January 4 – 8, 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:
- Hungarian Inscription Translation — The mystery textile thread resolves as members identify the language as Hungarian and work through translating a domestic verse about a clean kitchen, with multiple contributors offering partial translations and cultural context.
- German Phrases on Textiles — Related foreign-language inscriptions on kitchen and household textiles prompt discussion of German proverbs about coffee and domestic life.
- Jacquard Coverlet Identification — A friend’s textile is identified as a jacquard coverlet rather than a quilt, with discussion of coverlet collecting and the market for them.
- Pennsylvania Dutch Farmhouse Memories — A member shares childhood memories of Pennsylvania Dutch farming country, including quilts stored in hope chests and household textile traditions.
- Rocky Mountain Quilt Museum Visit — A report from the Rocky Mountain Quilt Museum in Golden, Colorado, describing a 19th-century quilt exhibit from the Jeananne Wright collection and news about Primedia Publications (formerly Leman). (see the article on quilt museums)
- Photocopying Onto Fabric for Restoration — Members discuss techniques for photocopying or printing images onto fabric as a restoration tool. (see the article on quilt restoration)
Date: Mon, 04 Jan 1999 22:59:39 -0600 | From: Mary Waller <mswaller [at] iw [dot] net>
Long ago and far away, I grew up on a farm in northeastern Maryland, not far from the border with Pennsylvania and Lancaster County. On a lot of the really big, older barns there are huge wooden doors that either swing out or slide open so wagons, usually hay wagons, can be pulled into the barn and unloaded. There’s often a smaller, ‘normal’ sized door cut into one of the big doors for everyday use because opening the big doors is a bit of a chore in itself. There are also trap-door arrangements located high in the side of barns near a pulley for hoisting hay bales up and into barns. I’ve heard these smaller doors called the Hole in the Barn Door.
Susan, I use a treadle sewing machine, just for fun. I agree with Capt. Dick, the 27 sounds great and has all the necessities and nice goodies, but a bit overpriced. It would be a steal at $100 or less. But if it keeps calling your name…. Have you joined the TreadleOn list? If/when you buy the 27, you must! Join now, and you’ll get a headstart on learning. And you don’t want to miss the February block exchange.
Mary Waller, Vermillion, SD
Date: Mon, 4 Jan 1999 23:37:01 -0600 | From: “Brian/Jen Schmidt” <brian_jen [at] prodigy [dot] net>
I would agree with the guesstimation that the language is a form of German, and that it could be Amish in origin. A friend of mine is Amish/Mennonite, and I heard him speaking with his grandmother on the phone once; he sure wasn’t speaking English. I can’t remember, though, whether he said he was speaking High or Low German. Let us know when you find out for sure.
Jennifer
Kansas
Date: Tue, 5 Jan 1999 00:31:44 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
>They will be doing a class and technique clinic on using the Roxanne Thimble. the class is nominal, but
the
>thimbles are about $40.00. Before i invest that in a thimble ($40.00 could buy some pretty nice fabric), I’d like some feedback from all of you!.
Melanie,
I own the Roxanne thimble and of the 15 or 20 some I won, it is the one I prefer to quilt with. For hand sewing or applique I use a regular thimble. Just make sure it is the perfect size for you. The first one I bought was too big. But they were very nice about taking it back in trade for the next size down. See if you can try it out for the class before you decide to buy.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Tue, 5 Jan 1999 00:55:26 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
http://dictionaries.travlang.com
http://www.all4one.com/search_machine.phtml
The addresses above are free sites for translating from many languages. I’ve done a couple of phrases for fun. Be careful when translating back to English. You don’t always come up with the same phrase you put in.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Tue, 5 Jan 1999 01:03:05 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
http://translate-free.com
This is probably the best place to go.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Mon, 4 Jan 1999 22:43:05 +0000 | From: “Monika Jones” <monikaj [at] mail [dot] cdsnet [dot] net>
I’m from Germany and I can’t read it. It’s not dialect ( high or low) I usually can decipher Amish and some of the Dutch, but no such luck this time.
The mystery continues
Monika Jones monikaj [at] cdsnet [dot] net
Date: Sat, 05 Jun 1999 00:51:22 -0500 | From: bgroelz [at] hamilton [dot] net (Brenda Groelz)
“Iz en konyheim tiikrom nekem, (the double i could be a u with 2 dots over it)
Tisztasaga boldogga t’esz engem.”
(The first letter could be an “A”. The are also slanted dashes over several but not all “e”s and there are 2 dots over one o).” I can tell you that this is not German (since that is the only language I speak besides English), but it looks suspiciously like Czech to me. Maybe Hungarian? You’ve got me curious!
Brenda Groelz, whose maiden name is Bauermeister, so she’d better be able to speak German!
