January 27 – February 2, 1999
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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:
- Underground Railroad Quilt Myths — Members discuss the forthcoming scholarship questioning quilt-signal stories associated with the Underground Railroad, including a planned Virginia Quilt Museum exhibit. (see the article on Underground Railroad quilts)
- CWA and WPA Quilting Programs — A thread explores government relief-agency quilting projects during the Depression era, with Australian and American perspectives on the CWA.
- Native American Quilting Traditions Exhibit — Announcement and discussion of the traveling Smithsonian exhibit ‘To Honor and Comfort: Native Quilting Traditions.’
- Grandmother’s Flower Garden Restoration — Members advise on replacing damaged pieces in a vintage Grandmother’s Flower Garden quilt top. (see the article on Grandmother's Flower Garden quilts)
- Friendship Quilts and Big Stitch Technique — Questions about the history of friendship quilts and a mention of Big Stitch quilting in current publications.
- Dances with Wolves as History Teaching Aid — A UK member asks whether the film is a good resource for American history revision in British schools.
Date: Wed, 27 Jan 1999 15:20:21 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net
I just received a letter from a quilter in Japan that said she saw an article (?) on the Vintage Quilt & Textile Society in the Feb issue. Is there anyone on the list that perhaps subscribes and could send me a copy of the mention (not the whole mag.<G>)? I’d be forever greatful and there will be a suprise in it for you………… bribe, bribe!!!<G> Oh, and Lisa Erlandson is scheduled for knee surgery tomorrow. They will be doing a scope so she wont be out of commission for too long, but climbing the stairs to her attic office will be out of the question for a few days.
If you want to send her a note her addy is <erland [at] cooke [dot] net>
Laura
In balmy N. Texas where the trees and flowers arent sure what to do next!!
Date: Wed, 27 Jan 1999 20:05:18 -0600 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt [at] albany [dot] net>
Those of you not on the digest, please skip this paragraph! Those of you on the digest are probably getting your first one since Sunday. I have been in contact with Cuenet regarding the missing digests and they tell me there WAS a problem last Sunday, which probably also accounts for the mysterious unsubscribe problem for the regular version people. It’s been fixed now. There is no official digest for Sunday through Tuesday, but I did a cut and paste of all the messages and will send them shortly. A couple of people have questioned the donation request on the home page, http://www.QuiltHistory.com. This is just a request to help defray the costs of setting up and maintaining the web site. No one was unsubscribed because of it. I would like to thank the people who have donated, and the very kind comments they sent along.
And now, for conference news: all this talk about Underground Railroad quilts made me think about a local man who is doing research on Quakers and the Freedom Trail. I called him and he was perfectly happy to come and give a talk to our group! It won’t be quilt related, specifically, but it will still be interesting I am sure. I am trying to fit him in now. I also talked to Camille Cognac about doing a lecture on restoration. She would like to do a limited-attendance workshop with people bringing in no more than two quilts to work on restoring. Camille wrote the book “Quilt Restoration: a practical guide” and has another one pending on “Fragile Beauties: Restoring Victorian Quilts”. This workshop will be held from 9 to 4 on Sunday, at the end of the conference, and there will be an additional fee of $65.
Boy, I sure hope the rest of the week is calmer….
Kris
Date: Wed, 27 Jan 1999 20:10:04 -0600 | From: “Kris Driessen, Hickory Hill Quilts” <oldquilt [at] albany [dot] net>
Karen Alexander
Date: Mon, 25 Jan 1999 12:27:22 EST
Dear QHL readers,
Here is my personal story about hearing Raymond Dobard’s lecture. It is a DRAFT for a family genealogy newsletter in which I occasionally also include stories that come out of my quilt research.
25 January 1999
Dobard Story, Part I
Harrisonburg, VA
My father was a college professor, and in my teen years my siblings and I were exposed to other cultures and other ways of “seeing” the world as a result of his assignments to the central Philippine Islands and East Africa. In my adult life-time I have been an avid self-taught student of comparative mythology and religion in addition to my interest in textile history, quilting and genealogy. Throw in a little anthropology as well. This mixture of interests has offered a wonderful framework for exploring the intriguing puzzle “what is culture and how is it transmitted?” I think the Raymond Dobard -Jacqueline Tobin book, “Hidden in Plain View,” is an amalgamation of all those subjects. It doesn’t claim to be a definitive answer, thank goodness, to any of the questions raised. But it certainly is a rich resource and jumping off point for further exploration of the intriguing question, “Just how is a culture transmitted over time…and distance…and in spite of slavery or any other inhibiting challenge that enters the picture?”
