June 11 - 19, 2002 - QuiltHistory

Quilt Dating, Quilt History Resources, Quiltmaking Techniques & Construction, Regional Quilt History

These restored messages come from the Quilt History List, an online forum where quilt historians, collectors, researchers, appraisers, and enthusiasts discussed antique quilts and related textiles. The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form at the bottom of the page if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged.

Primary topics of this QHL Digest:

Winterthur Quilt Collection Visit — Members swap descriptions of a glazed blue wool (not wood-dyed) quilt seen on a Winterthur Museum visit, regretting that photos weren’t allowed.
Why We Collect Quilts — A collector reflects on the mix of motives — color, pattern, restoration potential, and sheer compulsion — behind building a quilt collection.
Naming “Fondue Blue” — Discussion of the light-to-dark shaded blue fabric nicknamed “fondue blue,” often seen in Baltimore Album quilts.
Potholder-Style Block Construction — A researcher combing 19th-century magazines asks whether anyone has documented quilts made by finishing blocks individually before joining them, citing an 1847 silk example.
Endless Quilt Day Online Registry — The Center for the Quilt announces an online “Endless Quilt Day” where owners can register their quilts, prompting members to share the link.
eBay Quilt Misattributed to Marie Webster — A seller discovers her eBay-listed quilt was wrongly attributed to designer Marie Webster and works out its more likely 1940s patriotic-motif origin with help from the list.
Smithsonian Quilt Loan Controversy — Members recall the controversy over the Smithsonian permitting its antique American quilt holdings to be loaned out. (see the article on the Smithsonian quilt controversy)
African Quiltmaking Cottage Industries — A thread begins on setting up quilt-making businesses in Africa, drawing comparisons to Britain’s 1930s Rural Industries Bureau training schemes.

Date: Tue, 11 Jun 2002 23:34:02 -0500 | From: Jennifer Perkins <qltrstore@>

Cinda,
Loved your description of the quilts, but a picture is worth a
thousand
words! Did you all get to take any picturers with your digital
cameras to
share??? Does the museum have a book with their collection pictured?
Jennifer in Iowa-drooling from the descriptions!

—
[This E-mail scanned for viruses by Declude Virus]

Date: Wed, 12 Jun 2002 09:33:01 -0500 | From: “Carol Butzke” <butzke@>

Good morning Ladies,
The following information might be of interest to you as you prowl
the
computer world. About a week ago, an e-mail of mine to a friend
ended up
with a “Cc” to the Quilt History List. (Have not yet figured out how
that
happened) It sprawled allover the list with a large field of
lettering. I
was totally surprised, shocked might be a better word! My first
concern was
that it was a virus; however a scan of my system turned up no
infected
files. Also the Online Mcaffee system was up-to-date to the day.
Kris, our
list mother, and I have been working to find out the problem. From
her
knowledge, we have figured out that the culprit was a “stationary” of
sunflowers that is a part of Outlook Express #6 that I occasionally
use(d).
(Fat chance that I will use it again! I have even gotten a distaste
for
sunflowers.)

I appologize for any inconvenience that might have occurred as you
all had
to scroll down rows and rows of gibberish. Thanks again Kris, for
your
input.

Carol Butzke

Date: Wed, 12 Jun 2002 13:44:31 -0700 (PDT) | From: [from unknown]

The posed question is a good
> one and
> I think it interesting that I also use the term sing in relation to
> quilts. I sometimes say that my quilts sing together and at the
> most
> recent show where my vintage stars were cesidecontemporary
> landscape
> quilts I choose colour combinations that allowed the two styles to
> sing
> together.
> I buy quilts for a number of reasons , almost like an addiction ,
> I
> need a fix monthly and although I keep saying I only buy Star
> design
> quilts I keep coming across orphans that need new homes so… Even
> a
> dealer at a recent antique show sold me a super red and white quilt
> at a
> steal as she said she knew I would give it a good home. I wish I
> had
> taken a picture of the water colour after the first rinse.
> I also buy quilts to get examples of different star designs for my
> collection and I buy when it is a unique design,great quilting and
> or
> in good condition . In addition I buy unique ones like a half log
> cabin
> that is filled with a hand woven mat ( who got the other half) to
> use
> as illustrations for my articles in Canadian quilter under the by
> line
> Yesterdays Quilts. I tend to buy at low prices and increase the
> value by
> restoration. recently I seem to find quilts in the same colour
> combinations. Three red and whites this year and a lot of
> depression
> green last year. The good ones are getting harder to find and the
> prices
> are increasing so I need to spend more time looking. I prefer to
> buy at
> flea markets and garage sales, prices are better but then there
> are the
> unusual ones that catch my eyesuch as the 1930″s painted flowers
> that I
> could not leave at the mall… Enough as summer is the prime time
> for
> quilt shopping in Quebec. Diane Shink

Date: Thu, 13 Jun 2002 13:41:06 -0400 | From: Vivien Lee Sayre <vsayre@>

Hello All,

I was wondering if anyone has seen a silk ribbon which commemorates
Robert
E. Lee’s Farewell address to his troops. It is approximately 5″ long
and 2″
maybe 2 1/2″ wide made of off-white silk. The printing is in red and
reads
as follows: “Gen. Robert E. Lee’s Farewell Address To His Army,
Headquarters Army of Northern Virginia, Appomattox C.H., April 10,
1865,
(General Orders, No.)”. This is followed by the full text of his
speech. I
have searched just about everywhere and come up with nothing. Has
anyone
seen one like this? Thanks for any help you can give me.

Vivien,
in Massachusetts where the sun is shining for five minutes.