Date: Tue, 5 Jan 1999 09:59:01 -0000 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk>
This list never ceases to fascinate. Now I know where to go for translations (thanks Judy) <G>
I just wonder if there is another way to read it. It may not be correctly spelt, but if it is sounded out phonetically does it make anything? I am reminded of the story of the curious pot dug up by the archaeologist with the presumed Latin inscription Iti Sapis Potanda Tino Ne. It turned out to be a chamber pot and a student hoax. Adjust the spacing of the letters and you read: It is a pis pot and a tin one.
Sally
Date: Tue, 5 Jan 1999 08:47:25 -0700 | From: “jenniferl hill” <hilljl [at] shaw [dot] wave [dot] ca>
Okay, here comes a dissenting opinion. The fatal problem with these thimbles is they have no back. That is okay if you have long fingernails and only quilt in one direction. But I like to quilt on a full size floor frame, and would be severely limited if I could only quilt towards my body. I prefer to use a traditionally shaped metal thimble with no top ridge (I’m a side “pusher”, not a top “pusher”). When quilting away from me, I use the back, nail side of my thimble. My favourite thimbles are antiques, silver or brass, as I find the dimples to be sharper and more secure than those on most modern ones.
Jennifer Hill
Calgary, AB
Date: Tue, 5 Jan 1999 10:43:16 EST | From: QuiltAlive [at] aol [dot] com
Barb:
I saw mention of your collections on QHL. You and I collect similar things–besides quilts and quilt books, I have quite a collection of red/white pot holders in all shapes. But your posting of quilt blocks with poems reminded me of a quilt block I won at an AQSG silent auction years ago: The block is in the shape of a little apron with a patch pocket. I don’t think the block was meant to be made into a quilt–but maybe so. It is part of a fundraising project. Anyway, in the pocket is this little poem typed on a piece of paper.
This little apron is sent to you
Because we have a plan in view,
Which you’ll agree, as soon as you hear it,
Is very fine, and you will cheer it:
To raise some money for the Ladies’ Aid,
We’ve had these little aprons made,
That our good friends may have a part
In this good work which fills our hearts.
So measure your waist line – inch by inch –
And see that your measure does not pinch,
And for each inch you measure ’round
In the pocket may a penny be found’
Then return to me – and don’t be late –
March the 20th is the date.
We thank you kindly and hope you’ll find
Joy and Gladness and Peace of Mind.
–Merikay Waldvogel, Knoxville, TN
Date: Tue, 5 Jan 1999 11:09:25 EST | From: EGinebaugh [at] aol [dot] com
Jennifer & all,
When I quilt on a floor frame, I needed to quilt in all directions, too. But I found a different solution. I learned how to thumb-quilt. I first learned with a yellow plastic Thumble, but found that the needle wore holes in it too often. I then got a tailor’s thimble (metal, & dimples all around, but no top. open on the end) in a size to fit my thumb. The dimples are deep, and I can quilt more consistently and smaller with my thumb than my finger! I love it, and have not had to replace it yet.
It does take some learning, but it really isn’t that hard. Hope this helps, Liz in Michigan, where the kids have been home for two days longer than Christmas break…..
Date: Tue, 05 Jan 1999 11:31:05 -0700 | From: Eileen Trestain <ejtrestain [at] earthlink [dot] net>
Unless I am very far off, the piece you have cannot be Amish. Amish people are known for their aversion to putting a face on anything, hence the Amish faceless dolls.
Eileen
Date: Tue, 05 Jan 1999 13:57:05 -0500 | From: Arlene Goldberg <arlenegg [at] Icanect [dot] net>
Denise, it’s Hungarian. I know just enough to recognise the language. Fortunately, Mom has been visiting for the holidays and you asked just in time (she leaves tomorrow) so here’s the translation:
My kitchen is my mirror
It’s cleanliness makes me happy
Arlene in Miami
> The picture is of a lady preparing a meal. There are
steaming pots on a stove and a roasting pan sitting on the edge of an oven waiting for the goose that the lady is beheading on the chopping block. She is wearing a 1920’s dress, apron, and hair style. The scene is circled by a wreath of cherries and then the following lettering (the best that I can decipher)……..
“Iz en konyheim tiikrom nekem, (the double i could be a u with 2 dots over it) AZ EN KONYHAM TUKROM NEKEM
Tisztasaga boldogga t’esz engem.”
(The first letter could be an “A”. The are also slanted dashes over several but not all “e”s and there are 2 dots over one o).
Date: Tue, 05 Jan 1999 20:54:52 +0000 | From: JBQUILTOK [at] aol [dot] com
<< Isn’t Turkey Track a counted cross stitch?? I think it was being done some in the 1970’s-80’s on gingham and that type of fabric (aprons, tablecloths, etc.) Instead of being just an “x”, it has 8 points, so it’s more like a “+” superimposed on top of the “x” >>
That stitch on gingham was called chicken scratch – although it may also have been known as turkey track elsewhere.
