February 8 – 19, 2001
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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:
- Chasing the Origins of the Log Cabin Pattern — A wide-ranging thread traces possible roots of the Log Cabin block — Egyptian mummy-wrapping, a tangent about the ‘running foot’ motif, and reports of very old Log Cabin quilts from Australia, Sweden, and Ireland.
- Tracking Down French Toile Fabric Sources — Members trade links to French websites selling reproduction toile fabric, including Le Rouvray in Paris and a couple of newer reproduction lines.
- When Did Designers’ Names Start Appearing on Selvedges? — A discussion of early fabric designers credited by name on the selvedge, from Jinny Beyer’s first V.I.P. collection to Concord’s Joan Kessler and the Gutcheons’ American Classics line.
- Odor Removal and Pincushion History — A smelly antique quilt prompts competing de-odorizing tips (fabric softener sheets vs. charcoal vs. cloves), alongside a separate thread on the history of sand- and horsehair-filled pincushions. (see the article on stain removal)
Date: Thu, 8 Feb 2001 21:47:02 -0500 | From: “John Cawley” <cawley@
Fran’s Vintage Friends took a field trip today to the Baltimore Museum of Art. Those of you whose views of “Charm City” have been formed by the TV show Homicide will be interested to hear that Baltimore has many wonderful cultural assets and that there is more to the city than the Inner Harbor. We had a fine lunch in the Museum’s restaurant and then went to a gallery talk on the current toiles exhibit by the textile curator Anita Jones. The exhibit is small but exquisite. I think that toiles are among the finest textiles ever. I know a lot more about them now than I did this morning. The best part of the presentation for me was Anita’s explanation of the technology of copperplate printing vis a vis woodblock. This is something I have read about many times in many different books. I think I finally understand the limitations of each technique and something of the technologies involved. There were 12 or 14 toiles on display. It was fascinating to see how the subject matter and styles changed. The comparison of Oberkampf fabrics with those of less talented printers was astonishing. In no particular order I’ll share some tidbits from the notes I made. The large copperplates, as much as 48″x27″, (from 1752) were extremely difficult to register. It therefore made sense to print in one color on white rather than end up with muddy mis-registered colors. Additional color details could be added by woodblock. The British were better than the French at printing indigo which they called China blue. Toiles printed with mordants were washable (called washable furnishings). Many designs on these fabrics were taken directly from other sources, e.g. prints–no such thing as copyright in the 18th and early 19th centuries. The early toiles, in neo-classical style, have more white background and less crowded designs. Later toiles in what is called the troubadour style have very dense figures and shaded backgrounds and often show scenes of medieval history (Joan of Arc). The engraved roller (1783) allowed continuous printing with a smaller repeat (18″). Among the toiles in the exhibit were: The Apotheosis of Washington and Franklin–too much! The Tomb of Rousseau Louis XVI Restorer of Liberty, printed with cosmically poor timing in 1789 which perhaps explains why the piece in the exhibit is incredibly bright and fresh. It was probably hidden away from revolutionary eyes (and light). Mary Queen of Scots Charles 1 and Henrietta Maria (this was as good as a history lesson). A fine example printed in 1927 to honor Charles Lindbergh The Eisenhower toile silk screened in 1956 and made into dresses worn by Mamie on the campaign trail. Being Fran’s friend is a rare privilege. Cinda on the Eastern Shore
Date: Fri, 9 Feb 2001 13:49:49 -0800 | From: Chris Anacker <chrisa@
Nancy, You might try horsehair as a filling. I don’t know how or where you would find it as it was in the 19th century, but you might start with an upholstery furniture restoration organization. Kim Wulfert Ojai, Ca where a rain storm is just forming and causing a black sky aquiltersjourneytours@
Date: Fri, 9 Feb 2001 17:48:23 -0500 | From: “Phyllis Twigg” <ptwigg@
Sue Reich requested the ” French website that pictured historic toile or a toile museum in France.” I believe the site is found at www.quiltcreations.com/fab/historyjouy.htm Phyllis Twigg
Date: Sat, 10 Feb 2001 11:02:16 +0200 | From: Ady Hirsch <
The French toile web-site has moved and is now at www.french-fabri@. Le Rouvray, the Paris quilt store, now has a web site with exquisite toiles and other French fabrics – www.lerouvray.com. Enjoy Ady in Israel
