January 15 – 18, 1999
These restored messages come from the Quilt History List, an online forum where quilt historians, collectors, researchers, appraisers, and enthusiasts discussed antique quilts and related textiles. The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form at the bottom of the page if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged.
Primary topics of this QHL Digest:
- Quilt Pattern Names & Origins — Extended discussion of how quilts and quilt patterns get their names, including the role of the Ladies Art Company catalogs and regional naming differences.
- Paducah & Williamsburg Show Tips — Members share practical advice for navigating the Paducah quilt show and note upcoming Williamsburg events.
- Charter Oak Pattern — A member identifies a ‘Charter Oak border’ on a quilt, prompting discussion of this pattern’s history and connections to Connecticut imagery.
- Quilt Appraisals & Selling Older Quilts — A member asks for advice on helping an elderly friend sell quilts, sparking broader discussion of appraisal resources and ethics. (see the article on quilt appraisers)
- Quilts in Native American Tradition — Patricia Lyons describes how quilts figure in honoring ceremonies among Native Americans and the cultural significance they carry.
- Linsey Woolsey Terminology — Members clarify the weaving term ‘linsey woolsey’ and debate its correct application to historical textiles. (see the article on cotton and textile terms)
Date: Fri, 15 Jan 1999 23:41:12 EST | From: KareQuilt [at] aol [dot] com
Hello from ice laden Northern, VA!
The Virginia Quilt Museum, Harrisonburg, Va, had a “world premiere” exhibit of of Russian quilters intitled, “Three Perspectives: Contemporary Russian Fiber Arts” 7 Feb 1998 through May 18, 1998. I happened to catch it on my way down through the Shenandoah Valley to do research in NC April 1998. Three artists were featured: Natasha Muradova, who is known for her tapestry and theater curtains and whose work is displayed in the Kremlin Palace; Ludmila Uspenskaya’s, whos fiber art involves the use of fabric collage in vibrantly colored contemporary pieces; and Ludmila Aristova, who is known for her couture fashion designs. Aristova’s work is very much inspired by Russian folk traditions. The signature of her work is said to be the “ashberries” she adds somewhere in most of her work. Much of the fabric she uses was produced by a very complex method, according to the show notes, at a Russian factory that ceased production in the 1980’s. She considers her quilts as a way of preserving these beautiful textiles that are apparently no longer being manufactured, and they are gorgeous! She had a few items in the museum gift shop for sale that I was fortunately enough to add to my collection. After leaving Harrisonburg, the show went on to Tokoyo, Japan, for World Quilt Fest ’98.
The guest curator in Harrisonburg was Yvonne Forman. I can’t lay my hands on the exhibit catalogue at the moment, in spite of ransacking my files tonight! But in it is a biography of each of the artists. If anyone is interested, contact me personally and I’ll eventually dig it up.
Karen B. Alexander
AQSG Member since 1981
Research Focus: Quilts of the Shenandoah Valley of Virginia; Shenandoah, Page and Rockingingham Counties
Date: Sat, 16 Jan 1999 08:34:03 EST | From: KareQuilt [at] aol [dot] com
Hello again. Wow, two posts from me in one week amazing! I’m usually just lurking, playing catch-up like mad since I travel so much!! I am doing genealogy AND quilt research right now on a diary written by a woman of Page Co. VA, in 1869 as she went about the daily chores of caring for a family. In it she says, “I finished my tulip quilt.” Also “Gid sewed at Willie’s shirt & I at commencing a flower basket quilt.” Also “Gid and I sewed at my linsey quilt.” Sounds to me like she was “naming” her quilts in the generic sense that Xenia suggested in her post.
It was really exciting when my father pointed out the publication to me just this fall. The diary was published in 1984 and contains not only many references to quilting, but also the name of my great grandfather and his two brothers, several times. I felt like I had hit a jack pot!
Karen B. Alexander,
Researching Shenandoah Valley Quilts
Date: Sat, 16 Jan 1999 08:45:58 EST | From: KareQuilt [at] aol [dot] com
RE: I have a dear friend (80yrs.+) who wants to sell about 12-15 of her mother’s hand stitched quilts and wants to know what to sell them for.(c.1960-1980’s) .
I sure would like to know what state the quilts are from. It is exciting to hear about a “family of quilts” (i.e. made all by one quilter or one family) that are for sale. I hope someone will photograph the quilts and “document” them before they are sold so that there is a history of that “collection” for posterity that can be given to a surviving family member. Maybe a copy of the documentation could be given to the State Research Project of the state or a local quilt guild.
Karen Alexander
Researching the quilts of the Shenandoah Valley
Date: Sat, 16 Jan 1999 09:14:02 EST | From: KareQuilt [at] aol [dot] com
I was planning to drive to the Shenandoah Valley today with a friend to hear Dobard speak at the Virginia Quilt Museum about his research on the Underground Railroad, but he is recovering from some form of pneumonia, so the lecture has been put off until next weekend.
Karen Alexander
Researching the quilts of the Shenandoah Valley of Virginia
Date: Sat, 16 Jan 1999 09:36:19 EST | From: KareQuilt [at] aol [dot] com
Thought maybe you all would enjoy this story. It’s kind of long, so I will present it in two parts.