My Good Housekeeping Complete Book of Needlecraft shows Turkey Work as a rug stitch on canvas. It’s worked over a tongue depressor & then cut to make shag. Copyright 1959 on the book.
Janet
Date: Tue, 5 Jan 1999 21:45:09 EST | From: JBQUILTOK [at] aol [dot] com
<< Before i invest that in a thimble ($40.00 could buy some pretty nice fabric), I’d like some feedback from all of you!. >>
I bought one of Roxanne’s thimbles at a quilt show & have had a problem with it. I was very dehydrated that day – had been working at the show & not drinking as much water as I usually do. At home & back to normal, the fool thing that fit perfectly at the show is too small to use. I’d try to trade it the next time I’m anywhere they’re set up, but I’m afraid I’d lose weight again like I did a few years ago & the next would be too big! I have a couple of heavy duty thimbles made in England with a raised rim around the top. I use them constantly. One is a little longer than the other, so they rub different parts of my finger. When I’ve used one for a while, I switch to the other. I avoid excess callus on the sides of my finger that way.
Janet
Date: Tue, 5 Jan 1999 22:16:59 EST | From: Kittencat3 [at] aol [dot] com
To: QHL [at] cuenet [dot] com
Subject: QHL: Inscription
Message-ID: <790d6805.3692d5ab [at] aol [dot] com> Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
In a message dated 99-01-05 21:54:35 EST, you write:
<<
I am reminded of the story of the curious pot dug up by the archaeologist with the presumed Latin inscription Iti Sapis Potanda Tino Ne.
It turned out to be a chamber pot and a student hoax. Adjust the spacing of the letters and you read: It is a pis pot and a tin one.
Sally has a definite point…this is hardly uncommon among archaeological hoaxers. A fellow in 19th century Kentucky scratched “Bill Stump’s Stone” with the date on a rock during a picnic, and was shocked a few years later when all the local antiquarians decided that the scratches (faint, and in poor handwriting) were “proof” that the ancient Phoenicians had made it to the Bluegrass! Right now there’s a controversy raging over a supposed “tomb engraving” of a Templar somewhere on the East Coast…it looks like either a joke or some random dabblings to me, but there are a lot of people out there who desperately want to believe that the Templars somehow made it to America about one hundred years before Columbus. *sigh*
As for the language, it looks Eastern European to me. If this is from Pennsylvania, especially western Pennsylvania, I’d wager it’s Czech or Hungarian. A *lot* of Eastern/Central Europeans came to the Ohio and Monogahela Valleys to work in the mines and the mills.
Good luck – sounds intriguing.
Lisa Evans
Easthampton, MA
Date: Tue, 05 Jan 1999 22:28:14 -0600 | From: rshink <mcr2 [at] musica [dot] mcgill [dot] ca
Cannot resist the urge to talk about my collections. I have about 75 quilts and every year I promise to sell some. Have tried to refine my collection to Star quilts and almost all of my collection is from eastern Canada. I also cannot resist old linens when I am at estate sales where I try and get the old threads and fabric. Have a few sewing machines,got a Hand powered singer this fall .I also buy old sewing baskets , small baskets, buttons and thimbles. My best deal was a gold thimble located in a box of threads etc. for $2 Canadian, guess I am addicted to Garage sales. I added it to my small thimble collection.The sales of my quilts which I am suppose to be restoring was to finance my hobby now that I am retired but.. if any one has a specific quilt style they are collecting let me know. I need another excuse to check out the marvelous antique stores here in Montreal. DH thinks I should not buy any more quilts until some are sold… I have a fair collection of quilt related books and my football player son got me a super new book from Britian on Celtic quilting. Also my DH has a convention in Las Vegas Jan 21-27 . I need guidance for any Museums or quilt related activities there. Please E Mail me privately. Hope the weather is better than the freezing temperatures we have in Montreal. At least there is enough snow in the Laurentians to Ski. Happy New Year everyone and Happy Quilting Diane Shink Kris Thanks for keeping us all so up to date. I loved your story of the cats.
Date: Tue, 05 Jan 1999 05:46:01 -0800 | From: Denise Clausen <nadyne [at] oregoncoast [dot] com>
To: arlenegg [at] Icanect [dot] net
CC: QHL [at] cuenet [dot] com
Dear Friends of the QHL,
Thank you for your help unraveling the mystery of the quote on the red work piece. Also for the info on its possible origin. That was fun! A special thank you to Arlene and her mom for the translation. If I could ask one further question Arlene, what specifically does “engem” mean? I think my cousins by the name of Engeman would be interested. And is that a familiar Hungarian name?