Date: Sat, 10 Feb 2001 07:54:21 -0600 | From: Laura Hobby Syler <
This is a second site, I believe. Camille (of the Applique Digest) has a line of toiles that she and her partner have designed. I bought a couple from them at Festival 2 years ago. The url that Phyllis sent is a good one. www.quiltcreations.com/fab/historyjouy.htm It is the url that was posted some time ago on the list with a brief history of toiles. Laura in once again wintery N. Texas – after 70 day before yesterday! Ady Hirsch wrote: The French toile web-site has moved and is now at www.french-fabri@. Le Rouvray, the Paris quilt store, now has a web site with exquisite toiles and other French fabrics – www.lerouvray.com. Enjoy Ady in Israel
Date: Sun, 11 Feb 2001 09:12:43 +0200 | From: Ady Hirsch <
Hi all Pincushion filling was discussed a while back on another list, and I seem to remember sawdust being recommended as a compact filling that helped keep needles sharp. Ady in Israel
Date: Sun, 11 Feb 2001 13:21:54 +0100 | From: Daniele Seyrig Baumgarten <d.seyrig@
Another French site that carries repros of french toiles www.coloradoquilt.com Daniele in Paris
Date: Sun, 11 Feb 2001 09:59:42 -0500 | From: LE Miller <lemiller@
How opportune. Our guild had a mini-workshop on making vintage pin cushions last week. The instructor’s method was to use strips of wool as wide as you wanted the pin cushion tall. Roll into a tight roll and secure. Push the center of the roll up to make a slightly mounded top. Cover with a muslin strip cut wider than the height and use a running stitch to gather in the top and bottom. Cut circles larger than top and bottom and and tuck into gathered edge. Secure. For a free-standing cushion, a large washer can be sewn into the bottom for weight. The final cover is then applied. She recommended doing a final stuffing of the top with human hair. “It helps to keep the needles oiled”. Cover a circle of cardboard with fabric for the bottom to be slip-stitched in place. The seam around the top can be covered with decorative braid, if desired. This lady learned the technique from her mother.It makes a nice heavy pincushion.
Date: Mon, 12 Feb 2001 09:44:13 -0000 | From: “Sally Ward” <Sally.D.Ward@
Can anyone please advise what to do with this smelly quilt? Bearing in mind its wet winter here in Yorkshire so hanging outside is not an option for several months <G A friend has just bought this item. One side is a strippy with sound floral fabric, but the reverse is a wonderful paisley red which sadly is rotting everywhere there is a paisley pattern in lime outlined with yellow. The paisleys are just dropping out. It is lightly quilted, and appears to have cotton sheet as filling. My friend is a collector and generally tolerant of slightly old-smelling quilts, but says this just ‘honks’. She describes it as ‘smelling of old man’ rather than specifically of, say, cats. The only thing I can think of is boxing it up with charcoal, and bear in mind that most of the specialist cleaning soaps you talk about on QHL are not available over here. Any suggestions? Or is this a case where the back should be sacrificed to clean and save the top? Sally Ward in UK
Date: Mon, 12 Feb 2001 07:38:57 -0600 | From: Hollis E McCright <hmccright@
If you have fabric softener sheets (like Bounce or maybe Downey) place the article in a closed container with several of those sheets, it might do the trick. It was successful with “mousey” smell that clung to some scraps that I bought. Hollis McCright Lubbock, Texas
Date: Mon, 12 Feb 2001 09:17:33 -0500 | From: “bonnie wilbur” <bonnie.wilbur@
I’m not sure fabric softener sheets in a closed container is a good idea. I’ve read repeatedly that concentrated fabric softener in prolonged contact with fabric can stain it. The only time I’ve had it happen was with white polyester quite a few years ago, but I’ve been very cautious about fabric softener since. Bonnie
Date: Mon, 12 Feb 2001 08:18:57 -0600 | From: Laura Hobby Syler <texas_quilt.co@
Several months ago we had a similar discussion. Some of the suggestions were 1) clean newsprint 2) charcoal – filter type 3) a mesh bag of whole cloves 4) fabric softener sheets 5) Airing draped over a hedge or laid flat on a thick green lawn (chlorophyl will help remove the odors) Oh, 1-4 should be placed with textile in an air tight container. That’s all I could remember….. Good luck! Laura
Hollis E McCright wrote: If you have fabric softener sheets (like Bounce or maybe Downey) place the article in a closed container with several of those sheets, it might do the trick. It was successful with “mousey” smell that clung to some scraps that I bought. Hollis McCright Lubbock, Texas
Date: Mon, 12 Feb 2001 09:28:52 -0500 | From: “bonnie wilbur” <bonnie.wilbur@