On Dec 5. 1998, a quilt friend brought to my attention a photo that appeared in the Washington Post the day before. I had not read the paper that day so had missed it. The caption read “Nice rugs! Sen. Daniel Inouye, center, with Skip Hayward and Ted Turner in ceremonial wraps.” The blurb below went on to read, “Sen. Daniel Inouye (D-Hawaii) and his rug were on hand Wednesday in New York to help raise more than $1 million to benefit the National Museum of the American Indian. Inouye auctioned off the Navajo rug that had been in his office since 1987. Robert Hayward, a member of the Mashantucket Pequot Indian tribe, spent $40,000 on the rug as a gift for his brother, Tribal leader Skip Hayward. Also on hand were Ted Turned and Tom Brokaw, who hosted the evening. The museum is set to open on the Mall in 2002.”
Well, like my friend, I took one look at the photo and said to myself, “Those aren’t rugs. Those are quilts! Why did they call them rugs?” Soooo, the next morning I got on the phone and called the woman at the Washington Post whose by-line was on the column. She called me back in about two hours and told me that the photo had come from The National Museum of the American Indian, and that she had gleaned the info from the accompanying press kit (apparently).
I told her that the three men were wrapped in quilts, not rugs. From what she said, I could patch together the fact that the press release she had received had been about the rug being auctioned in New York, not about quilts, but the photo sent to her was one of quilts, not the rug! I don’t think she recognized the difference, or maybe didn’t think it important enough. or have the time to track down WHY the men were wrapped in quilts instead of rugs. BUT, she did give me the name and phone number of the Dir. of Public Affairs for the Museum.
I left a message with his office, identifying myself as a quilt researcher. He called and left a rather long message. I called him back again and was able to speak to him directly this time, and got a few more questions answered, and another phone number to continue my sleuthing: who made the quilts, what were their colors and size, and why were they each of these men wrapped in a quilt?
(to be continued)
Date: Sat, 16 Jan 1999 07:22:04 -0800 | From: “Julia D. Zgliniec” <rzglini1 [at] san [dot] rr [dot] com>
Dear Valerie,
The best source is for her, or you, to contact an appraiser certified by AQS. They have been tested on all aspects of the appraisal of quilted textiles. They will be able to advise and help you. An appraiser near you will be knowledgeable on the market in your locale. You may contact me and I can give you the names of appraisers near you or you may contact AQS for a listing also.
Good luck,
Julia Zgliniec
Date: Sat, 16 Jan 1999 07:35:56 -0800 | From: “Julia D. Zgliniec” <rzglini1 [at] san [dot] rr [dot] com>
Dear Karen and QHL
You not only hit the jackpot but I would say you hit the “Grandmother Lode”. Forgive the pun.
I too, have taken up genealogy research in the last year or so. To have an ancestor’s diary is a prize and with references to the quilts she made makes it absolutely priceless on many levels.
Are the quilts still in your family?
The reference to” linsey” quilt is interesting. I wonder if she was referring to the cotton/ linen home woven textiles described by Merikay Waldvogel in her Tenn. research? What part of VA is Page co?
Regards,
Julia
Date: Sat, 16 Jan 1999 11:21:40 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
You mean that you will be in the “hands of the experts” and you solicite suggestions from the “masses”<G>
In otherwords…..there is no easy way….but we’ll teach you how to do the Paducah Shuffle…..that’s a MUST <VBG>
Laura
At 03:15 PM 1/15/99 -0600, Marcia Kaylakie wrote:
>Hi All,
>I just had to write and say how excited I am because I got confirmation for all of my classes for Paducah! This will be my first time to go. I also do have my lodging set due to the kindness of some of our members, thanks so much!!
>Since I will have a limited time to view the exhibits area, can anyone tell me what would be the best method for doing this? Now I know that this is like saying, “what shall I view at the Louvre?” but I have only a little while. Plese reply privately and I will summarize for the group , if necessary. I may be the only *novice* in the bunch, though. Hope I will be able to meet and see some of you that I only know by the list. Marcia Kaylakie, Austin, TX
Date: Sat, 16 Jan 1999 11:30:17 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Janet, Lisa Erlandson and I stay out of town in a private home….takes us about 20 minutes to get to the convention center. GO EARLY!!! You can always find somewhere for breakfast or coffee around the convention center and town.
The stories about the crowds are **ALL TRUE**. We get into town early in the week, see all the shops, vendors down town when they are just opening and save the show for the preview/first day….then hit the road on Sat or so…..only problem with that is if you plan to stay and take classes. That extends your stay with the masses.
I’m not sure about a shuttle.Xenia, do you know for sure?….I don’t think that there is one..but I could be wrong. We just always take our car so we can go at our own pace.
Oh and about Leagcy Quilts….great place to shop <G> Lisa got a wonderful red & green quilt with a charter oak border from there last year (yes another blatant plug!!<G>)
Laura
In N. Texas where it’s to be 70+ today…and my daffodils are starting to come up.
At 09:20 PM 1/15/99 EST, JBQUILTOK [at] aol [dot] com wrote:
>I’m going to try to drive to Paducah this year – I’ll be staying as far
out of
>town as I can & still drive in. (I’m a VERY early riser when I’m on the
road!)
>My question is: how’s parking? Is it possible to find anything downtown? Does the shuttle run out to the mall? And is it safe to leave a vehicle out there?
>Anyone with some experience got any advice? I went to the museum there once the weekend AFTER the show and heard all kinds of stories about the crowds.
>Janet
Date: Sat, 16 Jan 1999 12:55:07 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
Yes, there is a continuous shuttle, runs in a loop from the main show to the Rotary to the Ky Oaks mall to the downtown and MAQS museum and back to the hotel – or something like that.
Xenia (PS. Laura, thanks for the plug!<G>)
Date: Sat, 16 Jan 1999 13:34:28 -0500 | From: Lynn Cupp <lcupp [at] erols [dot] com>
A charter oak border? Can you describe what that is, Laura? Thanks.