Date: Thu, 13 Jun 2002 12:14:16 CST | From: jocelynm@

On Tue, 11 Jun 2002 16:41:00 -0400 “Cinda Cawley” wrote:

> For $25 each we had a docent of our own who took us to the
textile
> storage area and through the period rooms on the 7th floor of the
> museum to
> A Baltimore Album dated 1845
> made for a minister had fondue blue sashing,

Cinda,
I’ve not heard of fondue blue- what shade of blue is it?
Jocelyn

Date: Wed, 12 Jun 2002 20:00:31 -0400 | From: “Cinda Cawley” <lrcawley@>

No the glazed blue quilt was not wood. It was, of course, wool.
Photos
were not allowed and sadly Winterthur does not have a catalogue of
its
textile collection. Let’s start a letter writing campaign. The
curator’s
name is Linda Eaton.
Cinda on the very hot Eastern Shore

Date: Thu, 13 Jun 2002 15:38:10 -0500 | From: “Webb, Dixie J” <WEBBD@>

Hi,

I have become curious about the possible influence of European
botanical
prints, Dutch still-life paitings, and other two-dimensional art
forms for
early chintz designs. Does anyone know if this research had been
done? I do
not (yet!) have ready access to a complete collection of AQSG’s
Uncoverings,
but thought one of you might be able to point me to the source, so I
could
use inter-library loan?

Thanks in advance for any suggestions!
Dixie Webb
Clarksville, TN

Date: Fri, 14 Jun 2002 07:55:11 -0400 | From: “Dee Stark” <dee@>

> > so it must have been a velvet ribbon. We estimated the age of
> > the 2 quilts as 1875 – 1890. Has anyone seen quilts like this
> > before (sort of reminded us of the square “puff” quilts, but
> > these did not have a pleat in them, and were reversible). Would
> > this technique have been described in a lady’s magazine??

Sounds like a really cool quilt!

In the last year, I have looked at every issue of Godey’s,
Peterson’s,
Harper’s (in its various forms), Art Amateur, and a few other lesser
known
magazines. From the start of publication thru 1920 (for those that
published that long).

I didn’t see any quilt patterns for anything like you described.

dee
www.deestark.com

Date: Fri, 14 Jun 2002 09:28:39 EDT | From: ZegrtQuilt@

FOR IMMEDIATE RELEASE:

CONTACT:
Karen Musgrave or Penny McMorris
The Alliance For American Quilts The Alliance For American
Quilts
(630) 579-1024 (tel) (419) 352-1134 (tel)
(630) 579-1026 (fax) (419) 352-4332 (fax)
kmusgrave@ Penny@
www.centerforthequilt.org

The Alliance For American Quilts launches The Center for The Quilt
Online-America’s Quilt Home on the Internet

Louisville, Kentucky, June 6, 2002 – The Alliance For American Quilts
announced today the launching of its new web site, The Center for The
Quilt
Online, www.centerforthequilt.org.

The Alliance is a national non-profit organization that has developed
a
series of projects to document, preserve, and share the history and
stories
of quilts and quiltmakers. It plays a unique role as a catalyst,
bringing
together institutions and individuals from the creative, scholarly,
and
business aspects of quilts to advance the recognition of quilts in
American
culture.

The Center for The Quilt Online gathers all of The Alliance’s
projects in a
lively, interactive format that makes a wealth of information
available to
quilt makers, students of quilts, and the general public. Some of
the
features of the site include:

§ Quilters’ S.O.S.-Save Our Stories – a growing collection of oral
histories
and photographs of quilt makers and their work, along with a
downloadable
extensive manual that allows anyone around the country to start their
own
Quilters’ S.O.S. – Save Our Stories project.

§ Boxes Under the BedÔ – information and how-to about identifying and
gathering important documentation about quilts and quiltmaking.

§ Quilt Query – a place to ask and get answers about quilts, quilt
history,
and quilt preservation.

§ The Quilt Index – a sophisticated database project under
development at
Michigan State University to put state quilt project and other quilt
documentation on the Internet-the pilot version of the Index will
debut in
the fall of 2002.

§ Quilt Treasures – coming in summer 2002, the first of a series of
mini-documentaries and oral histories featuring the leaders of the
American
20th century quilt revival.

§ H-Quilts – an open listserv for quilt researchers to share
information,
pose questions, and participate in on-line discussion.

§ Quilt Links – connections to some sites of interest.

-more-

Announcement of centerforthequilt.org, continued

The site also links directly with quilt-related portions of the
Library of
Congress’ American Memory online collection, and has some intriguing
features
under development, including Endless Quilt Day, which will allow
individuals
to upload their quilt images and information onto the Internet.

For quiltmakers, particularly, the site features the Quilting Bee,
which
takes site users directly and easily to portions of the Center for
The Quilt
Online of special interest to them. In addition, the site has
complete
information about The Alliance as an organization, including
opportunities to
support The Alliance’s work.

Alliance President Shelly Zegart commented, “The Center for The Quilt
Online
is a virtual community that brings together everyone who has some
interest or
involvement with quilts or quilt making-from the family quilt owner,
to the
sophisticated collector, to the academic quilt scholar, to the
dedicated
quilt maker, to the teacher building curriculum, and the student
crafting a
report. Quilts are for everyone and quilts matter-that’s the message
of The
Alliance and this new web site.”

Penny McMorris is an Alliance board member who led the creation of
the site
and owner of the Electric Quilt Company, which develops and
distributes quilt
software and books on the Internet. McMorris added, “There are
thousands of
quilt Internet sites, but this one is really unique as it combines a
clear
and comprehensive perspective on quilt history and quilt stories with
wonderful images, and a user-friendly approach that makes it
attractive to
all types of users.”

Site credits include Hong Huynh, of Sunnyside Up Designs, for site
design and
navigation, Michelle Jones for site editing and coordination, Karen
Musgrave
for developing and editing Quilters’ S.O.S. – Save Our Stories
materials,
Merikay Waldvogel and the Michigan State University Museum for the
Boxes
Under the BedÔ section, Laura Mandeles of Wolf, Keens & Company for
text
development and editing, Justine Richardson and MATRIX: the Center
for Humane
Arts and Letters Online for the search engine, Suzanne Staud for
graphic
images, Penny McMorris for site concept development and management,
and
Shelly Zegart, Alliance President, for site funding and overall
inspiration.

