark Kriss <mkriss@>
Thanks again for all the excellent information and comments that many of you have contributed to the QHL list and to Diana Leone directly regarding what is believed to be an Australian Prisoners (or Convicts) Quilt Top. It’s become apparent that more research is needed on this quilt prior to it being placed on auction. As result, we are seeking suggestions as to who might be the best expert to perform an independent appraisal of the quilt prior to the Opening Auction (the dates for which will be announced April 5). Ideally, we would like to complete the appraisal — and post the findings — before April 1. If that’s not possible, as seems likely at this point, we will defer the auction of this particular quilt and feature another one at the Opening Auction.
Date: Wed, 3 Mar 1999 17:32:54 EST | From: SudaNim@
Wow…you guys are bibliovores! There were requests for nearly every title (including the Soviet textiles books).
This was fun. Got to exchange e-mail with folks, learn a little about what everyone likes. I also found out it was a little more work than I expected, so I ended up asking a “handling charge” from most folks an orphan block, or fat quarter, or other treat. I’m not a bit surprised to see that people here were understanding, if not downright enthusiastic, about that. Other people swapped out-of-print books that I had wanted.
I still have two copies of Sandi Fox’s “Small Endearments 19th Century Quilts for Children and Dolls.” And I’ll keep haunting the used-book stores.
Aline
Date: Wed, 03 Mar 1999 15:16:55 +0000 | From: Bobbie Aug <qwltpro@>
Dear Peggy in Columbus, I think that, with few exceptions, all antique quilts were utility quilts in that they were made with a practical purpose in mind – to keep people warm. One exception would be crazy quilts (they mostly weren’t really quilts as there was no quilting, but coverlets). These were rarely made for the bed during the Victorian period. There are a few other exceptions that I have run across in my many years of “flapping” quilts.
So, machine quilting, hand quilting – both applied to utility quilts. Perhaps what the person meant to say was “every day” quilts and not machine quilted “company”
quilts. In 1984, I appraised a lovely pine tree quilt that was made for Grover Cleveland when he ran for office in the 1890’s. If you know this pattern, there are many pine “trees” with many, many little tiny triangles. Definitely not something thrown together to ward off the cold drafts. Quite the contrary, I would say. This was meant to be a special quilt. The quilt was hand pieced and machine quilted. I am guessing that the maker was very proud of her sewing machine and her ability to machine quilt and wanted to show off her talents. When we date quilts or discuss quilt history, we are almost always forced into making generalizations from specifics, i.e. When was the pattern MOST popular? When was the pattern first published? What region were you MOST likely to find quilts of a certain style? and so on. These generalizations are always based upon substantiated research and fact, but we always allow for that “rebel” quiltmaker who was way ahead of her time or continued making a certain style of quilt long after the fad or popularity was over. Keep asking questions and be a good listener.
That’s always been my practice.
Bobbie A. Aug Peggy Notestine wrote
Date: Wed, 03 Mar 1999 22:47:05 +0400 | From: Xenia Cord <xecord@>
Anyone who needs something to do this weekend might want to check out the “Great Midwest Quilt Show & Sale,” a long-time show in Lebanon, OH, sponsored by the local historical society. There are always a lot of antique quilts vendors there (including me), several quilt exhibits, and the town is brimming with antique shops. The show is at the National Guard Armory, 113 Taylor (8 blocks east of the Golden Lamb hotel), and exhibits are there and at the historical society. It’s a little town;
you can’t get lost. Check it out!
Xenia
Date: Wed, 03 Mar 1999 20:49:06 -0700 | From: Eileen Trestain <ejtrestain@>
I have a machine quilted quilt from the turn of the century, complete with binding (c.1910). I have a friend who has a home in TX and one in CO, and she has purchased several quilts which appear to be hand appliqued, quilt-as-you go heavily machine quilted c. 1870 quilts. There is a museum in Texas that has several machine appliqued and quilted quilts which were 1920’s. I have a turn of teh century machine top-stitch appliqued quilt, which is hand quilted with string, no less. I have seen quilts which are made from machine quilted fabrics which are then lined, and these were c. 1890. There are a quite a few machine quilted late 1800 quilts, once you start looking.