Thanks to all who participated! This is a wonderful list!
Sincerely
Denise Clausen
Arlene Goldberg wrote:
> Denise, it’s Hungarian. I know just enough to recognise the language. Fortunately, Mom has been visiting for the holidays and you asked just in time (she leaves tomorrow) so here’s the translation:
> My kitchen is my mirror
> It’s cleanliness makes me happy
> Arlene in Miami
Date: Wed, 6 Jan 1999 10:47:04 EST | From: AG32040 [at] aol [dot] com
I have a blue embroiderd kitchen piece while we are still on the subject,I could use a translation. It has pictures of a woman holding a turkey on a platter, 2 steaming pots on the stove ,decorative floral embroidery in corners,etc. On the top part is ” Nichts geht uber ein Kaffeestundchen Meisige Hande und fleisge Mundchen”
There is a coffee pot to the right and a cup and saucer to the left with more embroidery around it . I believe it is German but I cannot translate it . Can anyone?
AMY in MIAMI where it is cold today
Date: Wed, 6 Jan 1999 10:52:06 EST | From: JQuilt [at] aol [dot] com
Last nite I was reading a quilt history book and these lines spoke to authenicating…”Asking people about their lives fifty-five years earlier can be risky, since memories can fade or be embellished…Nevertheless oral interviews can be a valuable supplement to historical accounts”… For instance I can imagine a quilt block name getting changed …from goose tracks to turkey tracks to chicken tracks…according to what farm fowl you had in your barnyard…one legend goes… one didn’t make a quilt with goose track blocks for a young man…for fear he would get the wander lust and leave home ….
PS
Nevertheless…I wonder who the person/s were that decided to merge 3 words into 1?
was forthatmatter a candidate for that merge too, but didn’t make it.?
jean jquilt [at] aol [dot] com
Date: Wed, 6 Jan 1999 12:18:48 EST | From: SudaNim [at] aol [dot] com
‘ Nichts geht uber ein Kaffeestundchen
Meisige Hande und fleisge Mundchen”
I think that translates to
“Get out of my way when I haven’t had my coffee yet Unless you want your ferschluggener hands dipped in mud.”
Date: Wed, 6 Jan 1999 14:41:26 EST | From: Baglady111 [at] aol [dot] com
It is so wonderful to know of a great success story and have it unfold in front of your eyes and be able to share with so many others..KAREN BUSH, quilter and author, received this invitation recently and I wanted to be the first to ‘TOOT HER HORN’
What a talented lady and I am sure my standing ovation can be heard, because of email, all over the place…BRAVO, KAREN..BRAVO..
won’t this one be a thrill to follow???
Jane of THE FEEDSACK CLUB
Date: Wed, 6 Jan 1999 23:19:49 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net
” Nichts geht uber ein Kaffeestundchen
Meisige Hande und fleisge Mundchen”
I went to Translate-free.com and searched all their translation services, by phrase and by individual words. The only words any of them would translate were the first three — Nichts geht uber — as “Nothing goes more….” I wonder if this is dialect.
I am sure others on the list will be able to translate this completely, but I had fun looking.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 6 Jan 1999 23:55:28 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net
I forget who it was that thought an older Amish quilter she knew might have some wonderful stories to tell. Someone else on the list suggested doing an oral history with the lady.
I’ve been on our township’s Historic Preservation Committee for about 6 years and have taken as my special project doing oral histories with our community’s older residents — farm wives, farmers, veterinarians, teachers, shop owners, and housewives. I’ve attended a few seminars on doing them, given by state historic agencies. Most of the people I have interviewed have been between 75 and 92 years old, and almost all had clear memories of growing up in this farming community. Cross referencing their interviews shows no misinformation spoken into the tape.
In the past 6 years, of the 8 people I’ve interviewed, two have already passed away. Two people who would have had incredible memories, that I didn’t get to interview have also passed away. One of these men was an aviation pioneer, but he was already too ill to participate by the time I found out about him.
My point is, if you want to know what these older citizens have to say, DO IT NOW! I cannot tell you how wonderful each hour and a half that I have spent with these people is. Actually doing the interview is very easy. They are usually living alone and are so grateful for your time and attention. This project marks them as special people in the community, and they know it and are proud.
Know what you want to ask, give the person a list of your proposed quesions before hand, then go in with your tape recorder and get rolling. The subject might be embarrassed at first, but once you have them speaking about what they know best — their own lives — they open up and pretty soon they forget completely about the microphone.
The hardest part of oral histories is the translating to hard copy. It takes me at least 8 hours to type in 45 minutes of recorded interview, probably more. But you must do this. If you can get grant money to pay for this, make applications as soon as you can, even before your first interview. One of our township’s secretaries took one of the interviews and put in short bursts of time while at work, and got it done in 6 months — and we didn’t have to pay her.