Contacts:
Karen Musgrave or Penny McMorris
The Alliance For American Quilts The Alliance For American Quilts
(630) 579-1024 (tel) (419) 352-1134 (tel)
(630) 579-1026 (fax) (419) 352-4332 (fax)
kmusgrave@ Penny@
http://www.centerforthequilt.com

Date: Fri, 14 Jun 2002 09:12:02 -0400 | From: Newbie Richardson <pastcrafts@>

Dixie and the rest of the list,
The craze for botany and horticulture (part of a great obsession
with
the natural sciences in the 18th/19th c) had a major impact on the
textile designs of both the 18th and early 19th centuries – aas well
as
all of the decorative arts. You have to goout side the quilt world
into
the greater history of the decorative arts.
The great silk designers of both England and France were directly
impacted by this: see “Eighteenth Century Floral English Silks” by
Deborah Kraak, The Magazine Antiques, June 1998, & Silk Designs of
the
18th Century (from the V&A), by Clare Browne, Thames and Hudson 1996
ISBN#0-500-27880-6 :this is a distillation of Natalie Rothstein’s
book
of the same name. Ms. Rothstein was the curator at the V&A and is the
world’s authority on the subject.
I curated a small exhibit called “The Flowering of Fshionable
Taste”
this past spring. I traced the use of botanical designs on all the
dec
arts of the period. There is very strong evidence to support the fact
that many of the botanical books were actually done for embroidery
designers to use for their designs.
However, chintz designs, as a cotton fabric mostly produced in the
Far
East at this period, were probably not influenced by Western botany
per
se. But the craze for floral designs influenced which chintz designs
were being imported as well as the color ways prefered by the Western
markets.
I suspect you will see a more direct influence of this craze for
botany in the designs used in the “Broderie Perse” quilts where the
Western taste dictated the arrangement of the cut outs.
This subject is better researched in the history of the dec arts.
Look up the many scholarly works on the subject by Peter Thorton. A
more quilt specific resource is the book: Calico and Chintz by Jeremy
Adamson
ISBN#0-937311-35-9 (paper).
Newbie Richardson

Date: Fri, 14 Jun 2002 12:17:27 -0400 | From: “Cinda Cawley” <lrcawley@>

Hi Joanna,
Referring to “fondue blue” I meant the blue which shades from
light to
dark (often seen in Baltimore Albume quilts. Colors which shade in
this
manner are sometimes called ombre.
Cinda on the Eastern Shore

Date: Fri, 14 Jun 2002 12:35:40 -0400 | From: “Jan Drechsler” <quiltdoc@>

We had a discussion about gold standard politics and a single gold
square in
a one patch quilt.

To quote Xenia Cord: ‘It was during this campaign (election of
1896) that Bryan gave his stirring “Cross of Gold” speech…

>Supposedly, disfranchised women showed their support for McKinley by
>placing one solid gold piece in their otherwise uniformly colored
>quilts. I own 3 quilt tops with this phenomenon – all dark colored,
>red, blue, brown – and one gold piece. … I as a folklorist and
>historian find it entirely possible that women expressed their
politics
>in this way. But it would be really good to find some diarist
account
>or other written proof.’

While refolding my quilt tops yesterday, I was surprised to find that
I had
a gold square quilt also. It is a simple one patch with the pattern
of
identical fabrics on the diagonal, separated by a row of muslin.
Right at
the edge near the corner, in a row of yellow, is this ‘smack you on
the
head’ gold/orange. It is deliberate, since in other rows the maker
substituted similar yellows or greens or blues if neccessary. But
this is
not similar.

My quilt is ‘Post Civil War’ per Barbara Brackman and has earlier
fabric as
well. There is no fabric that definitively ties it to the 1880s or
later. I
purchased it in central NJ, right on the PA border. The silver/gold
standard
issue in the U.S. wasn’t settled until @ 1898.

We have previously talked about the political fashion statement that
a woman
could make by adding a gold square to her quilt.

What about superstitions or folk ideas? Does anyone know of any that
included adding a piece of gold fabric or trim in a garment or quilt
or
accessory (hat, petticoat, scarf) for good luck or wealth?

My grandmother, born in Victorian Scotland, U.S. citizen in 1913, was
low
key on politics (Bonnie Prince Charlie, Robert the Bruce, etc. the
exception). BUT was she ever full of folk saying, superstitions and
the old
ways while totally embracing the Presbyterian Church and American
modern
conveniences.

Not putting women down, but there were also many rural women making
quilts
who had folk traditions or folk songs passed down and we may be
seeing this
resurface for some reason rather than gold standard politics.

Any popular collections of folk tales or songs published at that time
that
have reference to gold or gold patches?

Jan

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

Date: Fri, 14 Jun 2002 12:09:58 -0700 | From: chrisa@

<<Not putting women down, but there were also many rural women making
quilts
who had folk traditions or folk songs passed down and we may be
seeing this
resurface for some reason rather than gold standard politics.

Any popular collections of folk tales or songs published at that time
that>>

This reminds me of a recent movie called “Song Catcher”. It has at
least 4
wonderful quilts being used in it and I enjoyed the movie very much.
It is
set at the turn of the 20th century I believe. It is about a Music
Professor
from a large eastern city who goes to the Appalachian mountains to
visit her
little sister who teaches there.( She leaves her position because she
is
once again passed up for promotion, being discriminated against
because she
is a woman.) Back to the point, She discovers folklore songs while in
Appalachia that had never been known to the public. She was taken
with the
notes, words, rhythm, and was astounded that they(the songs) had not
ever
left the rural area. The people had learned them through oral
tradition via
singing. The songs told stories about the communities history of
their
people and events in their lives. They all seemed to know the songs
and were
surprised at the professor’s interest in them. It did not appear that
they
wrote them down, as this became the focus of the professor. I won’t
say
anymore, in case you decide to rent the video.

Kim Wulfert
www.antiquequiltdating.com

Date: Sat, 15 Jun 2002 13:14:54 -0400 | From: “anne” <datkoa@>

Please note this upcoming show.

Festival of Color, the 2002 Nimble Fingers Quilt Show, will be held
Saturday
Oct 19, 10 am – 6 pm and Sunday Oct 20, 11 am- 5 pm at the Kensington
Armory, 3710 Mitchell St., Kensington, Maryland. The Armory is two
blocks
from historic Antique Row where at least one shop features quilts.

Featured: Quilts made by members, vendors, raffle quilt (pictured on
web
page), boutique, raffle baskets, silent auction. Donation is $5. Men
are
admitted free!

