February 7 - 11, 2006 - QuiltHistory

Oral History & Documentation, Quilt Block History, Quilt History Resources

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:

Smithsonian Quilt Collection via the IQSC Database — Members locate Smithsonian-held reproduction quilts through the International Quilt Study Center’s searchable online database. (see the article on the Smithsonian quilt controversy)
Underground Railroad Quilt-Code Myth Debate — A recurring discussion questions the historical accuracy of claims that quilts carried coded Underground Railroad messages. (see the article on Underground Railroad quilts)
Found Vintage Dresden Plate Blocks — A member shares excitement over finding a set of pristine, unused period Dresden Plate blocks.
Mislabeled Quilts on eBay — Members flag eBay listings that use inaccurate cultural or historical descriptions for the quilts being sold.

Date: Tue, 7 Feb 2006 05:10:15 -0800 (PST) | From: Ark Quilts <quiltarkmv@>

Dear Carolyn– The only way to locate all 4 holdings that IQSC has –the complete Smithsonian Collection– is to do a keyword search.

keyword China Sort by Origin This search produces the 4 in the Smithsonian & a 5th that is suspected of being an import from China.

I will keep this info for future use. The small pictures make it impossible to identify the quilts. Clicking on the image to enlarge as per the instructions under the photo produces more details, but not a larger image. If possible, it might help to have these 4 linked to larger images & also some close ups for identification purposes. I will post this information to the QHL list serve.

Thanks again–Connie Ark P.S. This project is moving slowly. Waiting on the Smithsonian and a few other places to get back with me re: permission to reprint, etc.

Carolyn K Ducey <cducey@> wrote: Hello! The International Quilt Study Center has one of each of the Smithsonian quilts. You can find them at the following link to our searchable database. To find the quilts, search under primary pattern, on the Advanced Search. For example, the Bible Quilt comes up on the drop-down menu, as “Bible Quilt, Reproduction”. The Baltimore Album quilt is listed as “Album Quilt, Reproduction.”

http://www.quiltstudy.org/search/index.html

We don’t have professional quality photos, but we could provide a reference photo.

Carolyn Ducey Curator of Collections International Quilt Study Center HE 234, University of Nebraska Lincoln, NE 68583-0838 402/472-6301

http://www.quiltstudy.org/search/index.html The above link is for the 4 Smithsonian quilt holdings at the International Quilt Study Center. The picture is small.

Thanks to Carolyn Ducey who sent the search link.

C. Ark

Date: Tue, 7 Feb 2006 09:22:19 -0500 | From: “Candace Perry” <candace@>

Debbie, We have about three photos that are pretty darn good. Let me know…I think I have 2 digital images…they are turn of the 20th century. Candace Perry Schwenkfelder Library & Heritage Center

From: Litwinow@

Good Morning, I called the Modern Woodmen of America headquarters this morning. She was aware that the membership magazine had patterns. There was then an address to send for the patterns. Women and Children weren’t admitted until 1929. The groups were called “Camps” not Groves for this group. She recommends that if more information is wanted to find the National Fraternal Congress of America, who has a full time historian. Catherine in a warmer Iowa

From: “Charlotte Bull” <charlou@>

Hi all… Re the DWR question:

Wheeler offered a Double Wedding Ring pattern that was a square block! Sold through Old Chelsea Station perhaps. I have seen DWRs that were appliqued to a background block. I own a few vintage square blocks.

I actually have a full size top of mini DWRs, from a KCStar pattern, that consists of only the rings — waiting to be appliqued to a white background. They are all connected together! But how she thought she could do it as one big top is beyond me. By the way, I did not recognise any of the fabrics as repros, and I do collect 30s repros, but that is not proof of anything. Just a few thoughts. No facts! The suggestion of it being a Pre-cut Kit makes sense.

One thing I always try to remember is that a 30s fabric is not always a feedsack! They had some wonderful fabrics with a great “hand” and truly outstanding designs & printing. Otherwise, why would anyone bother to reproduce them? So I want to share this “tip”. Whenever I see a fabric, in a genuine vintage 30s quilt, that can now be purchased as a “repro”, I clip off a swatch of the new fabric and include it with the info card I keep on that quilt. One has 4 or 5 swatches. What impresses me is that the original fabric often has a finer look & feel!