On Sunday 24 January, I drove with a friend from Reston to the Shenandoah Valley to attend Raymond Dobard’s lecture on the “Secret Story of Quilts and the Underground Railroad” at the Virginia Quilt Museum in Harrisonburg, VA. The Director told us afterwards that it was Dobard’s first public lecture about the subject since his book, “Hidden in Plain View,” was released only a week ago. It was also his first book signing. She also shared the fact that she had to get special permission from Doubleday to release the book last weekend before its official release date. Originally Dobard was to first speak at the Museum January 16 and 17, but a bad case of bronchitis coupled with extremely icy roads canceled those first two scheduled lectures, but not the 3rd and 4th lectures which took place this weekend.
To retrace the development of this story, let’s turn the clock back to March 1998. A friend had invited me to hear Dobard speak at the Textile Museum in Washington DC. We came away a bit upset. Because of his contractual agreement with the publisher [Doubleday], he was unable to give us the meat of the story that night, and simply hinted and danced around the subject. It was a frustrating evening and left the three of us wondering why the Textile Museum had him speak on a subject in the first when he wasn’t actually really free to talk about it in substantive way.
Since that March 1998 event at the Textile Museum, there has been much speculation among quilters across the country, especially on the Internet’s Quilt History List (QHL), about just what the two authors were going to claim in this book!. Dobard told us yesterday that Doubleday decided that rather than have a nation wide book tour, they thought getting him on news programs might be the more productive way to go. Did they decide that the nature of the book would not attract a broad enough audience to warrant the cost of a book tour? I think the fact that Doubleday had to order a second printing just as the first edition was being released says a great deal about how they thought the book would do. Perhaps Doubleday underestimated the breadth of interest in quilt history by quilters, not to mention the interest that African-Americans have in their own history. It would be interesting to know just what “market share” of the book buying public bought the book. As quilt historians know, the stories associated with the Underground Railroad have helped create many a quilt legend over the years, and there has been a growing desire among quilt historians to find some way to substantiate these stories. Such are the frustrations and the challenges of all oral traditions and legends for the “traditional” scholar and historian. The study of art history (i.e. images/symbols) as well as mythology/religion (much of whose ancient roots lie in images/symbols/art) are full of such challenges. Many naively believe that once a society has a written history, that history is now “truthful.” In truth, the written word is simply another form of “drawn symbol” importing meaning for those who know how to interpret it. Even with the written word, there can be conflicting interpretations! Dobard’s book seemed to offer the possibility that a break through had come in interpretation of the symbols within quilting that had traditionally been associated with the Underground Railroad. His various appearances (and their re-runs) on the Oprah Show and NBC Evening News, among others, offered, again, frustrating limited explanations, only whetting a growing appetite for more. Thus was the book, “Hidden in Plan View” sold out before its first release. In my opinion “Hidden in Plan View” is about a far broader interpretation of quilting symbols and language and tradition than I suspect most quilters may have expected, though I think the USA Today review hinted at it. It is personally just what I had hoped for. Just from hearing the lecture I would say this book is not just about “quilting” per se, and not even just about the
Underground Railroad per se. It is about having our horizons stretched so that we can encompass a far broader arena for the roots of the symbols of our quilting heritage. The three forwards in the book also add a great deal to the on-going discussion about the transmission of a cultural heritage, in particular, the transmission of African and African-American cultural symbols.
The “secret code” that Ozella McDaniel Williamson chose to finally share with the larger community as a result of telling her story to Tobin and Dobard is the jumping off point to a very intriguing journey of exploration. I predict you will greatly enjoy it.
In addition the book will undoubtedly serve to stretch the understanding of many about the complexity and rich heritage that Africans naturally brought with them when they were forced through captivity to cross the oceans and enter into slavery, and how, in one particular genre – quilting, those cultural symbols were used to help them once again regain freedom.
Date: Tue, 26 Jan 1999 08:23:21 EST
Dear Friends,
I was also in the audience with Karen at the Quilt Museum of VA on Sunday. I am happy about the amount of research conducted by Dr. Dobard and his coauthor. There are leaps of faith in the book, but they are leaps that can be taken, or not. I was interested to read about the possible Harriet Powers/Eastern Star link due to the symbolism used in her quilts…..that was something to ponder. I’ve already read my book and I want to work my way through several selections in the extensive bibliography. Karen- thanks for posting about the lecture and for notice about its time and place!
Dana Harr
Date: Tue, 26 Jan 1999 07:53:35 -0500 | From: Nancy Roberts <robertsn [at] norwich [dot] net>
Back stitches for hand piecing may be a fairly common practice. Just as a note, the General Directions in Quilting Today and Traditional Quiltworks both instruct readers to start and end hand pieced seams with a back stitch. They also say to take a backstitch every few stitches. That’s been the case as long as I’ve worked for the magazines and they’ve been published for a decade.