Debbie Cupp
Laura Hobby Syler wrote:
> Oh and about Legacy Quilts….great place to shop <G> Lisa got a wonderful red & green quilt with a charter oak border from there last year (yes
Date: Sat, 16 Jan 1999 13:56:57 EST | From: MKSQUILTS [at] aol [dot] com
I was so glad to see recent talk of how patterns got their names. A friend’s granddaughter is doing a report and she asked me if I knew the history of several block names. I was not able to help her but thought maybe I could get some help here. The patterns are roman stripe, sparkle, 9 patch, pinwheel, and adjacent square.
I have been reading this list for several months and totally enjoy it. Thanks in advance for your help.
Merry Kay
Date: Sat, 16 Jan 1999 13:34:14 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Well, since Lisa keeps the quilt “under lock and key”<G> and she lives 60+ miles north of me…I”d better let her do the describing…..it is an applique border , “somewhat”similar to the one on page 130 of the “Quilt Engagement Calendar Treasury” by Nelson and Houck c.1982 …Xenia can probably give more information on it……
Hit it gals…..
<VBG>
Date: Sat, 16 Jan 1999 13:58:16 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net
Hi Merry Kay,
If you get private answers, would you please post them to the list. This kind of information is *so much fun*!!!
The names that you’ve requested seem to me to be a description of the geometrical shape….unlike Young Mans Fancy, Rose of Sharon, Brides Bouquet, Whig Rose, Fifty Four-Forty or Fight and the like….Sparkle is a good one, tho….wonder if anyone knows! I do a lecture on quilt names and how they relate to historical events and the way women use them to express their political views….that’s a fun one!!!
Many of the names that we use seem to have been solidified by the printing of patterns in the Kansas City Star or by other pattern companies However, in the KCS you will find some patterns repeated several times with different names running over several years time period.
(Ladies Art Co. just used design # ‘s—how aggrivating <G>) But it seems that the designers such as Ruby McKim, Rose Kretsinger,Ann Orr felt that naming their designs was necessary for publication (My how some things never chang<G>)
…looking through my collection of KC Star pattern (600+) does anyone know who “Fueline Foland” is??? “Her” ( I’m assuming here) signature is on many patterns printed in the 1931-’32 era…….
Laura
LauraAt 01:56 PM 1/16/99 EST, you wrote:
>I was so glad to see recent talk of how patterns got their names. A friend’s granddaughter is doing a report and she asked me if I knew the history of several block names. I was not able to help her but thought maybe I could
get
>some help here. The patterns are roman stripe, sparkle, 9 patch, pinwheel, and adjacent square.
>I have been reading this list for several months and totally enjoy it. Thanks in advance for your help.
>Merry Kay
Date: Sat, 16 Jan 1999 15:18:00 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
The quilt Laura mentions, that Lisa bought from me, is believed to have been made in New York state; there is an undocumented story that trees in the borders of quilts from northwestern New York state were “liberty” trees and were an expression, by unenfranchized women, of support for the abolitionist movement. The trees in Lisa’s quilt (the quilt is red and green) are in a muted cobalt blue print, appliqued, alternating pine tree and oak tree shapes. The oak trees resemble an oak leaf cutout, with more lobes and a trunk. The pine trees have spikier branches. To fuel the “abolitionist” story, Lisa’s quilt has names, signatures, and some symbols quilted into it on the white background fabrics of the individual blocks. There is a suggestion in those initials that the quilt was a shared effort, perhaps made in support of a cause. I hope Lisa will jump in here with more detail – I haven’t seen that quilt for nearly a year.
BTW, I am aware of another quilt with very similar borders.
Xenia
Date: Sat, 16 Jan 1999 18:12:40 EST | From: KareQuilt [at] aol [dot] com
AOL has not been letting me send mail today, hence the delay!
Buffalo Quilt Part II to QHL:
The Dir. of Public Affairs of The National Museum of the American Indian told me that the Museum had commissioned the quilts from a quilter on the Crow reservation in Montana, but he didn’t have a phone number for her. However, he gave me the phone number of the Crow Agency in MT. He also told me that the quilts had been presented on December 2 to honor the three men in question: Ted Turner was honored with a “Buffalo Quilt” for having the largest buffalo herd in the world; Sen. Daniel Inouye was presented with a traditional Indian veterans quilt in red, white, and blue; and Skip Hayward, as a Tribal chief, was presented with a quilt in the colors of the Pequot nation. The Dir. couldn’t recall Inouye’s quilt colors – except that there was yellow in it, nor could he recall the colors in Ted Turner’s quilt. He said the Post, unfortunately, had inadvertently confused the issue of the Navajo rug that was being auctioned with the quilt-giving ceremony by putting the caption they did under the photo.
With the 1st lead he gave me in Montana, I called the Crow Agency. The man who answered gave me still another number. The woman who answered that 2nd number said the quilt maker did not work there, but she thought a woman working there could help me find her. I tried the 3rd lead, but she wasn’t in yet, so there things stand :=) About that time I left for Christmas in Portland, OR, and nine wonderful days with my grandchildren and haven’t done any further research on this item since returning. But stay tuned.
Hopefully I can find out something about the tradition of “honoring” through the presentation of a quilt (each appears to be a Lone Star pattern) and learn something about the quilter at the same time. Then maybe I can get a glossy photo from the Museum and write up a blurb for one of the quilt publications!