You must make at least 4 copies of the original tape, and 4 copies of your hard copy. The first copy is for the subject. The second copy is for you to translate from, and the 4th copy as well as the original should be archived somewhere.
Our township is starting to put together booklets of the text with appropriate photos that will be available at the municipal building for future generations.
Also be aware that recording tape degrades over time. I have recently been made aware of this fact, and that all our interviews should be digitized. We are now seeking funds (grant money) to do this. Grants helped buy the recording equipment, too. You may want to look into video taping the interview, but, even though I have a good video camera, I don’t think the subjects would be as natural and open as they are with just audio tape. I do make sure to take a number of good photos while I am at the interview. If anyone is interested in more information on this very rewarding project, you may contact me and I will try to get a bibliography together for you. Oddly, not one of the women I interviewed was even vaguely aware of any quilting in this community.
I know because I specifically asked.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 06 Jan 1999 23:19:59 -0500 | From: laurel horton <kalmia [at] innova [dot] net
Jean wrote (quoted, actually):
>”Asking people about their lives fifty-five years earlier can be risky, since memories can fade or be embellished…”
I agree. Last March I interviewed four women, all about fifty, about some group quilts they helped make during the late 1970s and ’80s. The experience gave me a whole new perspective on how quickly details can fade, even those of important–memorable, one would think–events. Usually I prefer to interview people individually, but in this case it often took the four of them hashing things out together to dredge up some of the details. We’re only talking about 15 or 20 years here, and these women are my age. Maybe I’ll plan to go back and interview them again on the same subject in another 20 years and see what they can still remember! That is, if I can remember to do it.
But you can demonstrate this yourself by going back and reading personal letters, journal entries, or–in my case–ten years’ worth of Christmas newsletters. I was amazed by how much I had forgotten–stuff that was important enough at the time to share with distant family and friends. Another example–my memories of, say, the 1960s are certainly influenced by some of the documentary programs I’ve seen in more recent years. A retrospective view is always going to be different from a contemporary account of the same event. Ideally, we’d have both. For instance, we would all be keeping records of our activities–including everyday details, and leaving them where future historians can find and interpret them in light of what happened later. But talk about information overload!
Laurel Horton
Date: Thu, 7 Jan 1999 10:37:26 EST | From: QuiltFixer [at] aol [dot] com
This is my week for trying to help people and having to go to all of you for information. My friend posted that she found the woolen woven throw that was her grandmother’s. It is marked made by S. Hausman, Trexler Town, 1836. This is woven in a corner. She would like to know more about it and how she can get it appraised. I know absolutely zero about this subject. Anyone out there who could help me? Does this really mean that it was made in 1836? She knows her Grandmother had it for over 50 years that she can remember. Is possible that some one of you collects throws as well as quilts? Any help appreciated.
Toni B.
QuiltFixer [at] aol [dot] com
Date: Thu, 07 Jan 1999 12:37:18 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
Toni, what your friend has is really a jacquard coverlet, wool and cotton, woven on a jacquard loom by Solomon Hausman (ca. 1794-1866), born in Pennsylvania, weaving in Lehigh Co., PA (Trexlertown) 1832-1850. The 1850 census shows him living in Upper Macungie Twp., Lehigh Co., with Ephriam and Joel Hausman, who are also weavers. Solomon is not listed as having an occupation at that time.
(Ephriam is a known son of Solomon, no clear information on Joel’s relationship.) This information from the 1978 Checklist of American Coverlet Weavers, pub. by Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg. In 1978 they had located 16 of his coverlets for their listing.
The coverlet was indeed made in 1836, as it is dated. As with quilts, condition, rarity, color, market demand would all affect its value. She needs to have it seen by someone who is knowledgeable about coverlets.
Xenia, in Indiana
Date: Thu, 07 Jan 1999 13:33:45 -0500 (EST) | From: JOCELYNM [at] delphi [dot] com
On 5-JAN-1999 01:07:25.9 Judygrow said to JOCELYNM
> I’ve done a couple of phrases for fun. Be careful when translating back to English. You don’t always come up with the same phrase you
Judy,
I heard about someone who put in the phrase, ‘Out of sight, out of mind’….and when they translated it back into English, they got ‘Invisible Maniac’! <G>
Jocelyn
Date: Thu, 07 Jan 1999 15:19:47 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net
Peggy sent me a private message asking generally if coverlets were being reproduced, and how to tell the difference. I thought the list might also be interested, so I am posting my answer to all. Jacquard coverlets were woven on large looms on which the intricate designs created on the coverlets were determined by punchcards not unlike the obsolete IBM cards. Each card had a series of holes which corresponded to picks on the loom, which in turn raised certain warp threads as the shuttle passed across the threads. Creating the patterns for jacquard looms was time-consuming, as each card had to be perforated and tested within the whole composition, but eventually each professional weaver had a number of sets of these cards, and the purchaser could select the body pattern for the coverlet to be woven, from a book of patterns. The border design and the weaver’s name, date, and/or other device in the corners of the coverlet was his own creation. These coverlets were woven in one long, narrow strip, with the cards reversed in order half way through the weaving. This created a mirror image. The strip was then cut in half and the long edges matched, resulting in a center seam. Careful weaving made this seam almost unnoticeable when it was butted and hand-joined.