Issue 54 of Quilting Today (a back issue) has a how-to article on Big Stitch by Jo Walters. It also has color photos of quilts done using it. There’s also happens to be an article by Darcy Pattison on quilting in Russia in the same issue. Nancy Roberts
Date: Tue, 26 Jan 1999 11:02:46 -0500
Hi all. In my index to the Kansas City Star patterns by Wilene Smith, there is no Double Wedding Ring listed. However, the pattern, Wedding Ring by McKim which looks like the DWR was published in October, 1928, November, 1928, September, 1929 and October, 1929. All of these were by McKim Studios. The Wedding Ring pattern, again looking like DWR, was sent in by a reader from Arkansas in 1935. It was published again in 1955 and 1959. This was evidently a very popular pattern to have been published for so many years.
Judy White
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Tue, 26 Jan 1999 19:25:26 -0500 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
Subject: that sampler
I heard back about the stitched sampler. Thanks for the leads on conservators. Surprising thing to me was that this is a Norwegian piece (definitely made in Norway by the lady’s husband’s great-grandmother). Beautiful – she sent me a couple of partial jpg shots. It has three additional letters (besides A-Z) on it due to their alphabet. It’s done in wool, on needlepoint-type canvas (probably Berlin canvas), in normal needlepoint stitchery. But only the figures are worked. The background is open canvas. Gorgeous colors.
But I am not familiar with samplers made outside of southern and central continental Europe (England, France, Italy). Were they common at all in Nordic countries? This one is very typical of samplers in the styling (floral and bird motifs).
Interesting. If you’d like to see the jpg’s, let me know and I’ll send a copy. One word of warning – the jpg’s are HUGE, so if it’ll knock out your system, or you’re too impatient to wait, I wouldn’t ask for it.
Alan
~~~~~~~~~~~~~~~~~~~~~~~~~~
Date: Tue, 26 Jan 1999 14:49:42 EST
QHL readers,
The following was just sent to me by a male cousin that I have seen only once in the last 30 years, but since the invention of e-mail, we have gotten back into contact. I happened to include him on my posting about Dobard’s lecture and he responded with what follows. His reference to “German Palatinates” is in reference to my genealogy research of my Swiss-German Mennonite ancestors. David has been involved with the Native Americans of New York state for decades, and has been helping for years in the re-discovery of their sacred grounds. He is a brilliant, spiritual man whom some find quite eccentric. David was in a terrible accident 6/7 years ago as he was helping move a HOUSE, literally. He was on the roof with a pole, his job being to carefully lift any electrical wires off the roof as they passed under them. Unfortunately, something happend and one of the wires touched David. The bolt of electricity that passed thru him was so great that he was knocked off the top of the house and fell to the ground. Not only did he suffer SEVERE burns from the electricty, he broke his body in a number of places when he hit the ground. The doctors could not believe he survived, and told him he would never walk again. However, because of his healthy life-style (micro-biotic foods) his body was able to fight the terrible effects of the trauma to his system. But what they did to him and fed him in the hospital, he says, almost killed him for good. But once he was out of the hospital, the knowledge he had acquired over a lifetime of studying botany, physiology, nutrition, and native healing herbs saved his life. It is a life filled with a great deal of pain, but he gets around better than the doctors ever believed possible. First they said he wouldn’t live; then they said he would never be out of a bed; then they said he would never get out of a wheel chair; now he gets about short distances (even climbing hills a bit) with braces and canes!!! He awaits “Creator’s” decision as to whether he will ever walk normally again, he says. In July 1996 a quiet ceremony of the reburial of Native American Iroquois and Mohican remains took place in Waterford Park on Peebles Island at the mouth of the Mohawk River in New York state. David wrote quite a story about this event. If you would like to read it, let me know. Peebles just happens to be the maiden name of our mothers. Here is what David wrote me today:
Karen, your latest on quilts and the underground railroad hits home as i have a friend walking with the fellowship of reconciliation retracing the slave routes through the south, caribbean and africa.
curiously, it was german religious groups — the palatine germans — who first began resisting and protesting that tragic southern institution. also, among my mohawk native american friends, they hold an annual fundraiser for their freedom school by auctioning off quilts. last year they had over 50 handmade creations hanging all around the schoolyard. the auction took all afternoon, and most went for $500-$1000. several were donated by local amish households. David
QHL’ers, are any of you on this list aware of the Mowhawk Native American quilt auctions? I wasn’t.