I have several that are included with an 1876 Charm quilt. It always “makes my day” when I find these fabrics of today that have an ancestor in a real quilt that I own and cherish. cb in oz – where they say winter may be arriving, but we all thought it was spring already ——

Date: Tue, 7 Feb 2006 09:01:19 -0800 (PST) | From: stephanie drake <gsadrake@>

Re: WOW..is that an insurance company/organization particular to a ceratin part of the country. I haven’t seen or heard of it here in the NorthEast (NH) but that doesn’t mean it wasn’there. But neither have I seen Headstones like the ones described as trees. Sounds cool.

I too have an old issue of Clue in the Calico with a fall apart binding. I took it to the local print shop where they sliced the binding off and drilled it for a 3-hole binder. Probably didn’t cost more than $5.00 Works well and I am able to file the email updates from last year with it for easy reference.

From: <chrisa@>

HI Alan- Glad you are feeling better and back online. This collector, Eli Leon, was featured in the Nov/Dec. issue of Fiberarts. If this is too much to read- skip to paragraph 5, for his concluding thoughts on the roots of quiltmaking.

As I started the article I read with enthusiasm because he actually made it a point to try to formulate through observation, what made a quilt an AA quilt, other than being made by an AA- in other words- stylistically- if that could be stated.

He continues to say that he had been collecting quilts from the 1930s in the early 1980s, and was not specifically looking for quilts made by AA, which he is himself, but was looking for quilts that “looked funny, that looked different to me.” He admits at first he wasn’t asking about who made them. His first exhibit was in 1987, in the town you are in San Francisco at the SF Craft and Folk Art Museum. He was given a grant in 1989 to buy an RV and travel to TX, AL and LA to do further research in “the African influences on African-American quilt making.” He said he was disappointed in his search for old quilts, as most did not survive…he located Southern quiltmakers through family connections who were “willing to share their insights and stories.”

“Models in Mind:African Prototypes in American Patchwork” was Leon’s second show. He writes that the uprooted African people brought their mental templates to America as evidenced in the use of “strip construction, improvisation, multiple patterns, and African Style borders and medallions. They were working from models in their minds.”

Here is what he has concluded from all these years of collecting and doing research- pg. 37 & 39 “Early on, Leon speculated that African-American quilt patterns were largely African inspired; in reality, he found ‘an improvisational use of certain [standard] patterns, such as the Nine Patch, Four Patch, and Log Cabin, which were also used in African textiles, but no evidence that complex patterns had been brought from Africa.’ He now believes that the American Decorative patchwork tradition has been largely derived from an existing African tradition of patchwork. “Patchwork sprang up out of nowhere among the American and English aristocracy. Early English quilts were plain white and quilted; patchwork was used on the back, to use up scraps. Then all of a sudden there are decorative patchwork pillows. I now suspect that the Euro-American contribution to quilt making was to start planning things out on paper.’ !!!!!

If you meet with him Alan, ask him more about this and let us know what he says. It’s mind-boggling to me. I have never heard this twist on it before :)))

For those of you in the east, he’s coming your way, to the U of Maine Museum of Art in Orono, Oct. 21-Jan. 14, 2006- Oh! it just ended.

Kim Wulfert www.antiquequiltdating.com

Date: Tue, 7 Feb 2006 15:08:20 -0500 | From: “Lucinda Cawley” <lrcawley@>

I am lucky enough to be able to make a quick visit to the Schwenkfelder Library and Heritage Center every time Candace Perry does a new exhibit (a nice little break on my periodic journeys to central NY). There are four drop-dead gorgeous Rising Sun quilts surrounded by exquisite frakturs incorporating star motifs in the current exhibit. Three of the quilts (1890-1920) are what are known locally as Rising Sun. They differ from the traditional Lone Star by having satellite stars between the points. Each has three shades of four colors : yellow, red, green and blue in the star points. Montgomery and Berks county quilts usually had white backgrounds with blue or black figures. Two of the quilts in the exhibit have black floral sprays on white, the other has marvelous (rather large) blue anchors on white. Those three beauties are dominated by a huge (1850-1870) Lone Star with quirky rose appliqués between the points. Each star point has 23 different fabrics (no repeats): turkey reds, pink stripe, shades of blue, beige, blue greens, pale green, off white, orange-brown, green on yellow, brown, The fabric in the large red roses with buds and serrated laves looks a bit later than the star. The fraktur were a delightful contrast to the size and boldness of the quilts. I especially liked a matching pair made in the 1860s (late for fraktur) based on an 1806 piece in the same family. Suns and moons with faces shine on fanciful decorated hearts with flowers growing from them. The overall looks is quite delicate and Victorian (appropriate to the date). I’m looking forward to Candace’s Victorian exhibit on my next trip north. Cinda on the Eastern Shore

