# QuiltHistory > Our Quilting Heritage Language: en URL: https://quilthistory.com/ All pages on this site are available as clean Markdown by adding the header `Accept: text/markdown` to any HTTP request. REST API: https://quilthistory.com/wp-json/mescio-for-agents/v1/markdown?url={page_url} ## Pages - [Victorian Mourning Customs](https://quilthistory.com/victorian-quilts/victorian-mourning-customs/): American mourning dress, ca. 1903. Public domain image courtesy of The Metropolitan Museum of Art. What to Wear, How Long to Wear It, and Why It Mattered Mourning clothes may seem like a small detail when a family is grieving, - [The History of the Cotton Gin and Its Impact on American Textiles](https://quilthistory.com/learn-quilt-history/the-history-of-the-cotton-gin/): Few inventions changed everyday fabric and clothing more dramatically than the cotton gin. Before its invention, cotton was difficult, slow, and expensive to process. Afterward, cotton cloth became cheaper, more common, and deeply woven into daily American life, from clothing - [Underground Railroad Quilts](https://quilthistory.com/people-stories/myths-misconceptions/underground-railroad-quilts/): Putting it in Perspective: The Symbolism of Underground Railroad Quilts To understand the special role quilts may have played in the Underground Railroad, we first have to understand the life and times of the people who lived during the years - [A Red and White Quilt Show](https://quilthistory.com/people-stories/a-red-and-white-quilt-show/): An Homage to "Infinite Variety" You would almost have to be living under the Geico rock last month to miss all the publicity about the quilt show in New York City in May 2011. Titled "Quilts of Infinite Variety: Three - [Early Use of Natural Dyes in Textiles](https://quilthistory.com/early-use-of-natural-dyes-in-textiles/): Color has been part of human culture for as long as people have made cloth. The need to transform plain fiber into something vivid and meaningful drove thousands of years of experimentation, trade, and discovery. The earliest written record of - [Stain Removal Guidelines for textiles and other items](https://quilthistory.com/care-preservation/stain-removal-guidelines-for-textiles/): compiled by Kris Driessen from information discussed on the Quilt History List. Before attempting to remove a stain, please be sure to determine that you really need to. Read this article first. Some stains are better off left alone. Keep in mind you - [A Civil War Quilt Finds its Home](https://quilthistory.com/people-stories/a-civil-war-quilt-finds-its-home/): Published in The Virtual Quilt #26, August 1998 "For several weeks I had seen an old crazy quilt hanging in the window of Antiques, Crafts, Inc., 405 Piedmont Ave., Rockmart, GA 30152. Finally, I couldn't stand it any longer and - [Fact or Folklore?](https://quilthistory.com/facts-or-folklore/): As in all topics in history we need to do the best we can to discern between fact and fiction. Myths about quilt history are a part of our culture and many have romantic appeal. We can enjoy the myths - [A Short History of Quilting in Europe](https://quilthistory.com/quilting-in-europe/): The word "quilt" summons a host of images: thrifty pioneer housewives piecing elaborate patchworks for their families; album quilts signed by every member of a community as a gift for a departing mayor or pastor, or perhaps raffled for a - [Stitched into History – The influence of textiles on 19th century women](https://quilthistory.com/people-stories/stitched-into-history/): How 19th Century Women's Lives Shaped American Textiles The nineteenth century was a time of expansion for all Americans. As the century turned from 1799 to 1800, Americans were just emerging from the Revolutionary War and exploring their newfound political - [Todays Quilts](https://quilthistory.com/todays-quilts/): 1970s+: Modern Revival The United States Bicentennial in 1976 sparked renewed interest in traditional crafts, folk arts, and quilt history, setting the stage for the modern quilt revival and the growth of the quilt show movement. Centennial and patriotic quilt - [The Feedsack Story](https://quilthistory.com/depression-quilts/the-feedsack-story/): The Origins of the Feedsack The feedsack story began in the early 1800s, when food staples, grain, seed, and animal feed were shipped and stored in tins, boxes, and wooden barrels. These containers were expensive, bulky, and easily damaged. Tin - [Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/): Victorian Crazy Quilts A crazy quilt is a mix of irregular fabric pieces stitched together with decorative embroidery, ribbons, lace, beads, and tiny personal treasures. Nearly every seam is embellished and every patch has a purpose or a story. It - [Quilt Care: Practical tips for the