Date: Wed, 27 Jan 1999 22:38:35 -0500 | From: Barb Garrett <bgarrett [at] fast [dot] net>
Last week a woman I met at Sewing Circle loaned me her mother-in-law’s collection of newpaper snippings from the Lancaster New Era, PA, circa 1933-36. In reading the backs of the papers I found part of an article that I am hoping someone can give me more information about. The article reads —
The President’s original plan was to establish the CWA only for those who were on relief rolls. Later someone wanted it for everyone. That is when the trouble started…….Negro cooks in the south left the kitchen and started quilting at home for the CWA at $12 per week….. My questions — what does CWA stand for and does anyone know anything about any quilting projects, jobs, etc., associated with it. I am familiar with 2 WPA projects — the Museum Project from Langhorne PA and the Milwaukee Project, but would be very interested to learn of any CWA quilting projects.
Thank you for your help.
Barb in southeastern PA
<bgarrett [at] fast [dot] net>
Date: Thu, 28 Jan 1999 16:38:30 -0700 | From: Sven Olsson <sven [at] pnc [dot] com [dot] au>
I do not know what CWA is in the US, but here in Australia, it stands for the Country Womens Association. This is a wonderful organisation that enabled the country ladies to meet and communicate, raise monies for charity, and generally to offer support for isolated families. I do not know exactly when it was started, but as child, I would love to go to meetings with my mother. This was in the 60s, and I am sure it was going from at least the first world war (pre 1920).
I remember my mother knitting for orphans, hats, socks and cardigans. She also did fine embroidery and would teach sometimes at a meeting. There was always a wonderful afternoon tea, where each lady would bring her finest cake or batch of scones. Mmmm! Yes that is me with the weight problem.
I am sure other Aussies on the list will have some memory of our CWA, even if it is just of the little meeting hall somewhere tucked away just off the main street of town where the Red Cross would meet and maybe the local Rural Youth group would get together also. You can tell I come from the country.
Unfortunately there were no quilts made in my mother’s time in the CWA though.
Lorraine in Oz ( I just spent the day in Sydney and it was so hot and humid. It is good to be back in the mountains)
Date: Thu, 28 Jan 1999 08:22:38 -0500 | From: “jawhite [at] courant [dot] infi [dot] net” <jawhite [at] courant [dot] infi [dot] net
As a point of clarification, I am forwarding the following post.
Subject:
Re: backstitch
Date:
Mon, 25 Jan 1999 15:07:50 -0500
From:
“jawhite [at] courant [dot] infi [dot] net” <jawhite [at] courant [dot] infi [dot] net>
Organization:
InfiNet
To:
Duff_M <Duff_M [at] BLS [dot] GOV>
References:
1
Duff_M wrote:
> Oh…I see your meaning now. I think. Anyway, what your telling me is not to worry that my single strand of thread isn’t strong enough, because it is. And the regular sewing thread *is* what quilters use to hand piece. Well, I’m learning. Thanks again.
> Martha
> > ———-
> > From:
jawhite [at] courant [dot] infi [dot] net[SMTP:jawhite [at] courant [dot] infi [dot] net]
> > Sent:
Monday, January 25, 1999 2:55 PM
> > To:
Duff_M
> > Subject:
Re: backstitch
> > Duff_M wrote:
> > > Judy,
> > > Thanks for responding to my question about hand piecing. You have taught me something. I wasn’t using quilting thread to piece. Quilting thread is much stronger than the regular 50/3 thread I have been using to piece. Thanks. I do feel comfortable with the idea of piecing with a single strand of quilting thread. I don’t know why I didn’t think of it.
> > > Martha
> > Hi Martha. I’m glad that you found something that works for you; however, as a point of clarification, I don’t piece with quilting thread. I hand piece with a single strand of plain old Dual Duty by Coats and Clark – cotton covered polyester thread.
> > Judy W.
Now you’ve got it.
Date: Thu, 28 Jan 1999 08:56:49 -0500 | From: “jawhite [at] courant [dot] infi [dot] net” <jawhite [at] courant [dot] infi [dot] net
Dear Barb: The WPA and the CCC were programs begun to get people back to work and to bolster the economy. There were many facets to the WPA, many projects that kept people in all walks of life working and off the welfare roles at a time when that was sorely needed. I have a newly re-issued copy of the WPA Guide from the the State of Missouri – there were 48 of these guides written, one for every state in the union; these were written as part of the Federal Writer’s Project – no where in it does it say anything about the CWA. I also looked in the bibliography in “No Ordinary Time” by Doris Kearns Goodwin; this is biography of Roosevelt and his administration. There are gobs of references to the WPA and the CCC and all their offshoots but not one word about the CWA. Do you suppose it was a regional organization within the State of Pennsylvania during that period of time? You might have to investigate your public library re:CWA. Just a thought.