Directions: From I-495 proceed north on Connecticut Ave ( Exit 33,
Md. Rte.
185) past two traffic lights and a flashing light to the next light
(approx
1.8 miles) at Knowles Ave. Turn right, go one block and turn right
again at
Armory Ave. Proceed one block to Mitchell St. The Armory is on the
corner
of Armory St. and Mitchell St.

Southbound Connecticut Ave (Md. Rte. 185) or University Boulevard
(Md. Rte.
193), turn left at Knowles Ave. (next light after the Kensington Fire
Station on the right) and follow the above directions.

Quilt Show information: www.nimblefingers.org or
nimblefingersqlt@ or
301-843-1127

Date: Sat, 15 Jun 2002 14:26:21 -0400 | From: “Pam Weeks Worthen” <pamworthen@>

Dee wrote:

In the last year, I have looked at every issue of Godey’s,
Peterson’s,
Harper’s (in its various forms), Art Amateur, and a few other lesser
known magazines. From the start of publication thru 1920 (for those
that
published that long).

I ask: Did you see instructions for making pieced blocks, then
layering,
quilting and binding the blocks individually, then sewing the
“potholder”
blocks together? I have a silk quilt dated 1847 with blocks made
this way,
and have it on my short list to head over to the library near me that
has
Godeys for a good look through…hope you might save me the time.

If I remember, Sandi Fox’s book on “Quilting Together…” has a set
of
friendship quilt blocks made this way, but not sewn together. Any
one else
know of any published references?

Pam Weeks Worthen in NH where it is raining so hard I may never have
to wash
my car again!

>Recently, a lady asked if I knew of amy group/organization where one
>could register quilts..If anyone knows of such a place/group please
>let me know.

>email me at
>baglady@

Date: Sat, 15 Jun 2002 15:54:49 -0400 | From: “Cinda Cawley” <lrcawley@>

If Nancy Hahn ever suggests that you check something out, do it!
Nancy
told me about a one day, outdoor antique show in Clarksville, DE.
Today was
the day; I did a real blitz because I was supposed to be home
packing. I
bought a privy bag!
On p. 169 of Mennonite Arts Clarke Hess writes, “Certainly the
most
unusual textile to emerge in the Mennonite community is the privy
bag. The
small pieced or appliqued privy bags,…,were used to collect paper
scraps
that would eventually be recycled in the privy. Surviving examples
date
from the 1820s to the 1920s, with nearly all of them originating in
Lancaster County. The vast majority have provenance to Mennonite
families.”
Hess speculates that the bags may have been practice pieces for young
needleworkers and that many were never intended for the outhouse.
There are
color photographs of six examples.
On p. 44 of Pennsylvania German Arts by Irwin Richman is a photo
of what
he calls a “hanging or privy bag.” It is appliqued and quilted.
In Quilting Traditions: Pieces from the Past, p. 151, Patricia
Herr
writes: “Another less common form of quiltmaking is the hanging
bag.
This example (referring to a photo) has two hanging loops at the top
edges
and a slit along the right side for an opening. The back is made
from a
printed fabric and the edges are secured with a cloth binding, much
as a
quilt might be. They were hung on the walls of PA German homes to
use as
convenient containers for fabric scraps and other sundries. Some
even held
necessary paper on the outhouse wall.” The example described is
attributed to a member of the Church of the Brethren. There are
three
examples of hanging bags pictured on pp. 152-153. Trish writes that
the
bags were only occasionally quilted, that appliqued bags were less
common
than pieced examples and that the opening was usually found on the
right
side.
My bag is 22″ square. It has two tape tabs for hanging and an
opening
on the right side. Two pieces of a pink print on white are sewn
together
for the back. It has a very narrow binding (just over 1/8th inch) of
a
double pink print. The front of the bag is appliqued (with some
reverse
applique) in a President’s Wreath variation. in double pink, chrome
yellow
and two poison greens. The applique is exquisite. Militant
Pennsylvanian
that I am, I am happy to report that the stems are a healthy 3/4s of
an inch
wide. I think that fussy Maryland applique is highly over rated.
(VBG) The
bag is in good shape, but has clearly been used. I date it c. 1870,
maye a
bit earlier.
Thanks Nancy.
Cinda on the Eastern Shore

Date: Sat, 15 Jun 2002 16:06:52 -0400 | From: “Cinda Cawley” <lrcawley@>

I just saw that the Center for the Quilt Online is planing an
“Endless Quilt
Day” where people can register their quilts online.
Cinda on the Eastern Shore

Date: Sat, 15 Jun 2002 17:14:34 -0400 | From: “Judy Kelius (judysue)” <judysue@>

At 03:54 PM 6/15/02, Cinda Cawley wrote:
> If Nancy Hahn ever suggests that you check something out, do
it! Nancy
>told me about a one day, outdoor antique show in Clarksville, DE.
Today was
>the day; I did a real blitz because I was supposed to be home
packing. I
>bought a privy bag!

Wow! Congratulations! That is a rare find. Did the seller know what
it was?

I have seen some of these sell at auctions around here (Lancaster
County)
but they bring small fortunes. There were several at Marilyn
Kowaleski’s
sale a couple of years ago. Then I saw a “sewing bag” on eBay more
than a
year ago and thought it looked like a privy or outhouse bag – I wrote
the
seller (who was in the midwest) to get provenance, and she had bought
it
with a number of textile items from the estate of someone who bought
a lot
in this area. So I bought it (bargain price – no one else knew what
it
was!) and sure enough it is a privy bag circa 1880 . . . even signed
with
an ink stamp that the seller missed since it was on the reverse of
the
backing fabric! Mine is pieced – applique ones like yours are even
rarer.

Date: Sat, 15 Jun 2002 16:44:29 -0500 | From: “Avalon” <malthaus@>

http://www.centerforthequilt.org/

This is the website that was mention for registering quilts online.

Mary in Wisconsin

Date: Sun, 16 Jun 2002 11:10:17 -0400 | From: Judy White <jawhite@>

Cinda, the privy bag is the most interesting textile piece I have
ever
heard of. Apparently from your description, this was a communal bag
to
which everyone is the household contributed scraps, right? Are there
any examples of personal privy bags?