The Washington Post writer commented that she did not think the Post would run a correction because she claims they ran the caption just as the Museum gave it to them.
To be continued when I get back on the phone!
Karen Alexander
Member of AQSG since 1981
Research focus: Shenandoah Valley Quilts of Virginia
Date: Sat, 16 Jan 1999 20:45:32 -0500 | From: “Phyllis Twigg” <ptwigg [at] radix [dot] net>
Have you seen the new Miniature Quilts magazine ( #40) ? Find our own Barb Garrett on page 12 in an article written by Nancy Roberts. Congratulations on a fine presentation.
Phyllis Twigg
Date: Sat, 16 Jan 1999 20:27:22 -0600 | From: “knbright” <knbright [at] fullnet [dot] net>
Laura, I’m think that the Fueline Foland you found on your KCS patterns is Eveline Foland. I recently read about her in UNCOVERINGS 1984, AQSG publication. Louise O. Townsend tells about Mrs. Townsend in her research paper “Kansas City Star Quilt Patterns. Hope this helps.
Nancy Bright
Date: Sat, 16 Jan 1999 19:48:40 PST | From: “Karen B.” <txkarey [at] hotmail [dot] com>
Hello-
There are some very good web pages about quilt appraisal – perhaps many of you already know. A very informative one is at http://quilt.com/appraiser, and it also links to some other related pages, there is also a Frequently Asked questions for us to ask appraisers at http://quilt.com/debbieroberts/appraiserfaq.html. This faq link gives great questions for use when interviewing a prospective appraiser – I recently hired an appraiser for several quilts, and was greatful to have the resource.
Hope this helps Valerie.
Karey
——–
Date: Sun, 17 Jan 1999 00:50:12 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
For Mary Waller — have you thought of contackting the Bettman Archives (now owned by what’s-his-name from Microsoft) for the photos of people actually quilting? I used to get a lot of material from them when I was a researcher for the Franklin Mint. Just let them know what you are looking for, they send you a few from the archives, you pick which one you want to use, send the rest back, pay them (of course) and credit them in the publication.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Where the ice seems to get worse each night after the day’s melt. We just watched umpteen rescue vehicles and a medivac helicopter for over an hour just up the road at a dangerous curve right at a one lane bridge.
Date: Sun, 17 Jan 1999 09:56:39 -0700 | From: Eileen Trestain <ejtrestain [at] earthlink [dot] net>
The secret to seeing the show at Paduacah is to do the downtown in the morning and the Kentucky Oaks mall during the afternoon, and then going to see the main show from about 3 to 5. By then, everybody else is worn out, and gone home to rest and get ready for supper. If you eat a late lunch, and a late supper, you miss the big crowds at the restaurants as well as the crush in the show itself. Sunday afternoon is also a great time to visit the main exhibits, as much of the crowds are driving back home. Unfortunately, the wonderful things the antique vendors might have had are often gone the first day. The main show on the first day is often so crowded, it just takes my breath away. I don’t even try the mornings anymore. The shuttle system is great to get from downtown to Kentucky Oaks and the Rotary club, and the museum. It’s free, and runs pretty regular. Most people fly in to somewhere else and drive, if they come a long way. But parking the car and taking the shuttle is a good plan, if you don’t plan to stay out too late, or have someplace to be five minutes ago, like the appraisers do. Sunday afternoon in Paducah is very quiet, and the show is easy to see. That’s why AQS offfers the Sunday night stay at the Executive Inn.
My class in Paducah on dating fabrics is already full, so if any of you planned to take it, it’s too late.
Date: Sat, 16 Jan 1999 21:52:42 -0800 (PST) | From: “John W. Kaufman” <incentive [at] earthlink [dot] net>
Dear Friends,
Sometime last year some one on the list mentioned recovering from Carpal Tunnel Release surgery. I am scheduled for the Endoscopic procedure this week. If anyone has information or advice to share about this surgery, please e-mail privately.
I have looked at several sites on CTS and RSI.
Thank you for your help and support.
Nancy Kaufman
Just as I Am, Arlington, VA
Vintage Fabrics & Linens, Lace, Patchwork, Collectible sewing items and Thimbles.
Date: Sun, 17 Jan 1999 14:12:28 -0600 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt [at] albany [dot] net
Something is bothering me about the current thread – I am worried that we may not be inadvertently perpetuating myths about naming quilts and quilt blocks. I don’t doubt that quilts were referred to as “the blue quilt” or the “flower basket quilt” (how else would you differentiate them?) but would the quilts themselves have names, the way we name our quilts now? My perception is that quilts were the equivalent of cars – you had rust bucket quilts and you had luxury quilts. The luxury quilts may have been named but I doubt the rust buckets were.
In fact, the early household inventories I have read indicates that the quilts were simply numbered, as were the rest of the linens. I know quilts were used in the middle ages – and earlier, I am sure, just called different names – but I find it hard to believe that a Checkerboard Quilt was listed in a 1300’s will since the game wasn’t invented until the 1700’s. I think this may have one persons translation of the will.
Someone refresh my memory please – was it Marie Webster’s Quilts, Their Story and How to Make Them that perpetuated the myth of Colonial Quilting?
Did she also refer to naming quilts?
Has anyone read Prof Dobards book yet? I am really curious to know if he has documentation that (more than one) quilt was used in (more than one)
Underground Railroad Route.
Sorry to be so suspicious sounding, I guess it is the Capricorn in me.