Eileen
Date: Thu, 04 Mar 1999 07:58:25 -0500 | From: Alan Kelchner <quiltfix@>
Well, I saw a quilt appraised at the first QRS conference (or was it the third? It was the year QRS got to use the art gallery space for appraisals and display). Anyway, someone brought in a c.1876 quilt done in one patch – muslin and centennial panels (all the same). The entire piece had been simply quilted on one of the old chain-style stitch sewing machines. Definitely not a utility quilt. Alan who bought his first roll of freezer paper last night – making my art quilts (new techniques to try) and needed to stabilize a piece of muslin 18×24. Laughed out loud when I opened the box, and inside the top were tips for quilters! The Reynolds company is decidedly paying attention to their customer base ……
Date: Thu, 4 Mar 1999 09:10:32 EST | From: JQuilt@
Alan mentioned that Reynolds Paper seems to be in touch with their customer base…well I’m writing them today to suggest that they put out a box/packet of their freezer paper in an 81/2 by 11 inch size, that will be compatible with printers…
Let’s see what the response will be…Maybe we all should do it….look at what we did with the quilted Bathroom tissue company….
jean jquilt@
Date: Thu, 4 Mar 1999 09:33:50 -0600 | From: DSefton@
Hello all. Dru Sefton here, the reporter at The Kansas City Star. Many thanks to all of you who replied to my query re Kansas City Star quilt patterns for The Star’s upcoming book.
One more thing I’m looking for Photographs of quilters from the 1940s through the early 1960s. Believe it or not, I’m having all kinds of trouble locating any photographs! I can find quilting photos from the 1930s and earlier and the 1970s and later, but 1940s, ’50s and early ’60s photos are proving elusive. If anyone out there has photos of women quilting, quilting bees, women displaying their quilts, etc., in their personal collection, I’d be grateful to hear. The Star would pay for a copy negative so you wouldn’t have to send the original – and you would then have the negative for future use. Also, you would receive credit in our upcoming book. And a few free copies, of course.
Any HELP is much appreciated!!!! Best, Dru
Date: Thu, 4 Mar 1999 07:34:54 -0800 | From: “Robins-Morris, Laura A” <lrobins@>
>I think that, with few exceptions, all antique quilts were utility
quilts >in that they were made with a practical purpose in mind – to keep people >warm.
I would beg to differ. I think there are more than a “few exceptions”.
Maybe the majority (though I’m not even convinced of that, especially in this century) were intended for use and warmth, but so many of the quilts that have lasted until today are here because they were not used or used infrequently. They were made for show and were put out as beautiful bed covers and for special company. Sometimes warmth was way down the list. I think that some historians have pointed out, or given us good reason to infer, that many women who had the time for fine needlework and the money for pretty coordinated fabrics made quilts for many of the reasons we do today — because they enjoyed doing it and it was a means of creative expression. That’s certainly true of the 19th century applique quilts, the intricately pieced quilts, and the beautiful pieces with elaborate hand quilting. And the same is probably true for the quilting revival of the 20’s and 30’s. Most people had easy access to inexpensive blankets but women found they liked making quilts, and were sometimes spurred on by competitions (e.g. Barbara Brackman’s “Patchwork Souvenirs” about the 1932 World’s Fair quilt competition and the local contests preceding it). Practical purpose probably wasn’t the motivating factor for that many. I just suggest that the words “with few exceptions, all..practical purpose…warmth” are a little extreme. Even when quilts were (or are today) used as blankets, that doesn’t mean that warmth was their primary reason for being made. Quilters just liked making quilts. The fact that they also have a real use is just icing on the cake!
Laura in Seattle
Date: Thu, 4 Mar 1999 07:59:56 -0800 | From: Kathy Tavares <kmtavare@>
Peggy I’m not a historian and until recently didn’t pay to much attention to history. That’s the DH job (teacher). Anyway, I had an Australian housekeepper about 23 years ago and she had said the she was descendant from a woman who went to Australia from England as somewhat of a slave/convict. The womand had been arrested in England and her punishment was time in jail in England or going to Australia and making herself available to be married by a man who was settling there. I have no idea if this is even close to being true.
Hi friends, A few things needed I am trying to locate an email or written address for the author of the book Watercolor Quilts. The authors are Pat Maixner Magaret and Donna Ingram Slusser…. would anyone on this list know how to reach them other than going through the publisher?