From: “Rosie Werner”

Julie, A double wedding ring block like your quilt was in Virginia Snow Studios’ GRANDMA DEXTER APPLIQUE AND PATCHWORK DESIGNS, Book #36A – (undated, but probably 30s). It was offered as a pattern, with templates you could copy. The same design was offered by Herrschners in their fall/winter 1934-35 catalog as a stamped 18 inch block. The double wedding ring pattern was stamped on fine white Quiltex cloth. Patches were not included. You could buy 6 blocks for 35 cents. I have 6 of these blocks (stamped, not finished) in my collection. If you look for the blue markings, you’d be more likely to find them on the background than on the patches. I don’t know if Rainbow Blocks had a double wedding ring. I only have a partial list of their blocks. Hope that helps. Rosie from Minnesota

Hello! The International Quilt Study Center has one of each of the Smithsonian quilts. You can find them at the following link to our searchable database. To find the quilts, search under primary pattern, on the Advanced Search. For example, the Bible Quilt comes up on the drop-down menu, as “Bible Quilt, Reproduction”. The Baltimore Album quilt is listed as “Album Quilt, Reproduction.”

http://www.quiltstudy.org/search/index.html

We don’t have professional quality photos, but we could provide a reference photo.

Carolyn Ducey Curator of Collections International Quilt Study Center HE 234, University of Nebraska Lincoln, NE 68583-0838 402/472-6301
—
I saw many WOW “tree trunk” grave markers in Texas cemeteries. Did someone ask about possums on quilts a week or two back? There is one on the Dr Samuel Williams Baltimore album quilt in the collection of the Baltimore Museum of Art. I think it is described in the Katzenberg book as a squirrel; but it looks like an opossum to me. The Williams Quilt is the frontice piece in the Dunton book, it is also in one of Elly’s books on Baltimore Albums. Turn to page 52 in the green hymnal, I believe. Polly Mello

Date: Wed, 8 Feb 2006 08:51:58 -0500 | From: “Louise” <ltiemann@>

Hello, I just wanted to share my excitement of finding some pristine Dresden plate blocks – 22 pointed blades for the large sized ones and 11 pointed blades for the smaller ones. My friend received them last December from her Aunt Lorena, who is 90 years old (born in 1915). She pieced the smaller blocks (and partial blocks) and her grandmother pieced the larger ones. The large plates have over 100 different patterns – dark prints(black, blue & red), shirtings and early feed sack – ranging from about 1880 to the 1920’s. The smaller plates have only about 15-20 different fabrics, with only 1-2 carryovers from the large plates. Most of those fabrics look to be 1920’s-1930’s. The blocks are all hand pieced with tiny stitches and seams, and turned ready for appliqué. My friend Laurie is hand appliquéing the blocks to muslin and will hand quilt it. My excitement comes, first from seeing the blocks, but also Laurie meeting me at the copy shop and allowing me to color copy all of the blocks! (There was a special for 39 cent copies.) For $20 I got a beautiful set of color copies that I will treasure. With kindest regards, Louise

Date: Wed, 8 Feb 2006 09:54:47 EST | From: JLHfw@

In a message dated 2/8/2006 5:32:01 AM Central Standard Time, temblend@ writes:

http://www.quilt.co.uk/print.asp?idNo13

An interesting story of author, quilter, and gardener, Lucy Boston. Janet in Fort Worth

Date: Wed, 8 Feb 2006 09:55:50 -0500 | From: “J. G. Row” <JudyGrow@>

In response to Louise who was excited that her friend got the actual old Dresden Plate blocks and she got color copies of the blocks…and was just as pleased for herself …..

That’s called “counting coup.”

I heard the expression first from Judy Roche who was speaking about my obsession of photographing quilts I can’t own and filling albums with them. I have also borrowed quilts to photocopy blocks and fabrics.

For a complete explanation of the term go to

http://www.aepronet.org/pn/vol4-no1.html

Judy, now in Flemington NJ aka The Ringoes Kid judygrow@

> My excitement comes, first from seeing the blocks, but also Laurie meeting > me at the copy shop and allowing me to color copy all of the blocks! > (There was a special for 39 cent copies.) For $20 I got a beautiful set > of color copies that I will treasure.