My mother had one in a strawberry shape which had been passed down for several generations. It was filled with very fine-grained sand, and she swore by how well it cleaned hand oils off the pins and needles and kept them sharp. Bonnie
Date: Mon, 12 Feb 2001 19:41:34 EST | From: JBQUILTOK@
My mother had one in a strawberry shape which had been passed down for several generations. It was filled with very fine-grained sand, and she swore by how well it cleaned hand oils off the pins and needles and kept them sharp. I remember Mom having one or two that were the tomato shaped pin cushions w/ a strawberry hanging off it. Janet
Date: Mon, 12 Feb 2001 22:31:29 EST | From: SEHinzman@
The strawberries sound like nice emeries..they do indeed keep the pins and needles rust-free! Hard to find good ones now, with the good emery filling. Susan
Date: Mon, 12 Feb 2001 22:40:48 EST | From: @aol.com
You can still get the tomato and strawberry pin cushions at most fabric stores, or could as of a few years ago. My problem was always that the needles would eventually work their way completely inside the tomato, forcing me to cut them open if I wanted to sew with anything finer than an upholstery needle. I once found fifty-seven needles buried in a tomato, and yes, I counted. My husband nearly had a heart attack when he saw me extract needle after needle from what appeared to be an innocuous heap o’ dust…. Karen Evans
Date: Tue, 13 Feb 2001 08:39:42 +0100 | From: “Tilde Binger” <binger.hougaard@
I wrote the original sender privately, but think that perhaps my input may be relevant for the entire list. Horsehair has been used for upholstery etc. including pincushions, but mostly (at least here in DK), to reinforce the fabric around the pincushion. I have my GGGrandmother’s sewing-table (a lovely little piece), with the original pincushion in place. It’s filled with saw-dust and has horse-hair reinforced cover. I know sand has been used as well since my sister has another GGGrandmother’s sewing-chest, and this one’s pincushion has sand 🙂 As to my sampler-question. I finally got around to looking closer at the two samplers I inherited from my mother’s elder sister (I was the only one to want them, they were considered “boring” :-). Both are framed and I got around to take them out of their frames to clean the glass a bit. One is fairly traditional, letters only thing with red wool on linen, made in 1887. The other one threw me. It’s silk on very fine wool (as far as I can assess), has both letters, a decorative border and 4 little “mending squares” made with silk, to show how well this little girl (10 years old, she has dated it and herself :-), could emulate a printed or woven pattern in embroidery. The sampler was made in 1813 ! I thought it said 1873, but it’s clearly 1813. I have put it back under glass immediately, as it is very fragile …. and – alas – very dirty. Does anyone have any suggestions what to do to clean it a tiny bit. I don’t expect it to be “clean”, just slightly less dirty. My aunt was a heavy smoker, so this little beauty has been subjected to at least 10 cigars (yes, she smoked cigars and lived to be 82), for more than 30 years, and heaven knows what else before it came into her possession. The glass is clean, but the little beauty isn’t. What to do ? Thank you for your help Tilde in Copenhagen
Date: Tue, 13 Feb 2001 09:55:14 -0500 | From: “bonnie wilbur” <bonnie.wilbur@
Dear Bonnie, I’m answering you directly since I can’t seem to post to the list. You can pass this on if you want to. The fine sand in those little strawberry-shaped pincushions is actually emery powder, the same type of material that is used on emery boards. Emery is a mineral that is crushed and used as a fine abrasive and was once the main component of sandpaper. Once upon a time you could buy emery powder at hardware store and I think that it is still used for rock polishing. It really keeps needles sharp and will even remove little burrs from them. Today’s trivia! Best wishes, Anita Wolff I am not a scholar nor a researcher, but I ran across an interesting reference regarding the origin of the Log Cabin quilt pattern in a used book I bought this weekend. The book, *Patchwork Quilting with Wool* by Jean Dubois, was originally published in 1978 by La Plata Press, Durango, Colorado, and reissued in 1985 by Dover. I think that Dubois’s reference is interesting due to the discussions we’ve had in QHL about the date of the log cabin quilt used as an example in HIPV. Dubois said “It used to be assumed that the Log Cabin was an indigenous American pattern, but in fact it is almost certain now that the pattern came into the southern US from England. Jenny Shin, from Cheltenham, Gloucestershire, in England, the lecturer who accompanied the Bicentennial