udy White
Date: Thu, 28 Jan 1999 21:40:31 +0100 | From: Marsha MacDowell <macdowel [at] pilot [dot] msu [dot] edu>
For those of you interested in quilts used in honoring ceremonies, you might want to catch the exhibit “To Honor and Comfort: Native Quilting Traditions.” It has already been shown at the Smithsonian Institution’s National Museum of the American Indian in NYC and at Michigan State University Museum — the two producing organizations of the exhibit. Now it commences touring to other sites and here is the schedule of booking for the exhibit (be sure to call ahead to museums to get doublecheck opening and closing dates):
March 13-June 6, 1999
Fuller Museum of Art
Brockton, MA
July 3-September 26, 1999
Cleveland Museum of Natural History
Cleveland, OH
October 23, 1999-January 16, 2000
Museum of the Rockies
Bozeman, MT
February 12-May 7, 2000
Bishop Museum
Honolulu, HI
June 3-August 27, 2000
Washington State Historical Society
Tacoma, WA
September 23-December 31, 2000
Museum of International Folk Art
Santa Fe, NM
January 13-April 8, 2001
Heard Museum
Phoenix, AZ
Individual museums may choose to open and close the exhibition on dates that vary slightly from those on our official itinerary.
Marsha MacDowell
Michigan State University Museum macdowel [at] pilot [dot] msu [dot] edu
http://www.museum.msu.edu
Date: Thu, 28 Jan 1999 21:40:31 +0100 | From: “Jean Baumgarten” <jean.baumgarten [at] wanadoo [dot] fr>
I happen to have a few of my great Grand Mother’s quilts made in the 30-40s and they are quilted with a very big stitch and very often with 2 strands of embroidery floss.Often pale blue thread .I had never seen it discussed in books and find this discussion very interesting.I just thought GGM was a bit eccentric…. and loved the idea .Are there any articles about this big stitch quilting ? Also 2 or 3 of the quilts have woollen batting .She made those quilts in Houston Texas and I always thought the wool was not really what was needed in that kind of climate .Was woollen often used at the time ?
Thank you
Daniele in Paris ,France
Date: Thu, 28 Jan 1999 15:35:32 -0700 | From: “Jeanne.Fetzer” <Jeanne.Fetzer [at] integrityonline3 [dot] com>
The CWA was an additional agency – Civilian Works Administration – separate from the CCC- the Civilian Conservation Corps – and part of the New Deal’s package to aid the 15 million unemployed Americans.
Date: Thu, 28 Jan 1999 19:17:58 -0500 | From: Marsha MacDowell <macdowel [at] pilot [dot] msu [dot] edu>
Just wanted to say that To Honor and Comfort: Native Quilting Traditions, the book that accompanies the exhibit of the same name, includes a chapter on Mohawk quilting in general and references in particular the auction. We sent a team to the auction to photo document it as part of the research for the exhibit.
Marsha MacDowell
Michigan State University Museum macdowel [at] pilot [dot] msu [dot] edu
http://www.museum.msu.edu
Date: Fri, 29 Jan 1999 09:54:14 -0700 | From: Brooke Flynn <brookeflynn [at] mcn [dot] net>
Earlier someone mentioned John Flynn’s lecture about “honor quilts” which here in our area we call Star Quilts. A few years ago, we published a book called “Feathered Sun” which has historical information about the Northern Plains Indian quilting tradition and giveaways by author Roger Clawson. The rest of the book is quilt piecing patterns and techniques by John Flynn.
Brooke
Flynn Quilt Frame Company
Date: Fri, 29 Jan 1999 11:44:14 -0500 | From: Nancy Roberts <robertsn [at] norwich [dot] net>
I saw Daniele’s question on Big Stitch in today’s Digest. I had sent a post with a source a few days ago, but do not recall if it ever appeared in the Digest. I know there was some confusion. So here it is again, just in case.
Nancy Roberts duplicate message:
Back stitches for hand piecing may be a fairly common practice. Just as a note, the General Directions in Quilting Today and Traditional Quiltworks both instruct readers to start and end hand pieced seams with a back stitch. They also say to take a backstitch every few stitches. That’s been the case as long as I’ve worked for the magazines and they’ve been published for a decade.
Issue 54 of Quilting Today (a back issue) has a how-to article on Big Stitch by Jo Walters. It also has color photos of quilts done using it. There’s also happens to be an article by Darcy Pattison on quilting in Russia in the same issue.
Date: Fri, 29 Jan 1999 14:41:27 EST | From: JQuilt [at] aol [dot] com
thanks to the person who wrote about redwork embroidery patterns at Joanns.