Date: Wed, 8 Feb 2006 08:05:29 -0800 (PST) | From: Ark Quilts <quiltarkmv@>

Carolyn– Is there any way that the IQSC could add close-up photos with the listings of the 4 Smithsonian Reproduction quilts? Thanks-Connie Ark

http://www.quiltstudy.org/search/index.html

We don’t have professional quality photos, but we could provide a reference photo.

Carolyn Ducey Curator of Collections International Quilt Study Center HE 234, University of Nebraska Lincoln, NE 68583-0838 402/472-6301

From: Ark Quilts <quiltarkmv@>

If Marikay Valdvogel is on this list serve, would she privately contact me in email? I would like to talk to her about the protest lodged against the Smithsonian in 1992-93.

Thanks-Connie Ark

Date: Wed, 08 Feb 2006 07:58:46 -0800 | From: Julie Silber <quiltcomplex@>

Once again you all came through. I learned a lot from the 9 or 10 of you who posted or e-mailed me privately concerning the age of the Double Wedding Ring top I asked about. Of those who wrote, all but two think it is likely old and not recent. The reasons all appeared here on the list, so I will not reiterate, but simply thank you very much. You guys are the BEST!

Julie Silber

Date: Wed, 8 Feb 2006 11:08:38 -0800 (PST) | From: Laura Fisher <laurafisherquilts@>

Hi all– re Eli Leon, his first book… Who’d A Thought It…came out before other more well known later works on African American quilts. I believe he purchased quilts directly from the makers or their descendants, this may underscorethe constant question of truth in labelling. I recall hearing of his eccentricity, and his chemical sensitivity that requires him to wear a mask when handling his collection, so let us know everything when you have the good fortune to see his huge collection.

I am now wearing stronger glasses at the computer, so hopefully this will eliminate my embarassing typos!!

re accuracy in labelling, I recall when my book Quilts of Illusion came out, suddenly that term became a descriptive for any bold quilt; sellers quoted from my words of wisdom to puff up their merch. People sent me pictures of quilts they had for sale calling any bold imagery “optical illusion” (which just goes to show they didn’t really read the book!)

I think we can only inform ourselves and trust our own knowledge. In merch marketing pretty much anything goes to sell product, unfortunately. I recall seeing an expose on TV about Bausch & Lombe contact lens solution, in which they marketed the same liquid in three different packages under three different names at three different prices!! And I think the most costly outsold the others, so…….caveat emptor.

Laura Fisher

Date: Wed, 8 Feb 2006 13:00:10 -0800 (PST) | From: Mary Anne R <sewmuch63@>

Check out this quilt online with a misleading description…ebay #6600022278 said to be “Folksy Appliqued Quilt with Figures in the Manner of Harriet Powers…” “circa 1960s” and “Identical to a quilt in the Smithsonian.”

I was looking at the IQSC site the other day after the discussion on the list and it gives a 1992 date for this made-in-China reproduction. Here we go again.

Mary Anne

Date: Wed, 8 Feb 2006 14:37:20 -0800 | From: “alan” <alan@>

This certainly has the ring of truth for me. I honestly think he’s right. I’ve often wondered how we so suddenly got from standard European-style quilting to patchwork. Style changes usually happen gradually, you can see the progression from style A to style B. But it’s like a switch was flipped. And our European ancestors didn’t have slaves until they came to the new world, so African influences would have been minimal. I’m really looking forward to meeting Eli and seeing his quilts.

Alan

quote: Here is what he has concluded from all these years of collecting and doing research- pg. 37 & 39 “Early on, Leon speculated that African-American quilt patterns were largely African inspired; in reality, he found ‘an improvisational use of certain [standard] patterns, such as the Nine Patch, Four Patch, and Log Cabin, which were also used in African textiles, but no evidence that complex patterns had been brought from Africa.’ He now believes that the American Decorative patchwork tradition has been largely derived from an existing African tradition of patchwork. “Patchwork sprang up out of nowhere among the American and English aristocracy. Early English quilts were plain white and quilted; patchwork was used on the back, to use up scraps. Then all of a sudden there are decorative patchwork pillows. I now suspect that the Euro-American contribution to quilt making was to start planning things out on paper.’ !!!!!