show, ‘British Quilts, 1820-1975’ from England, said that the Barn Raising quilt pictured in [book plate XXVIII] was made in England by Mary Morgan (born Mary Thomas, in 1817) before she emigrated to Virginia in 1830 to keep house for two brothers who were coal miners there. Although we don’t know, of course, that she brought the pattern with her, it is inconceivable that she did not. In any case, the quilt…did not cross the water until 1976, and establishes the fact that the pattern was known in England at a date prior to any surviving American example.” Dubois notes later that, “the date of an individual Log Cabin quilt can best be ascertained by its fabric. The earliest American ones, made in the 1850’s, were usually made of heavy wools….” She also said, “Mary Conroy, a Canadian researcher, has discovered that the Log Cabin pattern was even known to the ancient Egyptians.” [Conroy wrote *300 Years of Canada’s Quilts*, footnoted Dubois] Just food for thought, Christine, a quilter on an island in the California Delta http://www.winnowing.com
Date: Tue, 13 Feb 2001 15:47:34 -0800 | From: “Brooke Flynn” <
Hello – would anyone be interested in helping in a vendor’s booth at the Quilter’s Heritage Celebration in Lancaster, PA in March this year? Please email privately and thanks! Brooke Flynn Flynn Quilt Frame Company brookeflynn@
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Date: Tue, 13 Feb 2001 18:08:46 -0800 | From: Chris Anacker <chrisa@
There is a great article by Darcy Pattison on just these topics. It is in the June “97 issue of QNM. She address the Egyptian connect and the Canadian. She sayd there is evidence that indicates muumy’s were wrapped in strips of linen in the log cabin patter. Sometimes these were lacquered in such a way that they gave the finished product a dark and light side. She states that log cabin, pineapple and or courthouse steps were seen in English quilts around 1840, coinciding with the Egyptian craze, brought about by Napolean’s invasion and curiosoty with that country in the early 1880s. She said in Canada they called the patter “Canadian Logwood” in a book dated just before the turn of the 19th century. Janet Rae was referenced for the info on the British influence.
She ends the article with the questions: is the pattern older than 1840? How and when did it cross the Atlanic? How might the Isle of Mann be involved, and were the egyptioan artifacts wrapped in that style in the 1920s and 30s when they were excavated or in the Egyption times 2 or 3,000 years ago? If Darcy is on this list it would be fun to hear what she may have found out since. Kim Wulfert Ojai Ca. It hailed here today and there is deep snow a few miles inland at a slightly higher elevation. We are about 10 miles from the beach. aquiltersjourneytours@
Date: Tue, 13 Feb 2001 20:32:23 -0800 | From: Chris Anacker <chrisa@>
Hey Nancy- what constitutes a “lesser mummy”? I’m glad I don’t collect early ephemera! Just out of curiosity, do you know if they shipped the entire mummy to England or just the wrappings? Kim Wulfert —– Original Message —– From: <QultFrFn@> To: <chrisa@>; <christine@> Sent: Tuesday, February 13, 2001 6:27 PM Subject: Re: QHL: Re: Origin of the Log Cabin Quilt pattern
In a message dated 2/14/01 2:08:35 AM, chrisa@ writes: <<Egyptian craze>> The British attraction to mummies can also be attributed to their late 18th early 19th c. need for cotton. The English printing industry imported ‘lesser’ mummies for the cotton wrappings — for use in their 100% cotton-rag papers. (Just think of that when you admire a really old ‘first edition’!) The log-cabin, snails shell, spiral image is almost a universal element of design. It’s right up there with ‘sun’ images for age and use. The image in fabric/cloth/quilts is something that should be easier to trace. Nancy
Date: Wed, 14 Feb 2001 00:19:00 -0600 | From: Gail Ingram <GIngram@>
Isn’t the “running foot,” an apparently timeless symbol appropriated by the Third Reich but seemingly universal in its use, related to this design? It would seem an easy motion to adapt this rectangular version of the spiral to the materials and purposes of quilt top making. Isn’t relating this design to the Egyptian craze stretching just a little? For one thing, if those mummies were indeed “lesser,” one assumes they were trotted right off to the textile factories, where they forthwith yielded their gauzy cottons. It would seem they would have been far less likely to influence design than the many furnishings and fine art objects, whose influence is firmly documented. Coincidence does not necessarily indicate causal relationships. It would be hard for me to imagine this design being American in origin, but what American women did with it does strike me as distinct.