I bought some today…they’re great.
jean jquilt [at] aol [dot] com
Date: Fri, 29 Jan 1999 23:42:38 EST | From: JQuilt [at] aol [dot] com
these redwork embroidery patterns are in the section of Joann’s that has the embroidery floss….they are in envelopes with the words Aunt Martha’s(name of product) on the envelope..along with little pictures of each embroidery.
actually they are iron on transfers jean jquilt [at] aol [dot] com
Date: Sat, 30 Jan 1999 17:18:54 -0600 | From: “Northern Onondaga Public Library – John Walter”
<noplnsyr [at] dreamscape [dot] com> (by way of “Kris Driessen, Hickory Hill Quilts” <oldquilt [at] albany [dot] net>) My name is Dusty Gage, I’m here in CNY trying to design a crib quilt for a dear friend from church for her future grandson. I saw a tiny segment on TV recently about a Prof Raymond Dobard/member of the Daughters of Dorcas and Sons/who believes that there was a quilt code of 10 patterns used during the days of the Underground RR. If you would have any friends or associates who would have any information on what these patterns were or if you now have a catalog of patterns and templates and fabric that you could send to me I would really appreciate it. I was thinking of doing the patterns on 16ct Aida and using them in the corners and edges and perhaps one pattern for the main body. I hope that someone will recognize this interesting little bit of history that doesn’t seem to be documented in the books that I’ve researched through our local library. I think it would be wonderful to create a queen or king size quilt with these patterns on it but I don’t know what 10 patterns were used. Any information you have would be sincerely appreciated. Mia and I aren’t getting any younger and I’d like to make this before I need a REALLY big magnifying glass to work with. God bless and many thanks noplnsyr [at] dreamscape [dot] com noplnsyr [at] dreamscape [dot] com
Date: Sat, 30 Jan 1999 18:41:04 -0500 | From: Marsha MacDowell <macdowel [at] pilot [dot] msu [dot] edu>
As I just mentioned in a recent posting, the exhibit “To Honor and Comfort: Native Quilting Traditions” is now traveling around the country to major museum venues. I also thought those interested in this topic would like to also know the following:
1) We here at the MSU Museum are preparing a smaller version that will travel to tribal museums.
2) Recently the MSU Museum co-curated “Native American Quilts of the Southwest: Tradition, Creativity, and Inspiration” exhibit at the Institute of American Indian Arts Museum in Santa Fe, NM. It runs until the first week of March, 1999.
3) This coming September, 1999 the MSU Museum will open the exhibit “Great Lakes Native Quilting.”
We continue to collect information on Native quilting so would greatly appreciate any information you would be willing to send along.
Marsha MacDowell
Michigan State University Museum macdowel [at] pilot [dot] msu [dot] edu
http://www.museum.msu.edu
Date: Sun, 31 Jan 1999 12:20:09 -0800 | From: Rebecca Erle <erleec [at] sprintmail [dot] com>
Out of lurkdom to ask a couple questions.
I was working on some 1930’s repro fabric (applique) and when I matched thread to the fabric came up with a wooden spool of thread — cost 15 cents. Any idea as to time frame for thread? The color matched very well — this could have been one of my mother’s spools (married 1940) or my grandmother’s. Just curious — one of those things you start thinking about when working at one a.m.(with no one to talk to)! Also, I have a Grandmother;s Flower Garden that will need replacing of at least one ‘flower’ — should I use repro fabric or should I try to date quilt top and look for some vintage fabric that will work — or does it matter?? Guess this same question goes for the fabric that I will eventually need for the back of the quilt.
Thanks Rebecca
Date: Sun, 31 Jan 1999 17:00:55 -0500 | From: “Daniel & Diana Dillman” <deedillman [at] mail [dot] wideopen [dot] net>
Hi!
I need the names of people who restore quilts. We live in Gettysburg and would like to find someone within a 100 mile radius if possible.
Thanks!
Date: Sun, 31 Jan 1999 22:05:34 -0800 | From: “R & L Carroll” <Robert.J.Carroll [at] GTE [dot] net
Hello! Rebecca to answer your question about your GFG quilt top, I always try to find period fabrics for repairs or finishing tops. Replacement fabrics should not be difficult to find. Finding a piece large enough for the backing may be more difficult. So many quiltmakers in the past used plain white or off white for their quilt backs that you would be safe with these. But I would use a reproduction if I wanted to add a little color to the back. But then again I’m not a purist. I would use cotton for the batting so it would have the old look. Have fun finishing your top.
Laurette from So. California
Date: Mon, 1 Feb 1999 07:54:05 EST | From: Baglady111 [at] aol [dot] com
PIONEER FLORIDA MUSEUM ASSOC.
9TH Annaul Quilt & Antique Show & Sale located on Pioneer Museum Rd
Dade City, Florida
Sat & Sun Feb 6 & 7, 1999
Special event this year is an exhibit of Feedsack quilts an memoribilia JANE CLARK STAPEL of THE FEEDSACK CLUB, will be the guest speaker on Sat and Sun.