Judy White – Ct where we may have to build an ark soon

Date: Sun, 16 Jun 2002 16:17:56 -0700 | From: “Julie Silber” <quiltcomplex@>

Hello All,
I received several helpful e-mails about the quilt I saw on eBay that
puzzled me —

My original question: I saw a very interesting State Flowers quilt on
eBay:
Click here: eBay item 2110904921 (Ends Jun-16-02 17:00:54 PDT )I am wondering if the Patriotic themes and colors are unusual. I am so
used to seeing the more delicate, pastel, “flower-y” types made from kits
and patterns.

And I was also wondering about the 1940 date on it. Weren’t these Red-White-Blue quilts with flags, shields, Statue of Liberty, etc.
done DURING World War II. Since the U.S. did not enter the War until Pearl
Harbor(December, 1941 – almost 1942, really) I’m a bit surprised to
see one made earlier.

Connie Ark wrote:
I finally found my folder on the Old Glory quilt pattern and it was attributed : “by Mary Erckenbrack”. It appeared in 1931 in The
Seattle Star and probably other newspapers, but I don’t have references for
any others. It was syndicated in the pattern for 52 weeks and included
48 states and a Torch of Liberty for the center of the quilt.

Thank you Connie ~~ and all the others who took the time to give information!!
Julie Silber

Click on the thumbnails below

Date: Sun, 16 Jun 2002 22:06:23 -0400 | From: Barb Garrett <bgarrett@>

Good evening All —

Julie asked about patriotism before Pearl Harbor, so when talking to
my
father tonight I asked my parents about the patriotic atmosphere
while
the war was going on, but we weren’t in it yet. Mom was born in
1918,
dad in 1920, so they were working young adults during the pre war
years.

I asked — was there a patriotism in the US before Pearl Harbor, or
did
it begin with that event.

They said there was definitely a patriotism in the US. In 1939 when
the
draft began many young men joined the service or the reserves so they
would be ready to be called up when necessary. They indicated that
they remembered it being a case of when the US entered the war, not
if. My dad said he joined the Navy reserves in 1939 — age 19 —
and
was called to active duty in early 1941 — and while on ship made 2
trips to Iceland before December 1941 — as he said — Into the area
of
submarines and bombers.

Since someone else has already reported that the pattern for this
quilt
was available from the newspaper in the early 1930s, it seems like a
logical quilt for someone to make in 1940. How great to learn
history
from a quilt question. I also learned that my uncle was one of
those
who dropped out of school before Pearl Harbor to enlist and never
graduated from high school.

Thanks for asking about the quilt Julie — it was great to see. And
I
enjoyed learning about my dad’s pre war story — I’d always known he
was
in the Navy, married on leave in 1943, but just assumed he joined
after
Pearl Harbor.

Barb in southeastern PA

Date: Sun, 16 Jun 2002 23:15:37 -0400 | From: Pat and Jim <jimpat@>

Dear List Members:

I vaguely remember hearing something, somewhere, about a requirement
that imported quilts be permanently marked so that they will not be
mistaken for authentic American antiques, further on down the line.
Does anyone remember the details of this situation? If so, I would
appreciate hearing from you. Thanks.

Pat Cummings

Date: Mon, 17 Jun 2002 00:15:49 -0700 | From: Gaye Ingram <gingram@>

And I was also wondering about the 1940 date on it. Weren’t these
Red-White-Blue quilts with flags, shields, Statue of Liberty, etc.
done
DURING World War II. Since the U.S. did not enter the War until Pearl
Harbor(December, 1941 – almost 1942, really) I’m a bit surprised to
see one
made earlier.

Julie,

Actually the sense of patriotism was heightened in the 30’s among
Americans
at large. And after FDR’s inauguration, there was a concerted effort
on the
part of the President and eventually of his wife to rally the nation
to
recall its historic sense of mission and social concern. The NRA
(National
Relief Agency) sponsored at least one quilt competition, evidently
focusing
on the NRA slogan “We Do Our Part.” Today I came across an unworked
hand
towel put out by NRA with a vaguely patriotic slogan. I have
serveral
similar embroidered textiles. The theme is played out in various
media. I
think the sense of nationhood resembled that which emerged in the
aftermath
of 9/11—a sense of the need for everyone to pull together to
rejuvenate
America.

Moreover, I think the relative difficulty of wide travel for most
Americans
in this period made inforamtion about various states more “exotic”
and thus
valuable. Knowing the state flower or state bird of each state was
“in.”
A child from the Deep South, even in the early 50’s I recall
cherishing
pages from calendars depicting New England scenes and through penpals
collecting representative items from other states and sections of the
country. My friends did the same thing. An elderly woman I once
knew had
been the wife of a railroad conductor in the 30’s and through him
often
traveled across the country during the Depression. She also had
worked
outside the home. Thus she was a little more sophisticated than many.
Yet,
she told me she took tremendous pride in learning about each state as
she
embroidered blocks for a state bird quilt. The center of that quilt
had an
American eagle, which she designed herself. The blocks had come
through a
newspaper and when set 6X8 with sashing made a double-bed quilt. When
she
added the eagle, she had to reconfigure the blocks. She said that
eagle was
important to her. She saw that quilt as part of her support of
America.

A look at school texts, political advertising and rhetoric, and other
cultural signs suggests that a rather fervid sense of patriotism
existed
alongside the despair of the Depression. It is that sense and the
unity it
implied, I believe, that helps create the nostalgia for the era among
those
who knew it personally.

Gaye

Date: Mon, 17 Jun 2002 07:12:36 -0700 | From: “Julie Silber” <quiltcomplex@>

Hi All,
Boy, do I feel dumb… I have listed a quilt on eBay as a Marie
Webster design, but this morning I received the following e-mail: ooops, this
is a Mountain Mist pattern. Marie had the tulips go towards the center
in the border. In the border in the center she had 3 tulips with 2 butterflies… The middle blocks were bigger and consisted of 9
blocks.
Pretty quilt anyway…

I need help clarifying so I can amend the information in my listing
or may be even close the auction and start over…

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=885930336

tqc…Marie Webster TULIPS QUILT c.1925, EXC.
885930336

Thanks!
Julie Silber

Click on the thumbnails below

Date: Mon, 17 Jun 2002 07:55:46 -0700 (PDT) | From: Ark Quilts <quiltarkmv@>

There was a nation-wide objection by quilters and much controversy
over the Smithsonian permitting its antique American quilt holdings to
be copied as reproductions by imported quilt manufacturers. It was
frequently written about in the AQS and NQA publications in the late
1980’s and 1990’s. If you would like some specific article titles,
authors, and dates I can look them up and post them in a few days.