Kris
Date: Sun, 17 Jan 1999 02:21:45 EST | From: Kathi2174 [at] aol [dot] com
<A HREF=”http://memory.loc.gov/ammem/“>Home Page: American Memory from the Library of Congress</A>
To the member looking for old pictures of quilters the above might be useful. I was thrilled to find a number of depression era quilt and cotton related photos at this site. Great to print out. Hope this helps. I have no idea if you’d need any permission to use them in a brochure. Best not to lie to the Government, eh?
Kathi just home from “Road to Calif.” quilt show where I had the pleasure to take fabric dating and appraisal classes with Sharon Newman.
Date: Sun, 17 Jan 1999 10:13:41 -0700 | From: Eileen Trestain <ejtrestain [at] earthlink [dot] net>
While quilt pattern names such as Checkerboard and Mosaic have been around since untold time ( I have seen a reference to a Checkerboard quilt made out of silks, listed in a book, stating it was a will from about 1300) I think naming of quilts is not as uncommon as we might think. As appraisers, we ask quilt owners if the quilt has a family name, and sometimes they do. Great Grandma’s Rose quilt may be a whig rose, a rose of sharon, or any other rose pattern. In the 1930’s, the TVA quilts had names, didn’t they? You know, the ones which were so pictorial in nature? How about Harriet Power’s quilt? Did she refer to her quilt as the Bible quilt? It was a variety of designed patterns, none of which were commercially produced, but the whole quilt is referred to now as the bible quilt. While their names may not have been as poetically or artistically named, it was a way to differentiate between one and another. Do Baltimore Album quilts have names, maybe never recorded on the quilt, that never got passed along? Reverend so-and-so’s presentation quilt. Cousin somebody’s bride quilt. I think maybe the names were there, just unrecorded on the quilt, and lost to time. Hopefully, with our interest in history and in recording provenance, perhaps our “names” won’t get lost so easily.
Eileen
Date: Sun, 17 Jan 1999 10:08:32 -0600 | From: Mary Waller <mswaller [at] iw [dot] net>
Three faculty members at the University of South Dakota School of Medicine received honor quilts a couple years ago from the Pine Ridge Lakota tribe for their special efforts in helping med students from Pine Ridge. I worked for one of the recipients at the time and attended the ceremony. The quilts were Lone Stars in different color schemes; one or two were shiny, satiny fabric, the other(s) were cotton. They were quilted on long-arm machines. I don’t recall that the different color schemes or fabrics represented anything in particular. What I know about the Lakota Honoring traditions could be put in a thimble, although we do know that part of the honoring traditioning comes in giving away and passing on the honor, rather than receiving a possession. We asked one of the Pine Ridge students what the recipients were expected to do with their quilts, thinking the quilts were meant to be passed on, rather than kept forever by the recipients. The student replied, “You can use them for saddle blankets if you want…” The father of a Pine Ridge high school student who worked with me one summer was killed in a car accident a couple weeks after the student returned home. Three of us went to the funeral, which combined Episcopal and Lakota traditions. The funeral was held in the high school gym because Bessie’s father had been on the tribal council and a large crowd attended. Quilts were hung around the gym, many Lone Stars included. As the funeral was ending, quilts were taken down and some were put in an open buckboard wagon which would take the casket to the cemetary. There were several outriders waiting to accompany the casket and quilts were draped across the hindquarters of the saddle horses. We didn’t go to the burial, so I don’t know if there was a ‘give-away’ ceremony of any quilts, food, or the deceased’s possessions later. If asked to appraise a quilt that’s an honor quilt, it seems almost contradictory to add monetary value to it, but I’d feel that would be necessary. The idea of honor quilts and putting a cash value on one seem to be diametrically opposed. An interesting paradox of ‘cross-cultural differences’. I’d like to know what appraisers think about this.
When I’ve asked about honor quilts and Lakota quilts, I don’t get much information. So far, I’ve either asked the wrong people, because they don’t seem too interested in quilts or believe it’s one of those common things everybody must already know, or I’m asking in the wrong way. Haven’t figured out who or where or how to go about this.
Mary Waller, Vermillion, South Dakota
Date: Sun, 17 Jan 1999 15:10:05 -0600 | From: Quilting Heritage ListServ <qrs [at] albany [dot] net>
Sorry, my last post was unclear. I was referring to QUILT names, not quilt block names. For example, the pinwheel quilt I am working on now, I will name Party Favors. (QHL members who are also on QB will know why :-)) I don’t doubt quilt blocks had names. I am just not sure that we are using the same name that the original maker did.
In 1860, when Sally in
Massachusetts sent her sister Susie in Oklahoma a quilt block, did she name it when she sent it? Logic would say yes, but direct evidence is hard to come by.
I have some very old Goddeys, Journals, Farmers Wife and other newspapers as well as some early almanacs, diaries and store ledgers and I have YET to accumulate any direct evidence. I *do* have some late 19th century quilt blocks with names pinned to them, but I have no evidence that the MAKER named them. It would seem equally possible that a descendant named the block.
I would love to hear from anyone who has an actual letter or document in their possession!
Kris
Date: Sun, 17 Jan 1999 15:55:31 -0500 | From: “Patricia L. Lyons” <72134.3643 [at] compuserve [dot] com>
Quilts are frequently used in honoring ceremonies by Native Americans, especially among those of the Northern Plains. Three wonderful quilt resources about this:
Pulford, Florence. Morning Star Quilts: a presentation of the work and lives of Northern Plains Indian Women. Leone Publications, 1989. ISBN 0-942786-00-9
Parker, Linda. Montana Star Quilts. Montana Quilts, Inc., 1997. ISBN 0-9659391-0-3
MacDowell, Marsha L., ed. To Honor and To Comfort: Native quilting traditions. Museum of New Mexico Press & Michigan State University Museum, 1997. ISBN 0-89013-317-4
The last book is a companion to an exhibition of the same name that was at the MSU Museum this summer. The curator and editor, Marsh MacDowell, is on this list, I think. The exhibition included a video of an honoring ceremony for high school basketball players – a very moving experience. The MSU Museum under Marsha’s direction has done considerable work over the years documenting Michigan quilts and quiltmakers, including Native Americans. This work has fortunately spilled outside the state’s boundaries.