For added info call Donna Swart at 352-567-0262
Date: Mon, 1 Feb 1999 08:44:27 EST | From: Baglady111 [at] aol [dot] com
I am in need of an email address for ELIZABETH JOHNSON from CHALFONT, pa please email me at baglady111 [at] aol [dot] com
Many thanx that there is a place where one can get the help when needed..Jane of THE FEEDSACK CLUB
Date: Mon, 1 Feb 1999 09:42:38 EST | From: EllynLK [at] aol [dot] com
In a message dated 1/31/99 6:53:29 PM Pacific Standard Time, Rebecca writes: << Also, I have a Grandmother;s Flower Garden that will need replacing of at least one ‘flower’ — should I use repro fabric or should I try to date quilt top and look for some vintage fabric that will work — or does it matter?? Guess this same question goes for the fabric that I will eventually need for the back of the quilt. >>
Speaking for myself, in every restoration I do, I always put in fabric that complements the existing ones– but is thoroughly modern. The first life of the quilt was what happened after the maker finished it. With me, it enters a new phase of existence as I manipulate blocks, repair pieces, replace fabrics or what have you to increase the life span of the quilt. The quilt is now not the sole “intellectual property” of the original maker. We share it. So I put in a fabric (most people can’t even find them until I point them out) that represents THIS period of the quilt’s life… I restored a 1930’s 9-patch. It was born in the 1930’s but repaired and restored in the ’90’s and there are some 1990’s fabrics to represent that. You’d have to be something of a fabric detective to find them as they match– but it’s just my own fun thing to do with an old top.
Of course, if it were museum quality I would never do such a thing! As far as the backing, it would be a lot harder and more expensive to find vintage fabric in quantity enough to back the quilt… or go to the flea market and find an old quilt of the same vintage with a good back and “harvest” it for your current project. I bought a beat-up and crooked 9-patch for a song– because it had a great 1940’s white ground with blue and red apple barrel patterns for the back in very good shape. Dumped the front…. the “batting” was old baby blankets sewn together… One is in the garage that the cat has adopted; the other is folded as padding under a cushion on a wicker settee… and I have the back waiting for when I need it on a 1940’s top!
Still working on the turn-of-the-century Trip Around The World… it’s turning out to be a scrap gem!
Best,
Lauri Klobas
Pacific Palisades, California
Date: Mon, 1 Feb 1999 11:36:07 EST | From: Baglady111 [at] aol [dot] com
have we had a discussion on friendship quilts? When they were popular, why, etc..also, THE ISLE OF MAN..I thought I had read something about the isle or was it in a quilt mag…never fails…I’ll see something that does NOT interest me at the time..but later…down the road…it appeals to me..Jane of THE FEEDSACK CLUB
Date: Mon, 1 Feb 1999 09:49:09 -0800 (PST) | From: bevquilt [at] sprynet [dot] com
Oops Rebecca, I meant Grandmother’s Flower Garden…..
Beverly Dunivent
http://home.sprynet.com/sprynet/bevquilt
Date: Mon, 1 Feb 1999 09:48:24 -0800 (PST) | From: bevquilt [at] sprynet [dot] com
In answer to Rebecca’s question about replacing the pieces in a Dresden Plate, in my opinion she could either use reproduction or vintage fabric. I have seen pieces replaced in these quilts with reproduction and if I hadn’t recognized the fabric as being repro. I wouldn’t have guessed. On the other hand it is always a bit nicer to use vintage fabric. You can obtain this from The Kirk Collection. Bev.
Beverly Dunivent
http://home.sprynet.com/sprynet/bevquilt
Date: Mon, 01 Feb 1999 12:45:22 -0700 | From: Sharon Harleman Tandy <harleman [at] micron [dot] net>
Hi all,
Sorry to ring in late; been off-line for almost two months and catching up. My mid-1940s quilt had a wool batt made from the fleece of my two pet sheep, Punch and Judy. The batt was made locally (Washington State coast, near Puyallup) and was covered with cheesecloth. Unfortunately, I became allergic to wool and have kept them separated for years. Now, I’d like to quilt the pink and white top (it was tied) and have the batt cleaned and re-batted; it’s so thick, it will probably make two regular batts! Have sources for such, just never get around to it. Sharon Harleman Tandy, Quilts & Answers, Boise, Idaho.
Date: Mon, 1 Feb 1999 18:53:48 -0600 | From: Dale E Watts <dpwatts [at] ott [dot] net>
I would like to contact Carol Elmore of Manhattan, KS but am unable to find her email address. This is in regard to the Quilt Restoration Conference in Omaha.
If someone can provide me with her address or if Carol would contact me, I would be most appreciative. Thank you!