To continue……over a series of several years, the Smithsonian
contracted to have these imported quilts made, but not all were documented
with any permanent label. The quilts made by all the different
imported quilt manufacturers made for sale in retail stores (department
stores, craft stores, mail order, and even pharmacies and others!) were
not labeled as such, they had only the legally required paper vellum
bedding tags. Occasionally, in the package with an imported quilt
purchased at a retail store, there would be a little paper stuck in with
the packing that was written in Chinese that evidently bore the maker’s name………..

My personal objection to these quilts were that they misled the
public in their thinking about domestic, antique quilts. The language on
the labels of the imported quilts frequently claimed them to be
“heirloom quality”, “beautifully hand-stitched”, “highly collectible”, and
other exaggerated descriptive claims. The bottom line……….they
were very inexpensive and therefore appealing to the consumers (many
of whom took the quilts home, used them, and were gravely
disappointed when the quilts fell apart, faded on itself, or did not last with
continual use & the retail source would not replace their cost,
replace the item, or stand behind the products).

Another of my objections is that the imported quilts had a definite
(although possibly unmeasurable) impact on the value of domestic
antique quilts. Those women involved in the cottage industry of
quiltmaking here in Ohio complained bitterly that they could not compete with
the $30 and $50 imported quilts as it cost that much and more to buy
fabrics at retail/wholesale prices and then they could not sell their
quilts for a profit. Many told me they stopped making quilts to sell
outright or consign in shops and went back to a “special order” basis
only for their quiltmaking………some stopped making quilts for
sale altogether.

The Ohio cottage industry of quiltmaking lost sales
and profit due to imported quilts. Many quiltmakers & retailers who
consign quilts for their makers dropped their retail prices when sales
dropped off. Even now the prices are slightly lower than what they
were before the imports became so popular.

After attending many auctions over the years, I have seen many
examples of domestic antique quilts going for lower prices. But auctions
are a relative market–relative to who is in the audience and how many
of them are interested in the same item and what they think the value
of the item is. It always makes me cringe to see an imported quilt
that is available at a local retailer for less than $150 hit the
auction block for over $300 and antique quilts (like a cheddar and white
exquisitely made ocean wave pattern with 12+ stitches per inch) go for
less than $100.

Buyers should be more aware of what they are buying
and even though we try through quilt shows and educational
activities, the public still justs wants to buy pretty designs in pretty
fabrics…………they don’t see or seem to care very much about quality
of workmanship, materials, or history. However, the making of quilts
in China and other third world areas helped boost their local
economies–their cottage industries profited.

China came under criticism that women were working
under “slavelike” conditions to make the quilts——a criticism that
was never acknowledged by many of the importers and was not
investigated very much because at the time the US was attempting to re-open
negotiations with China for economic reasons. This claim was never
really verified, and it reflected negatively on some of the
manufacturers who did not run their businesses that way too…..yet another
controversy emerged.

The other point of view is that imported quilts offer a less
expensive quilt for those who can’t afford to buy antiques or collectible
quilts. And, although some imported quilts are not made with the same
quality of workmanship as others, some are nicely done and very
durable and fashionable. But if you look closely at what they are selling
for in retail & mail order sources versus what domestic antique quilt
prices are……I think in recent years the prices are about the
same. I also think that the first few years that imported quilts were
offered that the workmanship looked a lot like that of beginning
quilters and what I see today in the local stores seems to be a little
better. The only exceptions would be those wonderful antique quilts
that come with documented quilt history.

Sorry if I was on my soapbox. Let me know if you’d like a
bibliography of articles re: the imported quilt controversy and the
Smithsonian.
Connie Ark

Date: Mon, 17 Jun 2002 11:23:46 -0400 | From: [from unknown]

Dear Vivian,

I don’t know if this might help you in your search, but my son went
to
Washington and Lee University in Lexington, VA. Lee was President of
W&L
after the Civil War–his only and last job after his defeat–he died
as
their President. Washinton College invited him expecting him to be
just a
figurehead president, but instead he was an active and powerful
President,
and the college grew under his leadership. The name was changed to
Washington and Lee to honor him. They have an extensive Lee museum
there and
a large collection of Lee memorabelia–wonderful domestic things from
his
wife as well as war things. He is entombed in Lee Chapel and his
horse,
Traveler, is buried outside the chapel (just in case you wondered).
Perhaps
you know of this museum. If not, try them. Good Luck. And to all of
you on
the list, Cinda says I should introduce myself. I have been reading,
learning from and enjoying your informed discussions for several
months,
but this is my first time participating. Keep teaching me.

Susan McKelvey on Chesapeake Bay.

Date: Mon, 17 Jun 2002 08:14:01 -0700 | From: “Julie Silber” <quiltcomplex@>

You all are just great. Have had several replies already (and it’s
only 8 a.m.!) Thanks to Judy Kelius, Laurette Carroll and Xenia Cord for enlightenment. Here is Xenia’s e-mail:

Hi, Julie – yeah, you goofed <g>! Your correspondent is correct that
the version you have is the Mountain Mist version. Webster’s quilt
had
2 butterflies above a trio of tulips on short straight stalks in the
center of each side. Webster’s design was introduced in 1911, and
the
Mountain Mist version (probably unattributed) in either 1929 or 1930
(Webster’s granddaughter Rosalind Perry says 1929, the MM catalog
says
copyright 1930).

The versions are very similar, so your identification is
understandable. Pretty quilt, anyhow.

