February 7 - 9, 2004 - QuiltHistory

Oral History & Documentation, Quilt Block History, Regional Quilt History

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:

Bringing Underground Railroad History to Schools — Members plan an educational packet to counter the quilt-code myth in classrooms. (see the article on Underground Railroad quilts)
A Quilt Trivia Quiz Makes the Rounds — Members compare notes on a quiz (and several miss the same “odd man out” question).
Identifying a Marie Webster Pattern at IQSC — A museum quilt is confirmed as a Marie Webster design.
Did Quakers Have a Distinct Quilt Style? — Members discuss definable 19th-century Quaker quilting traditions, mostly in Pennsylvania.

Date: February 8, 2004 | From: “Jocelyn” <jocelynm@>

> > Here is an email I just received from the reporter at the Topeka > Capitol Journal re the article which appeared several days ago,

One might think that the Topeka Capitol Journal might be able to spare a reporter for an afternoon to drive over to Lawrence and interview Barbara Brackman, or Terry Clothier Thompson, or even a curator at the Spencer Art Museum…

Date: February 8, 2004 | From: “Jocelyn” <jocelynm@>

> establishing truth. I’ve encountered a number of quilters who are > altogether too willing to accept their relatives’ versions of a > family quilt’s history and who, in those cases, express no

Yesterday, I was at a charitable quilt show that usually attracts entries by those who want to support the charity, rather than by quilters. This year, the majority of quilts seemed to be family quilts being shown by non-quilters.

One aroused the indignation of a woman who was touring the exhibit just ahead of me: it stated that the quilt dated to 1920, when the family left Indiana for Kansas in a covered wagon.

‘I was 5 years old in 1920, and we had automobiles, not covered wagons!’ she exclaimed. 🙂

My suggestion that perhaps the owner meant ‘horse and wagon’ was met with a ‘maybe…but not a COVERED wagon!’ FWIW, the date of 1920 appeared to be right for the quilt.

In a few more generations, though, when someone notices the improbability of a covered wagon in 1920, do you want to guess which fact will be ‘corrected’? For that matter, it may have been a wagon with a cover on it…just not the Conestoga that’s commonly known around here as a ‘covered wagon’.

Date: February 8, 2004 | From: “Judy Anne” <anne_j@>

Odd man out is the one I missed too.

I had the same thought wondering if someone on this list might have written it. If so I hope they will fess up. 🙂 It would be fun to know who it is. It has to be someone who knows a great deal about quilt history.

Judy Anne

Date: February 8, 2004 | From: “Quiltstuff” <quiltstuffoptusnet.com.au>

I have a quilter friend here in Australia who asked whether the Quaker communities had any quilt styles specific to them. her friends who are Quakers have just had a new child.

I seem to remember they do not ( nor do Shakers) but I thought I better check here on the list. Does anyone have any more info?

Thank you very much

Suzy

Date: February 8, 2004 | From: “Judy Anne” <anne_j@>

I just found another one. http://www.black-collegian.com/african/quilts999.shtml

and another http://www.sevenquilts.com/sevenquiltssong.htm

What I find so frustrating is that African American’s have such a wonderful rich history in quilting and it’s being ignored. I think in our campaign to get teachers and others to stop teaching the UGRR info as fact rather than myth we also need to give alternatives. Here are some articles I have on my site that might help. They are just introductory articles but they have links and book suggestions so teachers could go on and learn more.

African American Quilts http://www.womenfolk.com/historyofquilts/afam.htm

Harriet Powers http://www.historyofquilts.com/hpowers.html

Elizabeth Hobbs Keckly http://www.historyofquilts.com/keckly.html

I’m sure people here could think of many other resources.

Judy Anne

Date: February 8, 2004 | From: “Judy Kelius (judysue)” <judysue@>

There were some definable styles in the 19th century for Quaker quilts, especially here in Pennsylvania. In the 1840s-1850s, they often made elaborate friendship quilts, applique or pieced, with signatures. Also, many pieced Quaker quilts made around the time of the Civil War were silk. There weren’t particular patterns that they used but other characteristics are recognizable. Trish Herr has written several articles on Quaker quilts, one in the Quilt Digest from 1985 and the other in one of Jeannette Lasansky’s books with articles from symposiums, either In the Heart of PA or Made by Mother. Both of these are out of print, but if can find a copy, you might use one of the quilts pictured as a model.