Peggy in Ottawa
Date: Mon, 1 Feb 1999 20:35:42 EST | From: Baglady111 [at] aol [dot] com
I know you are’nt going to believe this..but I need a source for the white or off white cotton that is a reproduction of the old timey feedsacks..it is for toweling and pot holders…anyone one know of a wholesaler??? Jane of THE FEEDSACK CLUB (I heard that chuckle)
Date: Mon, 1 Feb 1999 22:28:02 -0800 | From: “Edie Idleman” <eidleman [at] ipa [dot] net>
Hi all, I am a lurker but need some info. I do not have the book “Hidden in Plain View” yet. I understand that Dr. Dobard specifically mentions Bear’s Paw, Crossroads, Flying Geese and Drundard’s Path were used as signals. If that is so, will someone please let me know how these designs and any others were used. I need this rather quickly as I am doing a program for some 4th graders on Wednesday and they are studying the Civil War.
My Barnes and Noble still has not gotten the books that they expect; their computer says they are getting it, but still have not at this time.
My program was about history and quilting in general until I heard they were studying the Civil War and this is so appropriate that i think I should talk about it with them.
Sure hope someone can help and thanks, edie idleman
Date: Tue, 2 Feb 1999 08:08:03 EST | From: JQuilt [at] aol [dot] com
and so…the story goes if you are in school and your teacher reads from a book and tells you… this is part of Civil War History…you will probably think it’s absolutely true…. and that’s how myths and legends begin and continue.. before I read/taught anything “historical” especially this book to impressionable minds….I would preface it with…..this is a story not history and it may or may not be true..even then there are some students who will retain it as history…
jean jquilt [at] aol [dot] com
Date: Tue, 02 Feb 1999 09:36:09 -0500 | From: Peggy Notestine <notestine.11 [at] osu [dot] edu>
Hi friends,
Well, I got a real treat yesterday afternoon. My husband’s grandmother (age 94) lives in a retirement home about 5 minutes from our house and she mentioned that there was a lady down the hall who had a bunch of old quilts. well, I passed along a note to her saying that I would love to see them next time she aired them out. To make a long story shorter, I got to see 10 quilts yesterday afternoon and they were all gorgeous! Most were handpieced by Murl herself, and then in most instances either she or one of her sister’s would handquilt it. She had two that were sent to Missouri to be machine quilted in a really pretty design as far as machine quilting goes, and another one she had hand quilted by a lady in Kentucky. None had labels. Two remain very vivid in my mind. One was a saft, pale yellow double wedding ring quilt in just the most beatiful colors. The quilting was magnificant and I told her that I had always been a little intimidated by that pattern because of the number of pieces and all those curves. “This one?!”, she said, Why, that was done entirely by my little sister before she was even a teenager! She thinks she was about 10 years old when it was done….I just couldn’t believe it! Anyone ever hear of little kids doing more complex patterns and with such beautiful stitching!? The other quilt that really stood apart was a quilt Murl’s mother’s church circle made as a raffle during the depression. This was a lone star( which was never one of my favorites), and it was in pristine condition. A white background and the diamonds were in white, nile green, hot pink and an orange the color of an orange creamsickle. For some reason, those colors worked for that quilt. The quilting was outstanding and the interesting part of this story was that she said that her mother’s church circle spent many hours on this quilt to raise money, then the depression hit very hard where they all lived and no one could afford to even take a chance on a ticket, so it just sat….and sat… and sat. Finally, her mother begged her daughter to offer something to the circle so she saved up a dollar here and there, and when she finally had 8.00 dollars, they happily gave her the quilt. Unbelievable! I told her I would help her make labels for the quilts, even if they don’t get sewn on, we could at least pin them to the back. Each quilt was wrapped in a feed sack or pillowcase and I also mentioned to her that Jane of the Feedsack Club was coming to our guild meeting soon for a presentation and she thought that sounded very interesting. Finally, I also wanted to mention that she had also displayed a wonderful ivory crocheted bed spread that looked like lace, the stitches were so tiny. She said it took her 12 years to make and that she worked on it all the time. So that was my wonderful Sunday afternoon.
Peggy Notestine in Columbus, Ohio
Date: Tue, 2 Feb 1999 14:08:59 -0000 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk>
Here in the UK my 15 yr old daughter is about to take History exams which include American history. Her teacher has suggested that the class watch ‘Dances with Wolves’ as part of their revision. Is this a good idea?
Sally
Date: Tue, 2 Feb 1999 21:50:56 -0000 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk>
So many of you responded to my question about this film I have to thank you all here. All comments were very helpful, and gave my dd a renewed perspective both on the history of America and the generosity of present day Americans in taking time out to help her!
Thanks
Sally