Re old quilt tops i bought an antique triangle (a 1000 pyramid)
utility quilt top several years ago in an antique store for $40.00 and then spent 5 months handquilting it. I knew that I would keep it in my family, but I wanted it to be as true as I could, so I quilted it in the Bishop’s fan style and used 100% cotton batting and backed it in Harriet Hargrave’s line of fabric at the time. I read “Clues in the Calico” and dated it between 1890-1910. It was full of cadet blues, blacks, reds, pinks, and those turn of the century shirting prints. Anyway, I remember having such fun reading that book and dating the top. After it was done, I clearly documented everything I had done to it, and to this day, it is still my favorite quilt I have ever done. And ever since I have read that book, I have been fascinated with dating fabric. I really admire the experts. I would like to think I would know a real gem if I ever stumbled across one before I did anything to it, but every time I watch the Aniques Road show and think of all these junky looking treasures that people have in their attics, it does give me pause. Someone also mentioned having never seen a machine quilted antique quilt that was anything other than a utility quilt. I happened to have a double Irish chain quilt that was done we think in 1930, but might be earlier if it was not my MIL’s aunt who did it, but MIL’s aunt’s mother. Anyway, I have this gem….the piecing is very nice but the machine quilting is so unusual in the open areas….it looks like almost something the old Spirograph game could make. It is heavily quilted, and although I wouldn’t say it was highly intricate work, it is most definitely elaborate. And I think in the chain part, it looks something like stippling. The quilt is just cadet blue and white and besides a foot long rip at the top edge of the quilt, the darn thing would be near perfect! I will someday have this repaired, but for now, I enjoy getting it out and looking at it.
Peggy in Columbus, OH Now down to 20 UFOs from 24 since January 1st….making progress!
P.s. And could somebody please explain why it would be called a prisoner’s or convict’s quilt it it was made by women coming to Australia to marry.
Were the women convicts, or were they marrying convicts, or did it feel like prison marrying someone you didn’t know…..!
————–
Date: Thu, 4 Mar 1999 08:04:24 -0800 | From: “Robins-Morris, Laura A” <lrobins@>
P.S to my post — I might have a bit extreme myself and projected too much of our 1990’s feelings about quilting onto past generations. I only meant that the need for creative expression has been around a long time and it shouln’t be overlooked in quilts made long ago. Function is not always primary in the creation of functional objects.
I should just stick to lurking.
Laura in Seattle
Date: Thu, 4 Mar 1999 12:47:12 EST | From: @aol.com
Patty – Nope, not regional. The old term was “dry goods.” Why it’s now usually “fabric” is beyond me. I’m also curious as to whether there were any “wet goods.” Anyone know?
Karen Evans Easthampton, MA
Date: Thu, 4 Mar 1999 11:00:05 -0800 | From: “R & L Carroll” <Robert.J.Carroll@>
Laura, just wanted to say that I agree with you.
As a quilter who has made over a hundred quilts, there is definitely a difference between the quilts I consider utility quilts and those I put on the beds only occasionally, or in the case of my appliqued album quilts, not at all. One only has to look at some of the beautiful quilts that survive from the 19th century to see that these quilts were never meant to be used and used up. Many women made quilts with beautiful expensive fabrics, extensive intricate quilting, complicated piecing, and beautiful time consuming applique. Hundreds and hundreds of hours of a woman’s life went into these quilts. Some of these women left orders with the family that certain quilts were not to be used, and suggested ways that the quilts could be passed down from one generation to another.
The fact that so many of them were made with the thinnest of batting, so that the quilting could be finer, confirms that warmth was not that important.
When I consider that 19th century women didn’t have electronic sewing machines and all the gadgets we have to make quilts I’m sure that they valued their time at least as much as I do. They also didn’t have all of the appliances we do to give us more time to quilt.
When I use the term “Utility quilt” I mean a quilt that was made to be used daily with the knowledge that it would someday be used up.
I realize that this is probably a relative term. To one person a quilt might seem very special and worthy of a place in the cedar chest and to another person the same quilt would just be another quilt to use on the bed.
I, myself, now consider some of my earlier quilts not so special, because the quilts I’ve made since are so much nicer.
Laurette in So. California
Date: Thu, 04 Mar 1999 12:25:23 +0000 | From: Bobbie Aug <qwltpro@>
I considered quilts made as bed covers utilitarian, whether they were slept under often or infrequently – they were made for a useful purpose. We do not disagree. A matter of language chosen. Bobbie a. Aug Robins-Morris, Laura A wrote
> >From QHL Digest #62
> >I think that, with few exceptions, all antique quilts were utility quilts >in that they were made with a practical purpose in mind – to keep people >warm.
> I would beg to differ. I think there are more than a “few exceptions”. Maybe the majority (though I’m not even convinced of that, especially in this century) were intended for use and warmth, but so many of the quilts that have lasted until today are here because they were not used or used infrequently. They were made for show and were put out as beautiful bed covers and for special company. Sometimes warmth was way down the list.