In a message dated 2/14/01 2:08:35 AM, chrisa@ writes: <<Egyptian craze>> The British attraction to mummies can also be attributed to their late 18th early 19th c. need for cotton. The English printing industry imported ‘lesser’ mummies for the cotton wrappings — for use in their 100% cotton-rag papers. (Just think of that when you admire a really old ‘first edition’!) The log-cabin, snails shell, spiral image is almost a universal element of design. It’s right up there with ‘sun’ images for age and use. The image in fabric/cloth/quilts is something that should be easier to trace. Nancy
Date: Wed, 14 Feb 2001 18:40:21 +1100 | From: Lorraine Olsson <sven@>
I have seen the Log cabin pattern in Very old Australian quilts, and also in Very old Swedish quilts. I can not put my hands on the pictures right now, but the Aussie quilts seem to resemble English rather than American. I would wonder if many of the early patch patterns in the US may not have come from both England and Scandinavia. Just a thought. Lorraine in Oz
Date: Wed, 14 Feb 2001 09:05:37 -0000 | From: “Sally Ward” <Sally.D.Ward@>
These are notes I made some time ago when researching Log Cabin. Sadly, at that time I didn’t know enough to record my sources specifically, for which I apologise. My research was generally from Averil Colby’s ‘Patchwork’; the Royal School of Needlework’s book on Needlecraft; Janet Rae’s Quilts of the British Isles; The Quilter’s Guild’s ‘Quilt Treasures’; QNM articles, one on Log Cabin and one on Isle of Man Log Cabin; *Egyptian mummies in the British Museum feature wrappings formed in the log cabin pattern, rather than actual stitched in cloth. *The pattern appears in traditional needlework books described as variously ‘straight patchwork’, or ‘an old pattern of the West Country’ and in the Isle of Man it has a tradition as the ‘roof pattern’ where the colours are arranged to produce a strong zig-zag design. Averil Colby cites a Stirlingshire (Scotland) woman who possessed log cabin quilts made from patterns handed down in the family since the Jacobite Rebellion of 1745, some made wholly of tweed and homespun wollens. These were generally made on a foundation for stability. The Isle of Man tradition is traditionally made using measurements from the worker’s hand. There is a English perfume bag (I didn’t record this but think it is either in the V&A or the British Museum) dated 1650 which features the pattern, cruciform with a dark centre, in latticed silks. In Ireland, Scotland and the Isle of Man there was also a tradition of using only two colours, turkey red and white, assembled in a cruciform, with the four white sides forming the cross. Sally Ward, Yorkshire UK
Date: Wed, 14 Feb 2001 10:12:08 EST | From: QultFrFn@
Regarding the ‘Log Cabin’ origin. I highly doubt that the ‘rag-pickers’ in the London print industry were interested in anything, but the cotton cloth — and by the way — did you ever wonder about the old stories of ‘rag-and-bone’ collectors in England? The bones were burned,cremated, for the chemicals. (Wonderful food for bulbs and roses…) The point is — the spiral, log-cabin, image, or type of image, has been around since before written language. It is one of the oldest. The use of the image in fabric, and quilts, is something worthy of investigation. The likelyhood is, however, that –even in fabric — the ‘Log Cabin’ quilt did not originate on any North American body of land. Viva – La Log Cabin! Nancy in overcast AZ
Date: Wed, 14 Feb 2001 10:29:54 EST | From: JQuilt@
if you go to amazon.com and search for Cat Mummies by kelly trumble click on the cover of the book (for enlargement) and you will see pictures of mummifed cats the way they wrapped the linen strips very often resembled log cabin patterns.. jean
Date: [date unknown] | From: Chris Anacker <chrisa@>
There is also a picture in the QNM article (June 1997) of the cat wrapped and mummified. It is log cabin on point! Kim Wulfert
Date: Wed, 14 Feb 2001 13:31:01 -0500 | From: “pepper cory” <