If you meet with him Alan, ask him more about this and let us know what he says. It’s mind-boggling to me. I have never heard this twist on it before :)))

Date: Wed, 8 Feb 2006 22:50:08 -0800 (PST) | From: karenquilt@

This controversey is one of the segments of the recent documentary – The Great American Quilt Revival. There is one still photo in the film of quilters picketing the Smithsonian. Producer Paul Bonesteel of Bonesteel Films Inc. did all his interviews of participants in this film at the Grand Openiing of The Quilters Hall of Fame in Marion, Indiana, July 2004, including Hazel Carter. Hazel Carter, QHF founder, was actively involved in this issue. I believe it was she the Smithsonina first contacted when the voices of outrage began to pile up because of their previous relationship with her as a quilt historian and appraiser.

Karen Alexander QHF President

Date: Wed, 8 Feb 2006 23:14:54 -0800 (PST) | From: karenquilt@

Laura Fisher wrote: <<I recall seeing an expose on TV about Bausch & Lombe contact lens solution, in which they marketed the same liquid in three different packages under three different names at three different prices!! And I think the most costly outsold the others, so…….caveat emptor.>>

I worked for a direct mail marketing company in the 80s. One of the most fascinating things I was exposed to was how businesses determine pricing on a product. In the product field I was in (investment information), price testing was a given. They went in the mail with at least three different “packages” (i.e. junk mail to most of you <g>) testing pricing alone. They also tested opening paragraphs, package design, bonus offers, return envelope, etc. This is all standard procedure in the marketing world. The package that brought in the greatest returns for them was frequently the one with the highest price, so the public’s “perception of value” was what helped determined the final price they put on a product. (But not always. It’s a bit more complicated than that.) But believe me, businesses test their markets before they roll out with a new product — and before they put a price on a product. It is a fasinating field because it is so much about human psychology.

Karen Alexander

From: Carolyn Ducey <cducey@>

Dear Connie and QHL members-

Unfortunately, due to page restrictions on our web site, we are not able to post additional pictures on the searchable database, The pictures on the database operate as references only – as a way for researchers and interested individuals to become aware of what the collection includes. We can make images available, in a number of different means. For books and publications, you can find information on our web site at: http://www.quiltstudy.org/resources/image_licensing.html Other inquiries should go directly to the IQSC Collections Manager, Nao Nomura. Her email address is: nnomura2@.

http://www.quiltstudy.org/search/index.html

We don’t have professional quality photos, but we could provide a reference photo.

Carolyn Ducey Curator of Collections International Quilt Study Center HE 234, University of Nebraska Lincoln, NE 68583-0838 402/472-6301

Date: Thu, 09 Feb 2006 14:52:57 -0600 | From: mary <mary.persyn@>

I saw an article in the local newspaper about a presentation on UGRR quilts at the local national park, actually lakeshore. I sent the ranger an email with a reference to Kim’s interview with Giles Wright. I received a message back saying that she was aware of the article, but I thought that the following quote from her email was interesting.

Mrs. Mamie Davis of Michigan City has given programs for us in the past regarding her own family history of quilting and its connection to the Underground Railroad. This is separate from the Tobin and Dobard book; in fact, Mrs. Davis was giving her programs prior to the publication of Hidden In Plain View. I doubt if many people realize that there are additional families with similar stories, in addition to the quilter referenced in the book.

FWIW,

Mary

Date: Thu, 9 Feb 2006 16:14:34 -0500 | From: “Candace Perry” <candace@>

I feel ill… Candace Perry

—–Original Message—– From: mary Sent: Thursday, February 09, 2006 3:53 PM To: Quilt History List Subject: [qhl] UGRR again

FWIW,

Mary

Date: Thu, 9 Feb 2006 18:56:43 -0800 | From: Alice Kinsler <alicek@>

branches of our KNAPP clan migrating west on a wagon train in 1860.

Just finished this little passage and have to send it along to you:” … Men made it a business of keeping well oxen on hand to be traded for sick ones—plus a consideration. … Mr. Knapp had to exchange an ox and the man he traded with saw a fancy quilt in our wagon and wanted it

as part of the boot. We demurred as the quilt represented a lot of hard

work but he would not trade otherwise. So the quilt went west and we got our new ox.

Mary Thiele Fobian Genealogical & Historical Research Pacific Grove, California

Date: Fri, 10 Feb 2006 00:09:02 -0500 | From: “J. G. Row” <JudyGrow@>

Alice,

Thank you for sharing that charming story.