The exhibition was organized jointly by the MSU Museum and the National Museum of the American Indian, a component of the Smithsonian Institution, and will travel nationally. Do try to see it if it is within shouting distance of you. It includes all native groups including Hawaiians.
No affiliation, except a very satisfied exhibition attendee and devourer of the book.
Pat Lyons
Date: Sun, 17 Jan 1999 16:38:50 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
I suggested in my earlier post that there is a difference between quilt names (pattern names) and titles (“Roses for Emily”). Could we use those terms, or another set of terms, to be clear? So we can all be on the same page…
Xenia
Date: Sun, 17 Jan 1999 20:29:47 EST | From: JBQUILTOK [at] aol [dot] com
<< (Ladies Art Co. just used design # ‘s—how aggrivating >> Laura was mistaken about this. My reprinted copy of the 1898 catalog had names with the designs. The first listed was ‘Ladies Beautiful Star’. They called several Mosaic # something. I did Block of the Month for my guild using these patterns. Just wish I could remember where I put the catalog…..
Janet
Date: Sun, 17 Jan 1999 20:48:57 EST | From: KareQuilt [at] aol [dot] com
For those within driving distance, the Dobard lecture about the quilts of the Underground Railroad will be Jan. 23 and Jan. 24. The time and location are the same — 2 PM at the Virginia Quilt Museum, Harrisonburg, VA. I suggest that you call ahead to let them know you are coming and to get directions. Because of the cancellation of the previous week due to his health (and the bad weather), I understand the lecture is going to be especially crowded Saturday the 23rd. The 24th is still pretty open. Call 540-433-3818.
Karen Alexander
Researching the quilts of the Shenandoah Valley
Date: Sun, 17 Jan 1999 20:51:02 EST | From: KareQuilt [at] aol [dot] com
Thanks, Merikay, for your suggestions and encouragement. One person has told me that she has wondered if the term “linsey” wasn’t “sometimes” referring to wholecloth quilts. Have you come across anything in your research to lead you to believe that “linsey” might have more than one meaning or interpretation?
Karen Alexander
Researching the quilts of the Shenandoah Valley
Date: Sun, 17 Jan 1999 22:10:50 -0600 | From: “Gail Richter” <richter2 [at] frontiernet [dot] net
In weaving linsey woolsey referred to a cloth made of linen and wool.
Gail R in NE wis.
Have you come across anything in your research to lead you
> to believe that “linsey” might have more than one meaning or
interpretation?
Date: Mon, 18 Jan 1999 01:41:34 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net
>I’ve never heard of the Bettman Archives, but thanks for the idea. If you have a chance, can you explain a little more about the Bettman Archives?
Mary and all;
Following are excerpts taken from a number of internet sources to describe photo archives and how they can be used. I have no connection to any of the archives or companies named in the paragraphs that follow, except to say that I was a satisfied user of Bettman in the 70’s when I worked for the Franklin Mint, and DH made frequent use of the AP and UPI archives when he worked as an artist for NBC Nightly News.
“Many organizations hold photographs — libraries, archives, historical centers, museums, and stock agencies (historical, advertising and journalism). There are public sources such as The Library of Congress, The National Archives, The Minnesota Historical Society, and the Slovak Museum; and commercial picture agencies (stock agencies) such as The Bettman Archive, Inc. (recently purchased by Bill Gates’ Corbis Media), Comstock, Inc., and Magnum Photos.
“Founded by Bill Gates in 1989, Corbis is developing the most comprehensive digital collection of visual content in the world. Commercial agencies like Corbis are businesses that market and sell the rights to reproduction of photographs and other visual material, often soliciting work from photographers and artists.
“Libraries, archives, museums and stock agencies hold visual images from significant newspaper collections — rich with images that are valuable to a wide range of researchers for a wide range of purposes. The Bettman Archive, for example, provides exclusive access to the Frank Driggs collection of entertainment photography, valued as an important visual history of jazz in the United States.
“Corbis has one million digital images, with the collection growing monthly. Many of the digital images can be bought as posters through the Corbis online store. With the Bettmann collection, Corbis has 16 million historical and contemporary images in film and print.
“Corbis Media, which recently acquired the vast Bettmann Archive (16 million images), contains over one million digitized images, most available for immediate use. Many of the digital images can be bought as posters through the Corbis online store.
“Images are scanned on Scitex equipment, can be delivered online, on CD-ROM or Syquest disk, and are available in file sizes of up to 20 megabytes. Unlike the other services, Corbis encourages customers to phone staff researchers and pay a search fee of $75, which is applied to licensing charges. Usage fees are negotiated individually.”
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Mon, 18 Jan 1999 05:23:44 -0500 | From: Debby Kratovil <kratovil [at] his [dot] com>
t 8:29 PM -0500 1/17/99, JBQUILTOK [at] aol [dot] com wrote:
><< (Ladies Art Co. just used design # ‘s—how aggrivating >>
>Laura was mistaken about this. My reprinted copy of the 1898 catalog had names with the designs. The first listed was ‘Ladies Beautiful Star’. They called several Mosaic # something. I did Block of the Month for my guild using these patterns. Just wish I could remember where I put the catalog…..