Date: February 8, 2004 | From: “Judy Kelius (judysue)”

The person who made up the quilt is in Australia so I wonder if “odd man out” is a phrase they use down under?

Date: February 9, 2004 | From: RAGLADY@

Google.com turned up the following: http://www.thefreedictionary.com/odd%20man%20out **Noun 1. odd man out – someone regarded as eccentric or crazy and standing out from a group kook, odd fellow, odd fish, queer bird, queer duck unusual person, anomaly – a person who is unusual

Gloria raglady@ ========

Date: February 9, 2004 | From: Margareta.Faustcec.eu.int

Oxford Dictionary gives the following for ‘odd man out’: ‘a person or thing differing from all others in a group in some respect’ – so maybe the phrase is more British (hence Australian?) than American? Margareta (in Europe)

Date: February 9, 2004 | From: Joan Kiplinger <jkip@>

Re odd man out — this a prevalent phrase in our country at least to 1940s when I was a child and is still a common term in Northeast Ohio. It is used in the same context as Margareta and others have defined it. Possibly it may be one of those buzz words whose day has passed and is only recognized and used by oldsters like me. 😀

Date: February 9, 2004 | From: “Carol’s Quilt Closet”

Laura,

After the show could you possibly post on eboard for those of us who cannot attend

Thanks, Carol

Date: February 9, 2004 | From: “Maurice

Pat and Jim, I read the Mill Girls article in my friend’s copy, and bought the Quilter Magazine, with the Harrison Block history. Since we had discussed both articles on the list, wanted to have copies. Thanks. Joan of the South —– Original Message —– From: “Patricia L Cummings” <quiltersmuse@> To: “Quilt History List” <qhl@> Sent: Sunday, February 08, 2004 4:06 AM Subject: [qhl] Interesting Connections: Slavery and the Mill Girls

> In the January 2004 issue of The Quilter magazine, there is an article > called ‘The Mill Girls of Spindle City” that Jim and I prepared for > publication. > >

Date: February 9, 2004 | From: “Judy Kelius (judysue)” <judysue@>

I still don’t understand what it has to do with the Cathredal Window pattern! I guessed correctly, but it would be nice to understand.

Date: February 9, 2004 | From: “Sally Ward” <sallytatters@>

Don’t you say ‘odd man out’? Its common usage in the UK (probably explaining the Australian connection). My Brewer’s Dictionary says ‘the one of a group who fails to get selected or included when numbers are made up; more generally a person who does not fit into a group or gathering for some reason’. Think of childrens elimination counting games, or those awful times in PE when two people choose their teams one at a time and some poor soul is the last one left unchosen.

I didn’t like the question, though, because I didn’t know what parameters we were supposed to use to decide who was ‘odd man out’. I made a lucky guess <G>

Sally W

Date: February 9, 2004 | From: “Sally Ward” <sallytatters@>

> I still don’t understand what it has to do with the Cathredal Window > pattern! I guessed correctly, but it would be nice to understand.

Maybe that Cathedral Window is a one-patch of a unique technique, not a pieced block?

Sally W

Date: February 9, 2004 | From: Dana Balsamo <danabalsamo@>

Just a guess, maybe because the other blocks were such straight forward pieced blocks and the Cathedral Window is so complex with folds. Dana

“Judy Kelius (judysue)” <judysue@> wrote: I still don’t understand what it has to do with the Cathredal Window pattern! I guessed correctly, but it would be nice to understand.

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Date: February 9, 2004 | From: “Charlotte Bull” <charloumo-net.com>

Hi, the info about the “covered wagon” in the 1920s reminded me of a local event. I heard this from the man involved and from others who saw it. In the 1940’s, due to gas rationing, a family moved to this area in SW Missouri in a farm wagon! Really did. The only way they could afford to move from one farm in one area to another. Wagon full of chickens and small stock was drawn by horses and driven by a woman. The husband and the sons herded cattle on horseback! What little they owned was in the wagon.They did have a car to carry what little clothing, bed linens and dishes they owned, but this was the only way they could afford to move the livestock. They could not afford more trucks to carry cattle/horses or have enough gas stamps except for one car. They were looking for a cheap bit of land where they could start all over again. A poor, but decent and hardworking religious family.