Xenia

Julie Silber

Date: Tue, 18 Jun 2002 10:55:37 -0400 | From: “Candace Perry” <candace@>

Along these lines, but not, (does that make sense???) I have been
very
curious about fraktur (PA German decorated manuscripts) in our
collection
that have a very intriguing foliate design. I ran across a catalog
of
fraktur of the Ephrata Cloisters that discusses how some of their
work may
have been influenced by textile design books of the 17th and 18th
centuries.
I’d have to find the Ephrata book to get the references, but if
anyone’s
interested, I’ll dig it out! (Cinda and Barb Garrett know how horrid
my
office is)
Candace Perry
Schwenkfelder Library & Heritage Center

Date: Tue, 18 Jun 2002 11:21:39 -0400 | From: “Jodie” <jodie@>

Pat and Connie,

This is a timely discussion for me. I am in the very early stages of
working
with a central African country who is setting up not-for-profit
sewing
schools to give these proud women a skill. They then need, of course,
a
product for these women to make in village-centrific cottage
industries. I
was approached with the idea of creating a business to have them make
quilts
and home dec items for importation into the U.S.

After the initial excitement at the opportunity to help empower these
women,
I examined all angles and got a bit worried that it would be assumed
that
our quilts were made like the Chinese quilts. (And I did some
research and I
lean way on the side of believing that the Chinese women working in
those
factories aren’t just working in early industrial
revolution/pre-trade
unions conditions. Then again, we needed to go through our pains to
get
where we are today, so is not buying any Chinese-made products really
thing
to do? Dunno. Of course, the bigger issue of how China views human
rights
muddles that thinking totally.) We will be paying the women what to
Americans will be low wages, but it will be more than fair wages for
that
country and the only way they can make cash in the totally
barter-based
villages (and will certainly have huge ramifications as they will be
making
money and their husbands, well, there will be a growing need for
sewing
machine repairmen, etc.) so the quilts will still be inexpensive
compared to
American-made. For our situation I believe a strong PR program will
certainly help. (And we may just have a major partner whose presence
will be
the kind of endorsement that will snuff any naysaying from the
get-go.)
Being a quilter of 25 years I feel it important to also educate
people as to
why this quilt is $500 versus this foreign made quilt at $150. People
who
discover I’m a quilter ask me all the time about the $100 quilts.
They
wonder why they’re so cheap. This may be an opportunity to get the
message
out. Personally I see nothing wrong with using a less
expensive/quality
quilt for everyday wash and wear. People just need to know the
difference
and cherish and care for Grandma’s quilts properly.
Thank you so much for bringing up labeling. Excellent, excellent
idea. They
should be permanent labels sewn into the backing or even printed upon
it.
And they can even tell the story of the sewing schools, etc., perhaps
show
where the country is on a map and have the signature of the maker.
GREAT
IDEA!

Jodie Davis
http://www.iejodie.com

Date: Tue, 18 Jun 2002 10:13:18 CST | From: jocelynm@

On Tue, 18 Jun 2002 11:21:39 -0400 “Jodie” wrote:
Jodie,
I’ve bought items made under similar situations. One thing I always
wonder is: who designs the work? Are these traditional designs, or
did
someone tell the women, ‘Make this, it’ll sell a lot’?
Unless you’re planning on doing mass production of a design, I think
that
a label that answered that question might add to the ‘value’ of the
quilt. Something like: ‘Based on traditional designs, by Anna’ or
‘The
Baobab Tree’, or ‘An experiment in nontraditional colors’ (the latter
for
quilts made in colors to harmonize in American homes). Maybe a small
bio
of the quilter? Something like, ‘By purchasing this quilt, you are
helping Anna to afford to send her 5 children to school’. (For a good
cause, I believe in guilting people into contributing! <G>)
Jocelyn

Date: Tue, 18 Jun 2002 10:41:18 -0700 | From: chrisa@

Perhaps this has already been said, so I apologize if I’m repeating
it here.
This discussion brings to mind the work of the women in Wales and the
North
Country of England following WWI when the depression set in. The
government
provided training and materials and buyers, as well as quilt
exhibits, to
facilitate the professions of making quilts for purchase. The
quiltmakers
were entitled to keep all of the money and it went to help their
families
which were often living in the struggling coal mining towns.

The towns Jodie talks about and the idea of an outside prganization
setting
them up to be able to make needlework items to sell, sounds the like
same
approach to helping. A label saying such would increase the value to
me
personally and would make me more inclined to purchase their items. I
think
it would be a tribute to the women as well as be helpful to future
quilt
historians.

Good luck to you Jodie. Where do you think they would be sold? Would
it be
a mass marketing like the China quilts? Perhaps the marketing plan
could be
more specialized and still cover a wide audience. Attention to
presentation
from the get-go, like you imply, could make a great deal of
difference in
how they are received and valued.

Kim Wulfert
www.antiquequiltdating.com

Date: Tue, 18 Jun 2002 13:05:51 -0600 | From: Xenia Cord <xenia@>

Wouldn’t there be a difference between setting up quilt cottage
industries in a country where quilts were a part of the cultural
background, and doing the same in countries where quilts have never
been
a tradition?

There’s certainly nothing wrong with helping women to better their
condition by assisting them to make textile items for trade. But it
seems to me that it would be better if the items represented the
cultural traditions of the group, and were marketed as such. Am I
looking at this in the wrong way?

Xenia

Date: Tue, 18 Jun 2002 12:59:28 -0700 | From: Gaye Ingram <gingram@>

The questions Joycelyn raises seem pertinent to any consideration of
quilts
made for a mass market.

One thing that interests me about the suggestion, which I suspect
most of
this share, is that once again we are seeking personal identity in
quilts.

The issue of creativity seems important—are these designs which
have been
mandated? And if so, what is the reason for the choice?

For instance, I would be interested in purchasing a quilt that was a
reproduction or even closely based on a traditional design, were
reproduction fabrics used and the resulting item labeled.

After all, we do this with furniture—witness the various museum
reproductions. Kittinger’s reproductions at Williamsburg come first
to mind
because I think they were pioneering efforts. They are exact
reproductions,
liscensed by Colonial Williamsburg, and they are clearly labeled.
They are
distinguished from adaptations made by the same company. Always
expensive,
now they have a special value in their own right. They are hand made
and
beautiful and dated. They are not identified with the name of the
craftsman
who made them, of course.

Quilts differ in many ways, of course, and maybe we desire the
personal
identification more with them.

gaye

Date: Tue, 18 Jun 2002 13:07:20 -0700 | From: Gaye Ingram <gingram@>

Re Xenia’s note
>
> Wouldn’t there be a difference between setting up quilt cottage
> industries in a country where quilts were a part of the cultural
> background, and doing the same in countries where quilts have never
been
> a tradition?