Greetings from blustery coastal North Carolina! I read somewhere that the Log Cabin design was also found in Irish land plots, those narrow strips of arable land village-dwellers tilled around a common ground (would correspond to the center square). Another source could be the Roman mosaics uncovered in England in the late 18th, early 19th century. These were viewed by the public and illustrated in the newspapers of the day. I have seen Flying Geese, Kansas Troubles, Clamshell, Birds in the Air, and Anvil (to name a few-) on mosaics in Fishbourne, England. However much American quilt historians might love to claim this pattern as home-grown, from all of the diverse info we’re getting, the Log Cabin probably predates many American patchwork patterns and is likely an import! Happy Valentine’s Day. Pepper Cory
Date: Wed, 14 Feb 2001 13:09:22 -0600 | From: “Susan Wildemuth” <ksandbcw@>
I found a reference to a name Clara Stone, Boston, Mass? How does she/they related to quilting? Is this an actual person or a pseudonym for a company? Is there a book, museum, or source of information about this individual/company? Time period in quilt history? Thanks Sue
Date: Wed, 14 Feb 2001 13:57:51 -0600 | From: Laura Hobby Syler <
It was my understanding that “they” said that although it was originally thought to be one of the true “American” designs, as we can see, further research has proven that to be false. However, the name Log Cabin and the popularity of the design became more wide spread with the Lincoln presidency and the movement to western US and the numbers of log cabins built. Now if I can just remember who “they” is <G> (Wonder what the “sod house” block would have looked like!) Laura In really, really foggy N. Texas
Date: Sat, 17 Feb 2001 14:52:49 EST | From: Palampore@
I received a newsletter today from the Cranston Village. Most of the time I am too busy to read, but today I decided to glance over it. They had a section called the Quilt Corner and at this site they had “Log Cabin Quilts” by Richard Malachowski. I went there because of the recent discussion on QHL. I have no idea who this man is but he had written about this pattern being used in the 1850’s and 1860’s and that it was known to be used as a signal pattern for the Underground RR. It looks like some of us need to write to the Cranston Village Herald. I really don’t want to stir things up as they have been in the past, but this should be taken care of. The site is: I do have good news to report. It really does pay off sometimes to educate people. Last year I spoke with my daughter’s principal about the info. that was being taught to the children in her school during Black History Month about quilts and the Underground RR. I saw him last week and he told me that there would not be a segment on quilts and the UGRR this year. He said, “I bet you thought I would forget. Well, I didn’t.” I appreciated that tremendously, and let him know that. I will do a lecture for the 4th grade on the “needle arts” where we will talk about quilts, crocheting, knitting, etc. I will try as hard as I can to only impart info. that I am sure is true and has documentation to back it. Some of you might like to look up a site—- www.historicfashionsforum.com I heard about it via Costume Society. Last week I put on an exhibit of all of my quilts, and a tour of my wash room, and studio for my quilt guild. It was great fun. If anyone knows of a person who does pattern grading for hire, please let me know. I am working on a pattern line but I don’t know how to do the grading for sizing. Thanks. You are a great group to be a part of. Lynn Lancaster Gorges Historic Textiles Studio New Bern, NC – where it was 81 degrees yesterday!!!! Today it is 60 and windy….
Date: Sun, 18 Feb 2001 17:35:38 -0600 | From: “Jocelyn” <jsmartin@>
For the first time in decades (at least 4) the Kansas City Star published a new, designed-for-them quilt pattern today. The series is being designed by Barbara Brackman, and is based on the diaries of the first First Lady of Kansas. Each block is an applique of a flower mentioned by Mrs. Robinson in her diaries. There will also be an appliqued border to make a bed-sized quilt. Each block is 18″. The blocks will be published monthly in the Star Magazine (the Sunday supplemental magazine) . This fall, the patterns will be brought out in book form.