>Janet
Janet and all. I’m glad you reminded me that I have several of these reprinted catalogs from The Ladies Art Company! (I got them from Groves Publishing in Kansas City, Missouri – they also have reprints of the Kansas City Star patterns).But the names and patterns don’t always agree. Now I have some good leisurely reading and sluething for this afternoon… Debby
Date: Mon, 18 Jan 1999 13:34:49 +0300 | From: “John Ordway” <ordway [at] glas [dot] apc [dot] org
Judy – Ludmilla Aristova’s ash berries are so wonderful because she’s had lots of practice making them! I was fortunate enough to meet here 2 or three times while before she went to the US. In fact, I found a baggie yesterday with berries in it that she started me making. She just takes a spool top to use as her template, cuts out a circle, uses a slightly larger than 1/4″ seam allowance, and with strong thread gathers the circle in while stuffing it with more stuffing that you ever think possible to stuff into that small amount of fabric.!! The berries (as you are working with the stuffing, gathering and shaping) have to rolled and rolled in your palms to get a uniform shape. It’s harder than you think doing the first 5 or so – you want them stuffed to the absolute maximum, but you also want to be able to draw the thread in at the “bottom” so no stuffing is showing. The berries are hard because they are stuffed so much and your palms do hurt after a while.
I imagine she and her sister used to spend hours on them. I saw a quilt of theirs made of squares, and each square had a lot of berries on it! I personally am nuts about ash berries on folk art items here and try and collect what I can – schlock or not!
Maryjo
Moscow, Russia
Date: Mon, 18 Jan 1999 07:18:38 -0500 (EST) | From: quiltsnbears [at] webtv [dot] net (Roberta Geanangel)
In an 1882 needlework book linsey is refered to as “a coarse mixed material of wool and flax….” “employed for dresses and skirts by the labouring classes”. Does this imply that it would not have been used for fine quilts at this point in time? Since wholecloth quilts depend on the quilting for their “patterns” wouldn’t it have been difficult to quilt? This is in reference only to this time period. I thnk if we’re going to discuss fabrics/weaves we need to establish a time period since their meanings changed frequently.
Roberta
Date: Mon, 18 Jan 1999 08:10:41 -0500 | From: “jawhite [at] courant [dot] infi [dot] net” <jawhite [at] courant [dot] infi [dot] net
Just wanted to add my two cents worth to this thread re: Charter Oak patterns. I live in Connecticut and the state tree is the Charter Oak. In 1663, the General Court of CT formally received the Charter from King Charles II. Twenty-five years later, England tried to steal back the state charter and it was hidden in a hollow oak by Captain Joseph Wadsworth – hence, the Ct Charter Oak. So in this state, Charter Oak means something entirely different. But there seem to be many charter oak patterns, but they all go back in history many, many year. Here (CT) the Charter Oak pattern is ‘generally’ an oak leaf and reel.
Judy White – Ct
Date: Mon, 18 Jan 1999 09:52:06 EST | From: ZegrtQuilt [at] aol [dot] com
with reference to appraisals. Another great article on the subject appeared in the IQA Journal summer,fall 1997 and is available for you to read on Shelly Zegart’s website. There was a seminar on appraisi ng quilts with representatives from a number of highly qualified national appraisal organizations in the Fall of 1998 in Houston at Quilt Festival. More of these will be scheduled in the future.
Date: Mon, 18 Jan 1999 10:21:16 -0600 | From: Opalka <mopalka [at] alaska [dot] net
Someone had asked about old photos of quilters. I have a picture(somewhere) of my Great-Grandma Hannah standing in front of one of her quilts. It was taken in the early 1920’s, I think. Is this something you would be interested in? I could scan it for you. Susan(in Alaska)
Date: Mon, 18 Jan 1999 12:30:11 -0500 | From: Peggy Notestine <notestine.11 [at] osu [dot] edu>
I have been enjoying all this talk about quilt names, etc. and also wish somebody on this list would read the “Hidden in Plain View” book and give us a review. I am very interested in hearing what people have to say about this book.
I also wanted to tell you that my younger sister has a large oil painting of my great aunt quilting on a double wedding ring quilt. Looks sort of like a “Whistler’s Mother” sp? I have always wanted that picture as the sister who now owns it, doesn’t even quilt!…but was sort of named after her. All this talk has made me decide to take a nice photo of it when I see my sister the next time. I believe it was made in the 1950’s. The painting was by her sister, my grandmother who lived in Lynchburg, VA and New Bern, NC for most of her life.
I plan on having a really nice portrait done of my children in the Spring and the very first thing I was thinking about was which quilt to lay out for them to sit on…I could really care less what the kids are wearing! And finally, I have a question for those of you who quilt a lot. I am working on 1 of 2 baby quilts for a friend who had twins and I am using a cotton batting and using 2 strands of embroidery floss while quilting this with the big stitch technique (ie 4-6 stitches an inch instead of normally twice that) I have noticed that my quilting finger (right middle finger from the knuckle to the proximal interphalangeal joint – you know, the part where a ring would be!) gets quite sore after only about an hours worth of quilting and even afterwards feels like its sore along the entire length of the bone – I really need to get these quilts done and I have never had pain like this before so it must be the combination of the the longer needle I am using to hold the floss, the pushing of the thicker thread through the fabric and the batting used. What to do though for my finger, ice?, heat?, combo?, some special rubbing technique that I could do? Any suggestions would be most welcome and I will pass the suggestions onto everyone in a digested format once received if you would all be interested. I just know that there are professional quilter’s on this list who must spend hours a day doing this so I need to know their secret. Thank you so much for any help in this area.