The top edge (where the cut occurred) was hand-hemmed.
The technology and the equipment exists now only in museums and a few other places. There is a weaver in Vermont (I think) who does custom weaving of jacquard coverlets and will put your name and date in the corner, but he is (was when I read about him) years behind on his orders.
The simple answer is that when you see a coverlet with a center seam, usually in dark indigo wool and white or cream cotton, with an intricate body design of repeated motifs (usually circular in shape), and a date or design in the corner – it’s for real. The center seam is the real tip-off – there were also early coverlets woven without a seam on power looms in factories, but most had the seam. Once you’ve seen the real thing, any later versions are easy to recognize – and they are not common.
Xenia
Date: Thu, 7 Jan 1999 15:05:13 -0700 | From: “Jeanne.Fetzer” <Jeanne.Fetzer [at] integrityonline3 [dot] com
I have a brother who is fluent in German and he wrote that it means (roughly, without the rhyme):
“There’s nothing better than coffee hour:
fluttering little hands and busy little mouths.”
He asked however to check the spelling of “Meisige” and asked if it could be “Miesige” and that the meaning would be different. Jeanne.Fetzer [at] integrityonline [dot] com
Date: Thu, 7 Jan 1999 23:13:53 -0000 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk
A couple of years ago the Bowes Museum in County Durham, UK, had a special exhibition in association with a college of art about Jacquard weaving. A hand loom was set up for visitors to try, with a narrow strip being produced just as Xenia describes. The setting up of the threads was extremely intricate.
I can tell you that working the loom was EXTREMELY hard physical work as well as requiring concentration and co-ordination to get the correct sequence of pedal operating (one each foot), shuttle slamming and peg moving. All done whilst perched on a small, sloping wooden seat.
Sally
Date: Thu, 07 Jan 1999 19:05:33 -0500 | From: paul hahn <phahn [at] erols [dot] com
Wasn’t there mention of photcopying onto fabric a short time ago? I believe it was in relation to photocopying vintage fabric swatches for use in restoration projects. Could someone please refresh my memory…..where would I go to get such a process done, what would I ask for? Does the process injure the original fabric piece in any way? Should I bring along my own fabric for the “imprint” to be processed onto?
I promise to pay more attention to anything in the future that I may be even slightly interested in at a later date. Nancy Hahn, Bowie, Maryland….where the students and staff did a joyous snowdance at the end of school today, even tho they say we may only get a dusting at daybreak….
Date: Thu, 07 Jan 1999 03:45:44 -0800 | From: Denise Clausen <nadyne [at] oregoncoast [dot] com>
Dear friends
I was forwarded this info about the author of the book and professor recently mentioned on the list. Thought others would be interested, too. The book I mentioned this afternoon is titled “Hidden in Plain View; The Secret Story of Quilts and the Underground Railroad,” author Jacqueline Tobin. Due out February ’99.
RAYMOND G. DOBARD, Associate Professor, Art History
Raymond G. Dobard received the Bachelor of Arts degree in Fine Arts from Xavier University in Louisiana (1970), the Master of Arts (1973), and the Doctor of Philosophy (1975) in the History of Art from the Johns Hopkins University. Since 1975, Dobard has been affiliated with Howard University where he is an Associate Professor. Dobard is the recipient of several Fellowships including the Johns Hopkins University Horizon Fellowship, the John Hay Whitney Foundation Fellowship and the Leopold Schepp Foundation Fellowship. In 1986, Dobard was awarded the first Thomas Mann
Fellowship as Artist-in-Residence for the city of Lubeck, Germany. Since 1986 Dobard’s creative research has included the history and construction of quilts. In 1989 and 1991 he demonstrated quilting techniques at the Renwick Gallery along with the Daughters of Dorcas. He has worked in collaboration with the Smithsonian Institution in workshops at the National Museum of American Art and the Alexandria Black History Research Center. Dobard has participated in quilt forums, has curated quilt exhibits and has lectured on the topic of “American Quilts and the African American Tradition.” An active quilter, Dobard’s quilts are featured in Lady’s Circle Patchwork, American Craft, American Quilter and Traditional Quilter magazines. He had his first one man show at G Street Fabrics of Rockville, Maryland. In addition, Dobard’s quilts were selected for the Woodlawn Plantation Quilts of Merit show, the Sumner Museum exhibition of American Crafts, the Uncommon Beauty in Common Objects: the Legacy of African American Craft Art, and the American Quilter and Traditional Quilter magazines. Dobard serves on the board of directors of the Virginia Quilt Museum and the Advisory Council of The Textile Museum.
after more searching….