J. G. Row —– Original Message —– From: Alice Kinsler To: Quilt History List Sent: Thursday, February 09, 2006 9:56 PM Subject: [qhl] an 1860 value of a quilt

A friend of mine who is a genealogist, whom I’ve actually referred several QHL’s to for assistance in their research, sent me this today: “A cousin in Wisconsin recently located a news item I’ve been looking for for about 20 years, and I’m transcribing it today. It’s about 3 branches of our KNAPP clan migrating west on a wagon train in 1860. Just finished this little passage and have to send it along to you:” … Men made it a business of keeping well oxen on hand to be traded for sick ones—plus a consideration. … Mr. Knapp had to exchange an ox and the man he traded with saw a fancy quilt in our wagon and wanted it as part of the boot. We demurred as the quilt represented a lot of hard work but he would not trade otherwise. So the quilt went west and we got our new ox.

Date: Fri, 10 Feb 2006 09:03:28 EST | From: Mitzioakes@

I have been reading a lot about the history of quilts thru this site. Now, I have a question for all of its members – can anyone help me to date the first appearance of the NINE PATCH BLOCK! I am doing a challenge on quilts and women in history and I was given Harriet Beecher Stowe (1811-1896). I want to do a nine patch wall hanging since I have just a required number of fabrics to use and feel something more detailed would not fit the time frame. Thanks for any info on this strange request Mitzi from Vermont (where it is finally cold!)

Date: Fri, 10 Feb 2006 10:00:53 -0600 | From: “Charlotte Bull” <charlou@>

Hi… re the ox traded for a quilt –

I once traded a goat for a really sweet 1960s Double Wedding Ring quilt. In the past, the quilt had been traded for an antique clock. Recently I traded the quilt for assistance in moving my furniture – but it stayed within my family, although it did go West. It was almost the “Quilt that Walked to Golden” — sorry, I could not help teasing you. It really rode to Boulder wrapped around some family antique furniture that my kids wanted and I no longer needed. I miss that quilt! But not the furniture!

Okay, back to serious stuff. My apologies to Kris. I needed cheering as it is a snow flurry & post dental surgical pain day. So off now to do serious research. cb of oz

Date: Fri, 10 Feb 2006 15:20:30 -0800 | From: “Margaret Geiss-Mooney” <mgmooney@>

…sigh…

HYPERLINK “http://nwitimes.com/articles/2006/02/08/news/porter_county/0c49da875ee113ae 8625710f0013f645.txt”Regional transport: 150 years ago it was underground PORTER … nwitimes.com – Munster,IN,USA … In the case of the Underground Railroad, one source is the quilt hanging on the line. … A log cabin quilt hung along the journey indicated a safehouse. …

Regards,

Margaret (Meg) Geiss-Mooney

Textile/Costume Conservator

Professional Associate, AIC

mgmooney@

Date: Fri, 10 Feb 2006 15:25:59 -0800 (PST) | From: Pat Cummings <pat@>

As long as there is a living, breathing soul who remembers this tale, it will be repeated as Gospel Truth from now until eternity. Double sigh.

Pat Cummings www.quiltersmuse.com

… In the case of the Underground Railroad, one source is the quilt hanging on the line. … A log cabin quilt hung along the journey indicated a safehouse. …

Date: Fri, 10 Feb 2006 15:31:14 -0800 | From: “Margaret Geiss-Mooney” <mgmooney@>

Oooops, here is the complete link. My email may wrap it:

HYPERLINK “http://nwitimes.com/articles/2006/02/08/news/porter_county/0c49da875ee113ae 8625710f0013f645.txt”http://nwitimes.com/articles/2006/02/08/news/porter_cou nty/0c49da875ee113ae8625710f0013f645.txt

Regards,

Margaret (Meg) Geiss-Mooney

Textile/Costume Conservator

Professional Associate, AIC

mgmooney@

Date: Fri, 10 Feb 2006 17:38:23 -0600 | From: “Marcia Kaylakie” <marciark@>

In the Quilt Care brochure from Fairfield, the green one with the small heart on the front, And I quote “The historical relevance of the Underground Railroad quilts that detailed maps and became indicators of safe housing,…) Yikes, it’s just everywhere! Marcia Kaylakie Marcia Kaylakie, AQS Certified Appraiser Austin, TX www.texasquiltappraiser.com

Date: Fri, 10 Feb 2006 21:44:57 EST | From: Elpaninaro@

Good evening all,

I wish I could have gotten word out in case someone could attend, but I do not have AOL access while working during the week in Houston- and I was not able to go.