The man was an Elder in our Church. He was a Farmer. He was one of the sons. I also heard the story from a woman who watched it. She was wife of another Elder. He was a Banker!She was snobbish about the entire family because of what had happened 40 years before. The wagon and cattle moving down Main Street really got a lot of attention!!! She said her family was glad that the “poor folk” moved to another town. I think it bothered her that eventually the son attended “her” church! I did not let her know that I’d heard it from other side too. She said the woman was chewing tobacco. I checked. She was!!! So I guess there were reasons for developing the “Hillbilly Tales” of the Ozarks.

I suppose we have to be ready to accept some tales, just as we need to question the obvious possibility of exaggerated memories. Oddly enough, the poor folks became respected members of their community. They were not rich or educated, but they were honest and hard working. The man had risen above the first impressions his parents made, but he was not ashamed. AND, BOTH FAMILIES SHOWED THEIR QUILTS TO ME. You learn interesting thinks while looking at quilts. They do bring back Memories!

Date: February 9, 2004 | From: “Julia D. Zgliniec” <rzglini1@>

Dear QHL, The best resource that I know about for Quaker quilt is: Keller,Patricia J (1996).Of The Best Sort But Plain: Quaker Quilts From the Deleware Valley 1760 – 1890.Brandywine River Museum. Chadds Ford, PA.

It is the publication from the exhibit by that name.

There are also good references to Quaker quilts in: Allen, Gloria Seaman, and Nancy G. Tuckhorn (1995). A Maryland Album: Quiltmaking Traditions, 16-34-1934. Rutledge Hill Press, Nashville, TN.

Regards, Julia Zgliniec, CA I don’t get to see many quilts with Quaker provenance here in CA so I must rely on books.

Date: February 9, 2004 | From: “Jean Carlton” <jeancarlton@>

Hi all, About the mystery quilt – I typed in the number given in the post (in the search on the IQSG site) and came up with a block album – all solids in green, red, gold with pink sash. I didn’t see a scalloped edge – I enlarged as much as I could in Photoshop. It is NOT a Marie Webster Dogwood so check the reference number you are using. It has a visible white rectangle in most blocks which I cannot see closer but assume is the place for a signature. 1997.007.0821

Jean Carlton

Date: February 9, 2004 | From: “Sally Ward” <sallytatters@>

> About the mystery quilt – I typed in the number given in the post (in the > search on the IQSG site) and came up with a block album –

Someone’s been listening to our conversation…I copied and pasted the same number as last time from the original post, and got a different quilt <G>

Sally W

Date: February 9, 2004 | From: Judy Schwender <sister3603@>

I am sending this along from Marin Hanson, Curator of Collections at the IQSC:

Thanks so much to the QHL members for spotting the error on our online database. The record for quilt #1997.007.0821 had the wrong photograph attached to it — it was actually the photo for quilt #1997.007.0824 (a Marie Webster pattern, as so correctly noted by many). We’ve now corrected the mis-labeling and you’ll now be able to see the actual Mennonite album quilt that is described in the record. You may have to hit the “refresh” button to get the proper photo.

Please continue to peruse our database and let us know when you see any other discrepancies — as Judy Schwender mentioned, it is definitely still a work in progress. Please feel free to e-mail me directly (mhanson4unl.edu) with any questions or comments about the database. Thanks again, Marin Hanson, IQSC Curator of Collections

Marin F. Hanson Curator of Collections International Quilt Study Center University of Nebraska-Lincoln, HE 234 Lincoln, Nebraska 68583-0838 USA (402) 472-6301 http://quiltstudy.unl.edu

Date: February 9, 2004 | From: “Candace Perry” <candaceschwenkfelder.com>

I think we could get something out in our local school districts…Montgomery Co. and Lehigh, PA specifically. Candace Perry

Date: February 9, 2004 | From: Kris Driessen

It absolutely kills me that I can’t go to this on Feb 28 since it is so close to home for me:

http://ugrworkshop.com/ Conference info: http://www.ugrworkshop.com/conference/index.html

But I am already booked that day in Maryland. However, if anyone wants to go, I will gladly pay your tuition (all $15 of it) and offer you a place to stay! Don’t worry, someone will be home, it just won’t be me:-))