Book Description
In l993, Jacqueline Tobin visited the Old Market Building in the historic district of Charleston, South Carolina, where local crafts people sell their wares. Amid piles of beautiful handmade quilts, Tobin met African-American quilter Ozella Williams and the two struck up a conversation. With the admonition to “write this down,” Williams began to tell a fascinating story that had been handed down from her mother and grandmother before her. As Tobin sat in rapt attention, Williams began to describe how slaves made coded quilts and then used them to navigate their escape on the Underground Railroad. But just as quickly as she started, Williams stopped, informing Tobin that she would learn the rest when she was “ready.” During the three years it took for Williams’s narrative to unfold–and as the friendship and trust between the two women grew–Tobin enlisted Raymond Dobard, Ph.D., an art history professor and well-known African-American quilter, to help provide the historical context behind what Williams was describing. Now, based on Williams’s oral history and their own research, Tobin and Dobard offer proof that certain quilt patterns, including a prominent one called the Charleston Code, were, in fact, essential tools for escape along the Underground Railroad. And just as astonishing, the authors uncover a sophisticated African-American network that relied not only on the messages contained in quilts but also on those hidden in spirituals and Masonic symbols. All of this suggests that there was an organized African-American slave resistance movement that predated the Abolitionist crusade.
Part adventure and part history, Hidden in Plain View traces the originof the Charleston Code from Africa to the Carolinas, from the low-country island Gullah peoples to free blacks living in the cities of the North and shows how three people from completely different backgrounds pieced together one amazing American story. (Click on the picture to order.)
Date: Thu, 7 Jan 1999 20:53:38 EST | From: KareQuilt [at] aol [dot] com
Dear QHL readers,
The following is a response to the “translation request” concerning the redwork kitchen cloth from my lingquist sister-in-law who teaches Serbo- Hi Karen,
I recognized right away that it was Hungarian, without reading to the end of the story. But since I don’t know Hungarian I can’t comment on the translation. I can write it out (with the proper dots etc., which are necessary to the spelling) and ask a Hungarian colleague. Or you can just trust the mother in question!
I would suspect that “engem” means “I’m happy” or the like — the -m on the end of a word (with front vowel or diphthong before it) occurs twice in the first line (“my kitchen, my mirror”) and once in the second “makes me happy”), and -m is a very frequent mark of the first person singular (me, my, etc.) in languages across the world. But I’d still have to verify it with someone who actually knows the language. love,
R
Date: Thu, 07 Jan 1999 20:40:07 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Nancy,
As for use in restoration….What I’ve done…on a very limited basis, mainly because I have been lucky enough to get the vintage stuff that I needed . I have taken the quilt/fabric…what ever to the color copier and made a xerox of it…then got Kinkos to do it on thier photo trasnsfer paper and then just ironed it onto the appropriate “greigh” good..It does not injure the original fabric in any way…..it’s just like doing photos for the memory quilt projects, only your image is the printed fabric. Only thing that I have come up against.( I’ve been taking *lots* of clients quilts to the color copier for documentation of damage/repairs and to use as additions to my fabric dating book—see article in the Dec VQTS newsletter <G>)
anyway..the new self service color copiers that we have at the Kinkos here are not always accurate in color duplication. Get the tech or staff to adjust the color on “their” nacgube, It may be a little more costly, but with the repro thing, the color can be crucial.
Hope this helps..
Laura
In still foggy, and supposed to be again tomorrow…foggy N. Texas but they say there is another blast of winter on it’s way…yeah, right!! At 07:05 PM 1/7/99 -0500, paul hahn wrote:
>Wasn’t there mention of photcopying onto fabric a short time ago? I believe it was in relation to photocopying vintage fabric swatches for use in restoration projects. Could someone please refresh my memory…..where would I go to get such a process done, what would I ask for? Does the process injure the original fabric piece in any way? Should I bring along my own fabric for the “imprint” to be processed onto?
I promise to pay more attention to anything in the future that
>I may be even slightly interested in at a later date.