The Rothko Chapel held this past Thursday night a presentation that included a play in which an actress portrayed Harriet Tubman demonstrating how quilt codes were used in the Underground Railroad. I am going to attempt to at least get a copy of the script and try to find out if this play (geared towards children) is a local creation or something that is being used on a wider scale. For anyone interested, the link to the event announcement is in the following link,

http://rothkochapel.org/quilts.htm

On a side note, someone at my current project drew my attention to this event and once I read the notice and made a statement about my own readings thanks to this email list, I was in for a very spirited debate- friendly but quite fierce.

There was a great deal of emotion actually. One lady in particular, and someone who I consider quite educated and level-headed, told me that she had a hard time trusting historians and quilt experts because they might have their own agendas. Her basic message was that enough people have tried to tinker with black history in the past, and she felt this was another such attempt.

Her comment was certainly true enough with regards to how some events and figures in black history have been portrayed or ignored, and while I do not think it applies to the quilts/UGRR issue, I thought it might be of some interest (though I suspect many of you already know) that this is an uphill battle purely based on a general mistrust in the African-American community with regards to historical accuracy about their ancestors.

I was calm and open minded, and I emailed these two ladies links to two outstanding articles on the quilt history website- but unfortunately there has been no followup discussion.

In a world where TV is king, it seems a book landing on Oprah is the golden seal of authenticity.

And it was very disheartening to not have a chance to really state the case many of you have eloquenty promoted. I think those two ladies, and many others around the nation, forget the fact that quilts themselves are the historical account about another segment of society whose story was for a very long time ignored or told through the eyes of others- the story of the American Woman.

This really struck me as I was debating this UGRR matter on Tuesday morning, and in that moment I finally fully realized why it is so very important that the study of quilts and what they can tell us be treated with the greatest of care and respect.

They tell a forgetten tale, much as the UGRR quilt proponents seek to tell, and I salute you all who have devoted so much time to ensuring that tale is told accurately- with respect for the thousands of hours of labor and love that went into the records we prize today.

And thank you all for being good stewards of that history.

Take care,

Tom.

From: Dana Balsamo

Hi Tom and all,

Oh, you are so right about Oprah and her book endorsements…two words…James Frey.

I can completely understand the position of these two ladies and their point that AA history has had some ‘tinkering’ done to it. But to turn around, and ‘tinker’ with it themselves, does noone any justice. To have Harriet Tubman portrayed explaining UGRR quilts is not appropriate. I would like to see their resource for such a portryal…or was just the fact that she was a such an important figure in the UGRR itself enough justification? Kinda like the poetic license Longfellow took with Paul Revere and so confuses school children today. Revere was actually caught by the British prior to delivering his message. Children have to have it explained to them that sometimes stories are fiction, even though some events and figures were real. But then, it’s not as interesting, I guess.

I think we are seeing so many more instances now because it is February, the time of year major companies and schools celebrate “Black History Month”. This label is actually being debated in our school district. We would rather integrate AA history into American History throughout the year. One point of view is that by distinguishing the fact that African Americans have a special month makes the child believe there might be something different about African Americans. My community is so diverse, and these children are growing up in diverse classrooms, not seeing any difference between any of there friends. Brown skin, yellow skin, white skin is looked upon like blue eyes, green eyes, brown eyes. There may have been a point in time where this appreciation was necessary and a month dedicated to AA contributions proving that AA were/are smart, talented, important was needed. Is it anymore? Same for Woman’s history…incorporate it throughout. This is the same school system that embraces all traditions during the month of December. We are able to say Christmas and Jesus as well as Hannukah, Ramadan (November this year), and Kwanzah. The children learn about Diwali and Chinese New Year, too. By educating them about all beliefs, it gives them the foundation to understand and be accepting and tolerant. Predjudices spring up because of lack of understanding and ignorance.

I think I have gone on on a tangent and hope I have not offended anyone.

My best, Dana

Date: Sat, 11 Feb 2006 09:01:43 -0600 | From: “Andi” <andi0613@>

In the April 2006 (issue 79) of BH&G’s American Patchwork & Quilting, in an article by Allison Engel titled “Behind the Scenes at the Smithsonian” (pages 66-69) is this on page 68: “The recent group swooned over a floral appliquéd and soutache braid quilt top done in 1839 by Frances M. Jolly, an African-American quilter. Its elaborate, detailed design proves the point that not all early African-American quilts were done in Underground Railroad style.”