Kris

Date: February 9, 2004 | From: “Pepper Cory” <pepcorymail.clis.com>

Can anyone email me off-list ( pepcoryclis.com) with Julie Silber’s email? Thanks. Pepper Cory

Date: February 9, 2004 | From: “Brenda & Roger Applegate” <rbappleg1@>

I will forward it to the Beaver County Schools in Western Pa. Brenda Applegate

Date: February 9, 2004 | From: Joan Kiplinger <jkip@>

Please include me on list to distribute UGGR literature. We have a still-functioning tavern with its original name — Riders Tavern built in 1812 &1822, which has retained its original tunnel that sheltered slaves on their escape route. The restaurant/bed & breakfast would be a perfect distribution outlet for UGGR information, as well as schools and historical society in our area.

Date: February 9, 2004 | From: Dana Balsamo <danabalsamo@>

What about quilt guilds. Maybe a packet could be sent to major state quilt guilds?

Date: February 9, 2004 | From: Kris Driessen

Shelly Zegart will speak on March 16 at 6 p.m. in the auditorium of the Art Institute. Her topic is “American Quilts: A Patchwork of Meanings, Purposes and Origins.” The lecture is open to the public. The opening of the exhibit (see press release, below), following the lecture, is by invitation only.

FOR IMMEDIATE RELEASE January 14, 2004 MEDIA CONTACTS: Eileen Harakal <eharakalartic.edu> Chai Lee <clee4artic.edu> (312) 443-3625

ART INSTITUTE EXPLORES THE ART, HISTORY, AND CRAFTSMANSHIP OF QUILTS IN NEW EXHIBITION Remarkable Pieces from the Museum’s Shelly Zegart Collection, and Other New Additions to the Permanent Collection to be Shown

A collection of beautiful, fascinating 19th- and 20th-century American handmade quilts from the permanent collection of The Art Institute of Chicago are featured in a new exhibition, Exploring Quilts: Art, History,and Craftsmanship. With approximately 35 bedcoverings, ranging over more than 150 years, the exhibition, on view March 17– September 12, 2004, in the Elizabeth F. Cheney and Agnes Allerton Textile Galleries (G. 57–59), features some of the prime examples of this American folk art that the Art Institute has recently acquired. Exploring Quilts includes the museum’s important Shelly Zegart Collection; quilts purchased from the Dr. and Mrs. Fred Epstein Collection through a bequest from the Margaret Cavigga Trust; gifts from Margaret McCurry, Mr. and Mrs. John W. Power, Mr. and Mrs. Joseph W. Fell; and quilts from an anonymous donor.

The Shelly Zegart Collection

The Art Institute of Chicago acquired a group of splendid 19th- and 20th-century American quilts from Kentucky collector Shelly Zegart in

late 2001. This acquisition—partially as gifts and partially as purchases––fills a major place in the museum’s renowned textile collection, not only enhancing the present collection of 155 such pieces, but decisively moving the Art Institute into the front ranks of American museums with similarholdings.

The Zegart pieces represent some of the best examples of this classic tradition made between 1820 and 1982. Among the outstanding quilts in the acquisition are: Celebrity Ties (1980-1982) by Mrs. Grace C. Wagner,a crazy quilt made of 44 pieces of neckties from well-known public figures, ranging from Johnny Carson to Kermit the Frog to former Illinois Governor Jim Thompson; Album of Inventors (1933), a piece that features a pictorial narrative of American history from the presidencies of Andrew Jackson to Franklin Roosevelt, and images of roads leading to the modern world as represented by the Sears Roebuck Pavilion at the 1933 Century of Progress Chicago World’s Fair; and Sunday School Picnic (1932) by Jennie C. Trein, an award-winning piece created to represent the quilter’s admiration of her friends and family.

Shelly Zegart is a well-known expert on American quilts. She co-founded The Kentucky Quilt Project—the first state quilt documentation process—that culminated in a publication and an exhibition that traveled with the Smithsonian Institution Traveling Exhibition Service (SITES). She has since gone on to collect, curate, lecture, and write about quilts over the past 25 years. Most recently, Zegart co-founded The Alliance for American Quilts, a national nonprofit organization, in which she currently serves as the President of the Board. Articles by and about Shelly Zegart have appeared in major newspapers and magazines. The Shelly Zegart quilt collection was acquired through the Robert Allerton and the Christa C. Mayer Thurman Endowments.