I think it would make a big difference. Creativity, the element of
the
personal, the play of the imagination.
>
> There’s certainly nothing wrong with helping women to better their
> condition by assisting them to make textile items for trade. But
it
> seems to me that it would be better if the items represented the
> cultural traditions of the group, and were marketed as such. Am I
> looking at this in the wrong way?

Indeed.

But I wonder exactly why we feel this way?
>

Date: Tue, 18 Jun 2002 11:34:07 -0700 | From: chrisa@

<<Wouldn’t there be a difference between setting up quilt cottage
industries in a country where quilts were a part of the cultural
background, and doing the same in countries where quilts have never
been
a tradition?>>

When the Rural Industries Bureau decided to help women earn money for
their
families through crafts they did a survey to determine which crafts
would
help them make the most money. Was it basket weaving or needlepoint
or
weaving etc. They determined, based on a survey done by Mavis
Fitz-Randolph,
that quilts would bring in the greatest amount of aid. The decision
doesn’t
appear to have been determined by their ancestry of quilting, but by
the end
results being met. Also, the quiltmaking trainings were for quilters
and for
women who had never quilted before.

It would seem unlikely that women in another culture entirely, would
make
quilts that didn’t reflect their materials and design preferences in
some
way at least. And perhaps the arrangements would allow for a great
deal of
their culture to show through the bedcovers they make. An example
would be
the quilts sold in Marrakech and India’s import stores.

Personally for me, I wouldn’t care what they actually look
like,quilts,
bedcovers, African or colonial, I would pick one in colors and
materials I
most enjoy and buy it or them to help the cause. Assuming they
presented it
as a cause and not gone about it like the Chinese made ones.

Kim Wulfert
www.antiquequiltdating.com

Date: Tue, 18 Jun 2002 17:33:51 -0600 | From: Xenia Cord <xenia@>

Kim said: <When the Rural Industries Bureau decided to help women
earn
money for their families through crafts they did a survey to
determine
which crafts would help them make the most money. Was it basket
weaving
or needlepoint or weaving etc. They determined, based on a survey
done
by Mavis Fitz-Randolph, that quilts would bring in the greatest
amount
of aid. The decision doesn’t appear to have been determined by their
ancestry of quilting, but by the end results being met. Also, the
quiltmaking trainings were for quilters and for women who had never
quilted before.>

I am lucky enough to own a copy of Mavis FitzRandolph’s Traditional
Quilting (1954), in which she reviews the history of the Rural
Industries Bureau in reviving and developing the quilting industry.
In
the introduction she says that a rural industries survey in 1920-23
found almost no mention of quilting, …”yet at the time when that
survey was made there were certainly dozens of village quilters at
work
for their livelihood and perhaps hundreds of quilt clubs in
profitable
action. They were so little known beyond the circles of their local
customers than none of the authorities whom the investigators
consulted
in each county thought them worth mentioning if, indeed, they knew of
them” (p.7). (emphasis mine)

FitzRandolph says that in 1928 she “carried out an investigation for
the
Rural Industries Bureau with the object of discovering some home
industry among the women of the stricken mining communities which
could
be developed for a market beyond those areas. The traditional
quilting
was the obvious answer to this problem in County Durham….

[In Wales] (t)he Bureau was persuaded to risk, somewhat reluctantly,
the
sum of thirty pounds on materials and wages, and orders were sent to
the
most promising Welsh quilters.” (p. 50)

FitzRandolph says that then the Bureau began to offer classes in
stitching (the book is about quilting, making whole cloth quilts in
which the artistry is in the quilting designs). Classes were
necessary
because of the success of the early project, leading to demand, but
there were not “enough quilters capable, without some further
training,
of the very high standard of work which would be needed for the
London
market.” “… the importance of maintaining the native tradition was
always insisted on.” (p. 53)

All of FitzRandolph’s remarks would seem to be predicated on the
existence of traditional quiltmaking skills in the areas surveyed,
before the Rural Industries Bureau was made aware of them. And she
seems to say that expanding what was already a traditional strength
was
a way of infusing the communities with needed funds.

Xenia

Date: Tue, 18 Jun 2002 19:24:26 EDT | From: Kittencat3@

It’s also true that a lot of African countries have their own
quilting
traditions; Dahomean patchwork, for instance, can be traced back a
couple
hundred years. And many types of kente cloth are woven on narrow
looms and
then pieced. Some “American” patterns might not be too far off from
what the
workers are already accustomed to making.

And when it comes to quilts turning up in unexpected places…there’s
a 13th
century painting by Cimabue of the Madonna and Child surrounded by
angels. A
couple of the angels are holding up a red brocade drape adorned with
black
and white pinwheels behind the Madonna…and if you look closely at a
good
reproduction, you can tell that the red brocade drape *is actually a
pieced
coverlet of some sort*….

Said painting is at the National Gallery in Washington, DC. I’ve
known about
it for years, but I finally realized that it isn’t appliqued, it’s
pieced,
about six weeks ago. Talk about being blind to what’s right in front
of me!

Lisa Evans

Date: Wed, 19 Jun 2002 01:39:15 +0000 | From: deedadik@

Hi all, This is a question for Cinda or anyone else who
has info on the topic. Are wide 3/4″ stems a feature of
applique to only your area during that period? Have
seen them before and heard them talked about in one of
the classes I have taken but can’t remember the
details. Thanks, Dee

—

Date: Tue, 18 Jun 2002 22:41:47 -0400 | From: “Jodie” <jodie@>

Jocelyn,

Excellent point. I’ll be designing the quilts and that is in fact
important
information to include. The project will first involve one village,
so it
can’t at all be classified as mass production.
It’d be wonderful if when the women become skilled quilters they
create
their own designs.
The way this is proposed, a percentage of money earned will go
towards
building clinics and schools, both of which don’t exist currently.
That
should be on the label. Boy, it’s getting to be a LARGE one!
Great points. Thank you!

Jodie

June 11 – 19, 2002

December 5 – 16, 2000

October 25 – November 1, 2006

December 1 – 6, 2006

January 1 – 3, 2004

August 2 – 4, 2003

April 7 – 11, 1997

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