Date: Mon, 19 Feb 2001 00:44:47 -0500 | From: “J. G. Row” <Judygrow@>
Having made my monthly trip into our local quilt shop I pat myself on the back for only buying a yard each of two fabrics, neither of which fit into any plans for quilts roiling around in my head. But standing there at the cutting table and looking around at the bolts on the shelves around me, I again became acutely aware that the fabrics available to us now are dramatically different from those available to us only 25 years ago.Different in all ways — hand, color, design. Because I keep swatch books and am constantly looking at design and color, and can now cut my contemporary swatches from the selvedge edges of the new fabrics where not only the manufacturer but also the designer are given credit, I began to wonder exactly when the designer stopped being anonymous. Is there a definite date when some enterprising marketer at some fabric company realized that the name of the designer would be recognizable and would sell as well as the fabric design? Whose was the first name to be printed on that selvedge? Iis there a single name we can point to as being the first to design a line of fabrics specifically for quilters? Someone who thought that we might like to move away from cute little all-over patterns in 2-3 colors? The history of the last quarter of the 20th century is being written now. And the changes we have seen are huge. Who are the special people, the ones who did “it” first? Judy in Ringoes, NJ judygrow@
Date: Mon, 19 Feb 2001 08:49:50 EST | From: [from unknown]
I have pieces of Jinny Beyer’s first collection, which I think came out in Spring, 1982. On the selvedge is printed: “JINNY BEYER Quiltprints By V.I.P. Fabrics For the Quilt Inst. © Cranston Print Works” Her book “The Quilter’s Album of Blocks & Borders” came out in 1980. I think she was the first, (or perhaps one of the first), to quilt, teach & lecture, write books & then design fabrics. Later, Jinny switched to the R.J.R. fabric label….and V.I.P. reran some of “her” designs in different colorways (for example, the large paisely from her first collection was redone in Christmas red & green). I also have older fabrics from Concord Fabrics (don’t know the exact date on these) that say: “Joan Kessler for Concord Fabrics, Inc. © Crafted with Pride ” Can’t say that I know “who” Joan Kessler was…but her name did appear on the selvedges in the early 1980’s. I’m sure there are others….but these were two I could put my hands on quickly this morning….now its off to work in the “frigid zone”. The weatherman said last night, it might get over 32º today & “start melting this glacier”…. lots of ice here & no “January thaw”. Happy Stitching everyone!! Karan from Iowa
Date: Mon, 19 Feb 2001 08:20:59 -0600 | From: Laura Hobby Syler <texas_quilt.co@>
I think that the Kesslers….Joan (the mom) was the first, when she was designing for Concord back in the ’80’s was the first time that I noticed the designer’s name on the selvege. My sales rep was very delighted that there was a designer’s name attached to a line…which was supposed to lend more credibility to the overall fabric company. Then when Jinny Beyer put her name on the first line….for VIP. I just pulled out a couple of yards…the selvege says JINNY BEYER Quiltprints by V.I.P. Fabrics copywrite Cranston Print Works (note no date). Laura
Date: Mon, 19 Feb 2001 09:57:58 EST | From: @aol.com
Another early source for unusual quilting fabrics was Jeffrey & Beth Gutcheon’s American Classics line. They were around in the late 70s/early 80s and were noticeably better quality than the usual cotton at the time – thicker cloth, more interesting patterns, and so on. RJR and Cranston Printworks came in soon after. I don’t recall when Hoffman came in, but it was before 1990. Karen Evans
Date: Mon, 19 Feb 2001 10:34:35 EST | From: QultFrFn@
Love this line of inquiry! Two partners and I opened a quilt shop in ’82. We had to twist the arm of a fabric rep. to show us the Hoffman line. It was love at first sight. We were buying their Calif. line of garment fabric for the shop. The fabric rep said that many of the prints were designed for oriental housewives on the west coast. Those prints were like a breath of fresh air to quilters wanting more sophisticated prints. Nancy AZ
Date: Mon, 19 Feb 2001 12:50:36 EST | From: KareQuilt@
Dear QHLers, In response to the post about the new Brackman Prairie Flower series of quilt patterns in the KCS, FYI the KCS phone # is 816-234-4636. The section carrying the first Brackman pattern is in the feature section called “FYI.” The article introducing the series was written by Karen Gutierrez. The paper costs $3.00 to order. If you want The actual pattern is $6 plus $2 s/h. The 2nd column will appear Feb 25th in the “Magazine supplement” of the Sunday newspaper, and will appear only once a month after the Feb 25th date. Barbara Brackman will be inducted into The Quilters Hall of Fame this summer! Come join us and help celebrate Barbara’s contributions to quilting! “Celebration” is July 19-22. Barbara will give a lecture, have a walk-through of her quilt exhibit, have a book-signing, and offer a workshop (“Dating Old Quilts: Material Pleasures”). The musical “Quilters” will be performed by the Marion Civic Theater that same weekend, plus there will be other lectures, tours of the Marie Webster House, additional quilt shows, and a Silent Auction. There will also be a live auction of a quilt made from Brackman’s Civil War reproduction fabrics. Watch for a series of interviews of Brackman in The Quilters Hall of Fame newsletter in the next couple of issues! Membership is only $25! Karen Alexander Office contact in Marion, Indiana for joining or getting on our mailing list is: Phone/Fax (765) 664-9333 quilters@ http://www.quiltershalloffame.org –