> I think that some historians have pointed out, or given us good reason to infer, that many women who had the time for fine needlework and the money for pretty coordinated fabrics made quilts for many of the reasons we do today — because they enjoyed doing it and it was a means of creative expression. That’s certainly true of the 19th century applique quilts, the intricately pieced quilts, and the beautiful pieces with elaborate hand quilting. And the same is probably true for the quilting revival of the 20’s and 30’s. Most people had easy access to inexpensive blankets but women found they liked making quilts, and were sometimes spurred on by competitions (e.g. Barbara Brackman’s “Patchwork Souvenirs” about the 1932 World’s Fair quilt competition and the local contests preceding it). Practical purpose probably wasn’t the motivating factor for that many.
> I just suggest that the words “with few exceptions, all..practical purpose…warmth” are a little extreme. Even when quilts were (or are today) used as blankets, that doesn’t mean that warmth was their primary reason for being made. Quilters just liked making quilts. The fact that they also have a real use is just icing on the cake! Laura in Seattle
Date: Thu, 04 Mar 1999 12:46:05 +0000 | From: Bobbie Aug <qwltpro@>
A note to my post Guess I obviously didn’t do a very good job of explaining my opinion. What I was trying to say was crazy quilts made in the last quarter of the 19th century were made, I believe, to showcase women’s (primarily women) needlework talents and were only made to be draped over the couch or piano. Today, we consider quilts made to hang on the wall, wall quilts and like the crazies, have no “utility” to them. MOST of the antique quilts (except crazies) were made bed size. Compare the sizes of beds during whatever quarter century to the size of quilts made during that same quarter century. What about Baltimore Album quilts? Were they not made in the 1840’s in sizes comparable to the beds in use at that time? They had to be made with the idea of being placed on a bed in mind. Now, people have been using quiltmaking for decades as a vehicle for artistic expression. And, continue to explore this medium. I’m just saying that the quilts were made in sizes to fit beds! Hopefully, this clarifies what I was originally trying to clarify. However, it is reassuring that 1) people read what you take the time to write and 2) quilt lovers have such strong spirts!
Bobbie A. Aug Bobbie Aug wrote
> I considered quilts made as bed covers utilitarian, whether they were slept under often or infrequently – they were made for a useful purpose. We do not disagree. A matter of language chosen.
> Bobbie a. Aug
> Robins-Morris, Laura A wrote
> > >From QHL Digest #62
> > >I think that, with few exceptions, all antique quilts were utility quilts >in that they were made with a practical purpose in mind – to keep people >warm.
> > I would beg to differ. I think there are more than a “few exceptions”. Maybe the majority (though I’m not even convinced of that, especially in this century) were intended for use and warmth, but so many of the quilts that have lasted until today are here because they were not used or used infrequently. They were made for show and were put out as beautiful bed covers and for special company. Sometimes warmth was way down the list.
> > I think that some historians have pointed out, or given us good reason to infer, that many women who had the time for fine needlework and the money for pretty coordinated fabrics made quilts for many of the reasons we do today — because they enjoyed doing it and it was a means of creative expression. That’s certainly true of the 19th century applique quilts, the intricately pieced quilts, and the beautiful pieces with elaborate hand quilting. And the same is probably true for the quilting revival of the 20’s and 30’s. Most people had easy access to inexpensive blankets but women found they liked making quilts, and were sometimes spurred on by competitions (e.g. Barbara Brackman’s “Patchwork Souvenirs” about the 1932 World’s Fair quilt competition and the local contests preceding it). Practical purpose probably wasn’t the motivating factor for that many.
> > I just suggest that the words “with few exceptions, all..practical purpose…warmth” are a little extreme. Even when quilts were (or are today) used as blankets, that doesn’t mean that warmth was their primary reason for being made. Quilters just liked making quilts. The fact that they also have a real use is just icing on the cake! Laura in Seattle
Date: Thu, 4 Mar 1999 17:53:30 -0000 | From: “Sally Ward” <sward@>
Save your second thoughts Laura – I think you have a good point. If = utility was the over-riding factor in quiltmaking, why would people cut = the fabric up at all? Or bother to make complicated patterns? And if = ‘patchwork’ was a way of using up small scraps and reclaimed fabric, = why is it evident in so many old quilts that there were large pieces = of new fabric deliberately cut up for the design?. Even in ‘real’ = utility quilts made from, perhaps, woollen cloth samples, you can = usually see that the maker took the time to arrange colours in a = pleasing fashion, not just stick them together any old how.. The same priniciples apply as do to working in wood, metal, or any other = medium. Table/chair legs would work without embellishment or turning, = weather vanes would point the direction whether or not they look like a = house/pig/boat/whatever, and ancient Romans could have pinned their = clothes together without their brooches having complicated designs or = inlaid stones. When it comes to creativity, we are talking basic human = instinct.
Sally in UK **************************************