Peggy in Columbus, OH
Date: Mon, 18 Jan 1999 14:13:00 EST | From: QuiltFixer [at] aol [dot] com
bit
I keep finding Redwork Patterns that are varieties of Acorns and Oak Leaves. I know that this is symbolic for something in our country’s history and it just keeps eluding me. I have seen this on other quilts as well, Anyone able to help me with information on this. Toni b.
QuiltFixer [at] aol [dot] com
Date: Mon, 18 Jan 1999 13:57:35 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
HMMMMMM, the catalog that I have, a reprint, just has pattern #’s Guess Id better acquire some of the ones with names <G>
Laura
…..At 05:23 AM 1/18/99 -0500, you wrote:
>At 8:29 PM -0500 1/17/99, JBQUILTOK [at] aol [dot] com wrote: << (Ladies Art Co. just used design # ‘s—how aggrivating >>
>>Laura was mistaken about this. My reprinted copy of the 1898 catalog had names with the designs. The first listed was ‘Ladies Beautiful Star’. They
called
>>several Mosaic # something. I did Block of the Month for my guild using
these
>>patterns. Just wish I could remember where I put the catalog…..
>>Janet
>Janet and all. I’m glad you reminded me that I have several of these reprinted catalogs from The Ladies Art Company! (I got them from Groves Publishing in Kansas City, Missouri – they also have reprints of the Kansas City Star patterns).But the names and patterns don’t always agree. Now I have some good leisurely reading and sluething for this afternoon… Debby
Date: Mon, 18 Jan 1999 15:00:18 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net
Peggy, Welcome to the club <G>! When you are “pushing” through so much bulk..even if it is only 2 layers of the cotton batting, the needle doesn’t want to slide really easily and you are doing more pushing with that finger than you are used to. I have a couple of suggestions…
1) get one of those gloves (spandex with the fingers cut out) They will give support to the muscles and help the fatigue that you are placing on the joint.
2) You are essentially straining/spraining the muscle so alternate heat and cold.
3) I use some wonderful stuff that they call as “joint lubericant”.(actual name is Promotion, made by Advocare)..gulcosomine formulation….really has helped a lot of people with arthritis and other joint problems…..my neck doesn’t hurt nearly as bad as it used to, nor my shoulder that I’ve dislocated more times than I care to count~
Hope this helps,
Laura
….
noticed that my quilting finger (right middle finger
>from the knuckle to the proximal interphalangeal joint – you know, the part where a ring would be!) gets quite sore after only about an hours worth of quilting and even afterwards feels like its sore along the entire length of the bone – I really need to get these quilts done and I have never had pain like this before so it must be the combination of the the longer needle I am using to hold the floss, the pushing of the thicker thread through the fabric and the batting used. What to do though for my finger, ice?, heat?, combo?, some special rubbing technique that I could do? Any suggestions would be most welcome and I will pass the suggestions onto everyone in a digested format once received if you would all be interested. I just know that there are professional quilter’s on this list who must spend hours a day doing this so I need to know their secret. Thank you so much for any help in this area.
>Peggy in Columbus, OH
Date: Mon, 18 Jan 1999 17:01:22 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
The original catalogs from the Ladies Art Co. (the earliest seem to be from the 1890s, although they bear inscriptions like “fourteenth edition”) have a number on each design, and then a numerical listing in the back of the catalog with the pattern names.
Xenia
Date: Mon, 18 Jan 1999 17:25:18 -0500 | From: “John and Cinda Cawley” <cawley [at] epix [dot] net>
I’ve been interested in the Jefferson-Hemmings question for a long time (since Fawn Brodie’s book was published in 1974). The recent DNA analysis did not settle the question. I am no expert so don’t expect the terminology to be correct, but the DNA marker used was one transmitted in the male line (father to son to granson etc). The sample for comparison to Thomas Jefferson was taken from a descendent of Jefferson’s uncle. Note well that the only child of Jefferson and his wife Martha who lived to have children was their daughter Martha (Patsy) Jefferson Randolph so there is no descendent of Jefferson in the male line available for testing. The descendents of only one of Sally Hemming’s children were found to have the marker in question, but whether this child was fathered by Thomas Jefferson or another member of the family (I did read recently that at the relevant time there were 23 adult male members of the extended family ) is still a mystery. No light has been shed on the paternity of Sally Hemming’s other children.
Cinda in Scranton
—–Original Message—–
From: Kittencat3 [at] aol [dot] com <Kittencat3 [at] aol [dot] com
>In a message dated 99-01-09 21:55:20 EST, you write:
><< The organization took some major flack in the 50’s over refusing to allow a
black
> singer to perform in their building. >>
>Actually, it was the late 30’s, and the singer in question was contralto Marian Anderson. Eleanor Roosevelt stepped in and arranged for Miss
Anderson
>to perform on the Capitol steps.
>Ironically enough, several descendants of Sally Hemings got into the DAR in the late 70’s because of the Thomas Jefferson connection. The local DAR branch evidently accepted family lore before the DNA evidence proving the relationship.
>Lisa Evans
>Easthampton, MA
>[Note: I *could* join the DAR; a great aunt of mine did by proving descent from the same person, Captain Evan Evans of the Continental Army. I’ve
never
>bothered. Heaven knows I have enough to do….:) ]