Gee’s Bend Quilts Three quilts by the women of Gee’s Bend, Alabama were acquired by the Department of Textiles of The Art Institute of Chicago in the spring of 2003. These pieces suggest both the diversity and continuing importance of traditional, vernacular craft, one associated with the domestic realm of women. Gee’s Bend quilts have become well-known in the past few years due to critically acclaimed exhibitions. A poor and geographically isolated African American community in rural Alabama, Gee’s Bend is renowned for producing generation after generation of extraordinary quilters. This tradition in Gee’s Bend is firmly rooted in utility: poor families need quilts—layers of them—to stay warm while sleeping in drafty houses. Often making use of worn work clothes, for both economic and personal reasons, Gee’s Bend quilters refrain from the intricately patterned, overall stitching displayed in the album quilt. Instead, their work is characterized by boldly patterned, speedily completed designs, sharing the Modernist’s penchant for abstraction.

The Dr. and Mrs. Fred Epstein Collection In 2003, the Cavigga Trust, set up by the late Margaret Cavigga, was identified for the Art Institute and its Department of Textiles. Part of the trust was allocated for acquisition of quilts—which resulted in the purchase of three outstanding quilts from the Dr. and Mrs. Fred Epstein Collection: The John L. Sullivan Quilt (1888), depicting the rise and fall of the heavyweight boxing champion John L. Sullivan; Crazy Quilt with Animals (1886) by Florence Elizabeth Marvin, a whimsical piece that features more than 40 different kinds of creatures; and Figurative Crazy Quilt (c.1929/41), an embroidered silk album quilt that includes Santa Claus, Joan of Arc, Pope Pius XII, Aunt Jemima, the Clermont (the first Steamboat), the Liberty Bell from 1753, and the text of a Western Union telegram sent on Valentine’s Day.

Finally, a number of pieces from the Margaret McCurry collection were recently accepted as gifts and added to the textile collection, and the generosity of Mr. and Mrs. Joseph W. Fell, and Mr. and Mrs. John W. Power, resulted in yet more pieces included in the exhibition.

The Art Institute of Chicago houses the most comprehensive textile collection in the Midwest, and one of the most important assemblages of textiles in the world. The holdings span 20 centuries and include woven, embroidered, and printed fabrics; a fine lace collection; and rapidly growing contemporary holdings. At present, the Department of Textiles houses around 13,000 items, as well as some 66,000 swatch-size pieces. Mrs. Christa Thurman, who occupies the Christa C. Mayer Thurman Curator of Textiles, joined the museum in 1967. Since that time, the department’s holdings have been significantly strengthened and expanded. Mrs. Thurman’s many publications and more than 70 exhibitions for the Art Institute have established the importance of the collection nationally and internationally.

####

The Art Institute of Chicago is a museum in Chicago’s Grant Park. Museum Hours: 10:30 a.m.-4:30 p.m. Monday, Wednesday, Thursday, Friday; 10:30 a.m.-8:00 p.m. Tuesday; 10:00 a.m.-5:00 p.m. Saturday, Sunday. Closed Thanksgiving Day and Christmas Day. Regular suggested admission: Adults, $10.00; children, students, and seniors, $6.00; members always free. Visitors may pay what they wish, but they must pay something. Ford Free Tuesdays free to all, except for certain special exhibitions which may require full or extra admission fee. City of Chicago residents with Chicago Public Library cards can borrow a “Check Us Out” card from any branch library for free general admission to the nine members of Museums in the Park, including The Art Institute of Chicago. To reach the Art Institute on the World Wide Web, contact us at: <http://www.artic.edu>

Date: February 9, 2004 | From: Kris Driessen <krisdriessen@>

I have to admit, this article really opened my eyes. The Underground Railroad Quilt “Code”: Betsy Ross redux at http://www.hartcottagequilts.com/railroad.htm It is an exhaustive review of the book Hidden in Plain View, in which an elderly black woman, Ozella Williams, related the story of a quilt code to a white women’s studies instructor. I was not aware that, at the time, Ozella Williams was the owner of a thriving quilt store nor that she and her family had so much invested in the successful acceptance of this story.