Andi in Keota, Iowa

Date: Sat, 11 Feb 2006 10:05:20 EST | From: Mitzioakes@

You certainly didn’t offend me – thank you for voicing my feelings 110%. As for Oprah’s books! I will not read one of ‘her books’ – only because no one tells me what to read!!! (and I read at least 2 books a weeks interspersed with quilting and attending to a retired husband ). I really enjoy this site. I volunteer at the Shelburne Museum in VT each year (as a quilt demonstrator) and have heard it all about the UGRR and AA quilts! Just in closing, do you think that there may be a Swedish-American month someday??????? Mitzi from Snowless Vermont

Date: Sat, 11 Feb 2006 11:04:26 -0500 | From: “Newbie Richardson” <pastcrafts@>

Connie and list I am coming in late to this thread, so if any of this has already been posted – please excuse the duplication. The grand daddy of all antiques trade journals/papers is the Maine Antiques Digest ( MAD). It is a monthly publication written for dealers and collectors and serious amateurs. They have a regular monthly column on fakes and frauds. The editor is Sam Pennington – a very straightforward, up right guy -as is his staff. For sure you should let them know about the Smithsonian repros being sold. Textiles is a narrow specialty ( as we all know) and many generalist antiques dealers do not have the knowedge to avoid being taken. Although, that said, I have found that if you have an “eye” in area of collecting, you frequently have the same instincts that “tell” you when something is not right – even if you cannot verbalize why you feel that way. The Maine Antique Digest 911 Main Street/ PO Box 1429 Waldoboro, ME 04572 1-877-237-6623/email: madmaine.com www.maineantiquedigest.com

The ‘Newtown Bee’ is also widely read in the trade. You might also add Kent Anderson of www.p4a.com ( prices for antiques) a fee for service review of auction results around the country. They have reviewers at various points around the country. They should be alerted, in case one of these shows up at auction. Again most folk do not have our collective expertise. Best to all Newbie Richardson

Date: Sat, 11 Feb 2006 10:30:25 -0600 | From: “Karan Flanscha” <SadieRose@>

Here is another source to send an article about the imported quilts now being sold as antiques. This is published in Grundy Center, IA and is well known in the Midwest.

http://collectors-news.com/aboutus.html

and e-mail addy: collectors@

Date: Sat, 11 Feb 2006 15:13:38 -0500 | From: “Bill Volckening” <williamvolckening@>

If you’re looking at eBay this weekend, here’s another mislabeled quilt. It is item # 7389132813, and is called “a collector’s dream” – but it’s really an example of a mass-produced bedcovering, probably imported, sold about five years ago at shops like Linens & Things and Bed, Bath & Beyond. I received one as a housewarming gift in 2001. The funny thing about it is one of my cats peed on it – and my cats practically never do stuff like that. The cat must’ve known…

Item is at:

Bill

PS: BTW, I keep the good quilts away from where the cats can go…

Date: Fri, 10 Feb 2006 12:54:12 EST | From: Mendofleur@

List Members,

FYI I came across a recent article on D.S. in the recent issue of Home Companion, (Feb./March ’06, pages. 58-61) and thought some of you might be curious about the article.

I am late in catching up with postings since my move and slow settling into a new home. Today I intend to narrow the postings to one or two (I am currently down to 129). I find myself compulsively copying and filing select postings and photos for future reference. This information is invaluable!

Catching up in Portland on a very windy but rare sunny day.

Phyllis

Date: Sat, 11 Feb 2006 11:02:27 -0800 | From: <chrisa@>

Thank you for passing this info on to QHL Andi. I don’t read this magazine regularly and may not have seen it otherwise.

<<Its elaborate, detailed design proves the point that not all early African-American quilts were done in Underground Railroad style.”>>

So now there is the thought that a style exists? This is the slippery slope misinformation can cause. Or perhaps I am unaware- Is there a quilt in existence that was made by an African-American pre-CW that is called an UGRR style quilt?

Kim Wulfert www.antiquequiltdating.com

Date: Sat, 11 Feb 2006 13:02:21 -0800 (PST) | From: Kris Driessen <krisdriessen@>

In our quilt study group today, someone brought a quilt with lots of early (1820’s) English and French fabrics. One of them appeared to be a pillar print with a picture of a couple. I posted a picture at http://tinyurl.com/7ph24 If that URL doesn’t work, go to http://www.quilthistory.com, click on gallery and look under the general tab. Any idea who that couple might be?

Kris

February 7 – 11, 2006

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