Date: Thu, 7 Jan 1999 22:40:32 EST | From: Cml791 [at] aol [dot] com
I am enjoying some time in Colorado, visiting my children, working on a quilt and hopefully skiing when I get adjusted to the altitude. I went to the Rocky Mountain Quilt Museum in Golden yesterday and saw a nice exhibit of 19th century quilts from the collection of Jeananne Wright. There were 20 quilts and a little personal history of each. I especially enjoyed seeing the “Pea Ridge Lily” quilt that is featured in Brackman’s Civil War book. There was also a smaller exhibit of art quilts upstairs by a group named the Piecemakers, very interesting. Both exhibits run through April 3. Also went by Primedia Publications (formerly Leman). They do still have the central gallery but not the store (used to be Quilts & Other Comforts). The receptionist said they moved to Missouri where they purchased Clotilde. Carolyn, currently in Breckenridge, away from Texas
Date: Thu, 07 Jan 1999 23:19:24 -0500 | From: Barb Garrett <bgarrett [at] fast [dot] net>
Announcing – Interesting magazine article by QHL Member Issue 36 (February 1999) of American Patchwork and Quilting Magazine from Better Homes and Gardens contains a very interesting and informative article about Anne Orr written by QHL member Merikay Waldvogel. The article is very well written, the pictures are very beautiful, and you will learn about a very interesting and talented lady. Even if your primary interest is 19th century quilts, the article is very worthwhile, and if you like 20th century quilts, it is must reading. Congratulations, Merikay for being published and thank you for sharing more of your accumulated knowledge with us.
Barb in southeastern PA
<bgarrett [at] fast [dot] net>
Date: Thu, 07 Jan 1999 21:50:55 -0700 | From: bettymilner [at] uswest [dot] net
Denise,
Thanks for the extensive information on the book “Hidden in Plain View….”!!! I preordered a copy a few weeks ago and look forward to getting it. Your information confirmed my decision to buy it as I am sure it will be excellent.
Betty
—
Happy Stitching!
Betty Milner bettymilner [at] uswest [dot] net
Betty’s Custom Sewing
Johnstown, CO
“In a cat’s eyes, all things belong to cats.” English Proverb
Date: Fri, 8 Jan 1999 00:05:08 EST | From: QuiltFixer [at] aol [dot] com
Here is one in German that I just cannot get to make sense by using German Dictionary or the web pages. This is on a Splash.
Zur
Rechten
Zeit sei alles bereit.
Maybe someone who can read German can tell me about this. Thanks, Toni QuiltFixer [at] aol [dot] com
Date: Fri, 8 Jan 1999 00:42:02 EST | From: Kathi2174 [at] aol [dot] com
Hello All,
While we are still exploring foreign words on textiles, I have one that I’ve been puzzling over for a while. It’s an embroidered linen towel with lovely shaded red roses. The lettering is shaded and outlined above the floral spray.
It reads: Dzien (umlaut above the n)
dobry
The towel folds over and a very ornate letter “D” is centered to show on the bottom I read somewhere about decorative cover towels used for show to cover everyday towels.
I showed this item to a friend from Germany who says it is not German (my first guess), but an eastern European tongue.
I tried the web translating sites that were offered on the list, but had no luck. Does anyone have a guess as to which language this may be?
All input welcome!!
Thanks,
Kathi in cool (weather-wise) Calif.
Date: Fri, 08 Jan 1999 04:56:54 -0500 | From: Libby Magnello <libbym [at] ccia [dot] com>
Yes, congratulations Merikay on your article! I read it before I joined this list, and I really did learn a lot from it. I am new here, and new to the world of quilt history. I will go back to observing and learning! 🙂
Lib in northwestern PA
—
Dear Jane 9-0-187 libbym [at] ccia [dot] com
http://www.angelfire.com/tx/Mansion
“Black holes are the result when God divides by zero.”
Don E. Sharp
Date: Fri, 08 Jan 1999 08:56:40 -0500 | From: ZegrtQuilt [at] aol [dot] com
Hi — I’m new to the QHL lists and have been having a fun time lurking. I’m on the digest so I won’t be getting back to people immediately. I was beat to the Hungarian, however –<g> my DH speaks a few Slavic languages and he was pretty sure that it was Hungarian as there were no words in there that HE recognized. It was nice to have the exact translation!
On to my question: I have P&B’s Oakland Musuem repro fabric and would like to do something special for my DH, who is from CA — but am having a blank with “blocks” from CA. I’m overseas at the so my only reference materials are my own quilting books and the internet, which unfortuntely for once, has been less than helpful. I’ve only been able to come up with Rocky Road to California, California Rose (whig rose variation, I think) and there was a mention in one book of California Oak (no pic, though). Does anyone else have anything they could look through for me? Also, I searched and searched for hours on the www for some book on California State quilt search project (or whatever they call them) but couldn’t find anything. The only thing I did find was a mention of Jean Ray Laury’s book “Ho for California ….” but can’t find anywhere to order it, even on Amazon. I don’t have the exact title, either. Help!, and thanks!
Maryjo Ordway