But was it a story? One of the links in it (http://www.beavton.k12.or.us/greenway/leahy/ugrr/quiltsdebate.htm) is the text of an E-mail message in which Jacqueline Tobin rebuts some of the criticism leveled at Hidden in Plain View. The opening paragraph reads, “There has been much said about this story that we certainly never stated or wrote. For example, the term “Underground Railroad quilts” is a misnomer. No quilts per se were used on the escape; no quilts were taken on the journey, no quilts hung outside safe houses, etc according to Ozella’s story. In her code the quilt pattern names were appropriated by the slaves on the plantation to be used as mnemonic devices; to trigger memory of clues they could remember as they journeyed north. All of it was in their mind; as Ozella stated so many times, “its a mind thing!” The only quilts were on the plantation themselves. How they were displayed or used is still conjecture except that Ozella stated they would be hung, one at a time, until the clue represented by the particular pattern was memorized. Yes, there are many stories about quilts and the URR; do not confuse them with this story.”

Could it be that this whole “quilt code” thing was simply a misunderstanding?

Kris

Date: February 9, 2004 | From: “Jan Drechsler” <quiltdoc@>

Thanks for the kind words Kim. You could put a link to my website, but why not put the info on your website also!

Anyway, I have received just only a few words of interest. Give me a week or so to get over my cold and think straight. I can’t make another huge project for myself, but can do something.

Pat, I really appreciated reading your article because it wasn’t so one-sided and it had interesting resources for more research. Thank you for being so thorough.

Jan — Jan Drechsler in Guilford, Vermont Quilt Restoration; Quilting teacher www.@/~bobmills

Date: February 9, 2004 | From: “marcia Clough”

The Quakers put a lot of color into their quilts, but there was no specific pattern that they used more thzn any other. Their clothes were not allowed to be very bright. Marcia

Date: Mon, 9 Feb 2004 16:40:44 -0500 | From: pepcory@

Can anyone email me off-list ( pepcoryclis.com) with Julie Silber’s email? Thanks. Pepper Cory

From: “Brenda & Roger Applegate” <rbappleg1@>

I will forward it to the Beaver County Schools in Western Pa. Brenda Applegate

From: Dana Balsamo <danabalsamo@>

What about quilt guilds. Maybe a packet could be sent to major state quilt guilds?

Date: Tue, 10 Feb 2004 | From: Jccullencrew@

Dear Jan, (Did you get this already? My computer is acting crazy and I can’t tell. Some I see posted twice, some not at all.) I was just thinking last night that it would be a good idea to put together a packet of some sort, or a list of pros and cons on the issue, web sites, books, etc. and make it available to the public. What caught my eye was a play that will be put on at our local college that is about the relationship of slavery and quilts. After all this discussion about the UGRR, it peaked my interest and I’ll be going to see it in a couple of weeks (barring SNOW of course). I personally think it is futile to do this on a bit by bit basis with individual people. Some people already think it to be true and it’s becoming an urban legend, and probably none of us non-educators have enough information to make a good argument or case to change anyone’s mind. However, with good, solid background FACTS to go on, there is hope of making a dent. You could go to the schools–I would go to the schools, probably about 4th or 5th grade, and make the presentation when they’re studying the Civil War. We’d also need examples of quilts from back then, photos if nothing else, or patterns for the kids to make a Civil War quilt themselves. Then you can bring in the oral history portion and whether it’s true about all quilts at that time, or just in certain cases where this message system worked. It would be a wonderful project to work on. I don’t know if it would be too sensitive in today’s world to discuss, but it excites the heck out of me just typing this up as a proposal. Anyway, I’ve got to get some banking stuff done or something will bounce, so I’m off. I’d be glad to help you with this project editing or whatever if you decide to go ahead with it. I’m in a bit of a rush now so if you need to clarify any of my writings, do get back to me. This sounds like a super idea to me, so go for it. Carol Grace

From: “Sally Ward” <sallytatters@>

If someone could let me have any UGGR references I will try to find suitable placements in the UK.

Sally W

These two, short pieces make reference to two Presidents who are not commonly associated with President’s Month. They are William Harrison, our ninth President and Grover Cleveland, our twenty-second President. sue reich

Ohio Repository Canton, Ohio January 1, 1840

‘Log Cabin Candidate.’ – It is said that the people are of the opinion the Gen. Harrison has lived in a “Log Cabin,” long enough, and intend, on the 4th of March, 1841, to give free rent their great White House in Washington city.

– The Indiana Messenger Indiana, Pennsylvania September 17, 1890

The statement that a woman in West Virginia was so joyfully surprised at receiving a piece for her crazy quilt and an autograph letter from Grover Cleveland that she knocked a revolver onto the floor, discharging it, shot herself in the leg and was cured of long standing paralysis, at the same time recovering her speech, is worth remembering.

Date: Tue, 10 Feb 2004 11:06:48 EST | From: Litwinow@

Second Meeting of the IA/IL Quilt Study Group met in Kalona, IA. Feb 7,2004. Quilt Historians found a warm welcome in the Kalona Quilt and Textile Museum (a part of the Kalona Historical Village). Marilyn Woodin greeted the scholars with the history of the village, donut holes from the bakery and a goodie bag with fat quarters from Willow Creek and coupons for other stores! What treasures were pulled from suitcases and pillowcases. Donna Furrow started show and tell with her $2. 98 Lee Ward’s Lamb Kit quilt (45 cents for thread) made in 1964-65 for her son The applique was done using her first zigzag sewing machine. A quilt from Miles, IA in stripy embroidered panels was set with a fleshy/yellow fabric of 2 different dye lots. It was thought that the quilt was of the architectural prairie school design of the 1920’s. The finish edge had turned in edges with a hand buttonhole edging. An embroidered chin guard finished the piece. An auction quilt with a six pointed star-some blocks set on feed sacks was quilted with utility red quilting from a Manchester,IA estate. Barb Eckoff shared a stripy palm trees and flying geese- some ghost blocks (color has evaporated) Lafayette blue helped to date the 1840 quilt. The second quilt she shared (block was titled Montana) was from “Hearth and Home” magazine which published The United States Patchwork Pattern Book in the 1890s (reprinted in 1970 by Dover). The quilt had a wonderful plaid backing. Barb also shared a a lovely-embroidered basket quilt, pink and yellow Japanese Lantern, and a Joseph’s Coat quilts with patterns designed either by Hubert Ver Mehren or Nancy Cabot .

Susan Price Miller showed a stuffed Barn Raising Log Cabin-the strips were stuffed, folded and then stitched down on a foundation made a wonderful study. Her second quilt was one that she saw ten years ago wrapped around furniture-she followed the truck and got the name- a sister of the movee later gave the quilt to Susan since the family was going to throw away this 4 block Carlie Sexton Rose of Sharon. The center of the blocks was almost a Caesar’s Crown ring with the ring repeated in the center. Linda and Erin Carlson came with Pat Huff bringing “Great Aunt Crazy Katie’s Grandmother’s Flower Garden set with Institutional Green. Their other quilt was a white airplane set with vivid pink and blue 9-patch setting squares and pink and blue sashing. The wings of the planes were shorten from the original pattern. Marilyn Woodin shared an 1820 Brodere Perse Medallion- only the quilting held some the fabrics to the surface. A wonderful silk Tumbling Blocks-in good condition had pom-poms on the border, the name Edie embroidered on the quilt and a unique chenille strip was made into a flower in the center. Cathy Grafton brought Martha and George Washington wall hanging replicating a watercolor found in the Abbey Rockefeller Museum in Williamsburg, VA. Catherine Litwinow displayed an Eveline Foland Memory Quilt Bouquet quilt whose pattern was published in the Kansas City Star in 1930. A discussion of how many newspapers printed these patterns followed.

Belle and Ann Hinkhouse wowed the group with their family treasures Belle Embroidered a quilt for her son using iron on transfer that were purchased for 10-15 cents and a 3 cent stamp. Mrs. Hinkhouse brought her Pine Tree Wedding quilt that was made by mother-in law Eva in Cedar County, IA in 1939. Christina Crowskey Copeland’s (1804-1888 from Harrison Co. OH moving to IA in 1854) Check Board quilt still had its vibrant Cheddar. Elizabeth Bell Jennings Walton in 1936 purchased Peter Pan fabric at Wilton, IA store for her Lone Star all made from solids except for 2 prints. The Friend’s Church of West Branch expertly quilted the quilt for 1 cent a yard. The what a quilt of the day went to the Hinkhouse’s 1957 quilt that was copied from a quilt purchased at the Merchandise Mart in Chicago. Triangle biscuits were whipped stitched together. The edge is completed with green piping from which falls a double ruffle of the same polished fabric. The inner ruffle is gathered and reaches the floor. The outer layer droops from the piping one foot and is quilted in a diamond pattern. The bottom of this section is cut to form a gentle waving line and is hand hemmed.

A history of the quilting by the Methodist Church of West Liberty written by Marjorie Marsteller (age 98) would fill another page. Marilyn Galley shared a multi-generation quilt with wonderful madders and orange paisley. Several pieces only contained warp fabrics. An 1880’s multi-colored Sunburst had damaged brown fabrics; bridal tulle held the center down. A Poppy kit quilt with wood burn started the discussion of quilt care with “Vintage Soak” mentioned as a possible remedy. Following lunch the group toured the Quilt Museum’s one woman display of quilts made by Pennie Horras, author of Sewing in Circles: Easy Machine Applique Quilts. The meeting ended with viewing signature quilts – circle of names-possible fundraiser. Family and friends quilt from NE, a wonderful mid 1800’s Fleur de Lis madder quilt with stamped or inked names two Sunbonnet Sues and sit and sew group friendship quilts. Next meeting will be August 7, 2004 with antique quilt show and share in the morning and more signature quilt documentation in PM.

From: “Sally Ward” <sallytatters@>

If someone could let me have any UGGR references I will try to find suitable placements in the UK.

Sally W

From: Sue Reich

Ohio Repository Canton, Ohio January 1, 1840

– The Indiana Messenger Indiana, Pennsylvania September 17, 1890

From: “Candace Perry”

All I can say is, it just is all SO complex. I feel I have new questions constantly…can anybody tell me if there are ANY extant quilts from the south in the appropriate time period that seem to reflect some aspect of the story? Knowing enough to be dangerous about the development of PA German quilting, I want to know how common pieced quilts were prior to 1860 in the south, whether by black or white quilters. Did quilting spread out from the urban centers? Did the relative wealth of the “plantation mistress” mean that quilting would have existed in rural areas earlier on — also, because most were Anglo in descent (or French)and may have had a quilting tradition? Was quilting then picked up by the slave women from the white owners? Or did it somehow start with the slaves? I had only a very short stint in the south quilt-wise and my memories of the collection I worked with seemed to be applique-heavy from that period. Like Sergeant Schultz, though, I KNOW NOTHING! I’m okay with the oral tradition — I mean, that we must sometimes look to the oral tradition, for heaven sakes, in any culture. A material culture record, though, could go a long way for me in supporting this ongoing argument. I apologize if I’m asking dumb questions or making assumptions…please correct me and fill me in. Of course I want everything to fall neatly into a time line. Ha! Candace Perry (dazed and confused)

From: “Cinda

The details in the account agree with other descriptions I’ve read of Lincoln’s hours in the Petersen house which is open to the public. Cinda on the Eastern Shore

Date: Tue, 10 Feb 2004 19:20:37 | From: JBQUILTOK@

Not everyone in the US met progress at the same pace. My grandfather was killed in a horse & wagon accident in the 1940’s. We heated the farm house with wood stoves until Mom sold it in 1992. Upstate NY! Didn’t even have many quilts as Mother found them heavy, dirty & old fashioned.

Janet

Date: Tue, 10 | From: Gloria Hanrahan <gloriaak.net>

Family stories with dates can also be correct when on the face of things they appear wrong.

When Alaska had the quilt documentation days, I took in my great-grandmothers quilt. The “experts” were adament in that it was a pre-civil war red and green applique. I was more upset that my family story was incorrect, than in having such an old quilt. Going back to my mother, there was no indication it would have been made by an earlier generation. We have nothing from them, hardly even names and birthdates.

This sent me on my quilt history quest many years ago. Happily, my quilt is very much in the later red and green applique style of 1880, which fits the time period my great-grandmother would have been working on it. She also lived in a very rural area and I wouldn’t have been suprised if she didn’t do things later than style would indicate.

I think my family story is correct, but now this quilt is documented as being pre-civil war whereever the Alaska documentation is kept.

Gloria