use and enjoyment of your antique quilt.](https://quilthistory.com/care-preservation/quilt-care-practical-tips-for-the-use-and-enjoyment-of-your-antique-quilt/): Display Avoid displaying your quilt in a room with poor ventilation, high humidity or other temperature extremes. Choose a method of display that distributes the weight of the quilt over the entire quilt such as an unused bed. This assumes - [Nine Years Old and 1,233 Pieces: The Little Alabama Quilter Who Deserved a World’s Fair](https://quilthistory.com/people-stories/nine-years-old-and-1233-pieces-the-little-alabama-quilter-who-deserved-a-worlds-fair/): Every now and then, a tiny newspaper clipping opens a door into a much larger story. This one begins with a proud little notice about a nine-year-old girl from Butler County, Alabama, and ends with a question that sounds almost - [Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth](https://quilthistory.com/people-stories/myths-misconceptions/jane-mccrea-burgoyne-surrounded-myth/): Some American myths begin with pure invention. Others begin with something painfully real. The story of Jane McCrea belongs in the second group. Jane McCrea was a real woman. She really did die near Fort Edward, New York, during the - [The Grandmothers Flower Garden Quilt](https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/): Grandmother's Flower Garden is one of the most beloved quilt patterns in American history. Made of hexagons stitched into flower shapes, it has charmed quilters for almost 250 years. While many people think of this pattern as a product of - [Top Ten Titles for the Study of Antique Quilts – The Sequel](https://quilthistory.com/top-ten-titles-for-the-study-of-antique-quilts/): Ask ten quilt historians to recommend the most important books on quilt history, and you'll probably get ten different answers. That is exactly what happened when the original survey was conducted on the Quilt History List in 2001. The participants - [International Quilt Books](https://quilthistory.com/international-quilt-books/): Australia Australia Quiltmakers of Australia: Celebrating the Traditions by Karen Fail Canada Ontario Heritage Quilts by Marilyn I. Walker Quiltworks Across Canada by Gail P. Hunt Old Nova Scotian Quilts by Scott Robson & Sharon MacDonald France Quilts of Provence: - [Quilt Books by State](https://quilthistory.com/state-quilt-books/): Explore quilt history one state at a time with books about regional quilts, antique quilt traditions, and local quilting styles across America. Quilts in other countries are listed on the International Quilt Books Page. Alabama Alabama -- Alabama Quilts: Black - [Cotton and Textile Terminology](https://quilthistory.com/cotton-and-textile-terminology/): Compiled by Patrick Leech, these are terms with dates of first and last occurrence and definiion in the Oxford English Dictionary TermFirst occurrenceLast occurrence*Definition**a la mode16761861A thin, light, glossy black silk.abaca1818 The native name of the palm (Musa textilis) which furnishes - [Quiltersbee Comments on Quilt History](https://quilthistory.com/quiltersbee-comments/): A note on Quiltersbee. This was a yahoo chat group which had it's own web page for a time. The original 2008 article can be found here.Compiled and provided by Christina A. Aubin IntroductionOkay, you all seem to be interested - [The Smithsonian Quilt Controversy](https://quilthistory.com/todays-quilts/the-smithsonian-quilt-controversy/): In 1992, catalogs began arriving in American mailboxes that would set off one of the biggest disputes in quilting history. These catalogs were selling handmade copies of historic 19th-century quilts from the Smithsonian collection, and quilters across the country were - [Arch Quilts: What they are and how to spot them](https://quilthistory.com/todays-quilts/arch-quilts-what-they-are-and-how-to-spot-them/): If you spent time in country-style homes during the late 1980s and early 1990s, chances are you saw an Arch quilt. You just may not have known it. They were part of an imported quilt trend aimed at the resale - [Postwar Quilts](https://quilthistory.com/postwar-quilts/): 1940s--50s: Postwar Revival The postwar years brought significant changes in materials. Satin and sateen, popular since about 1925, remained fashionable as whole-cloth quilt fabrics through roughly 1950. Applique outlined with black thread in a buttonhole stitch was also popular. Machine-made - [Depression Quilts](https://quilthistory.com/depression-quilts/): 1930s: Depression Era The Great Depression shaped quilt making in immediate and practical ways. Quilters relied heavily on scraps and repurposed materials, particularly feed, flour, and sugar sack prints. Pastel colors dominated, with shades of purple especially prevalent. Applique kits - [Victorian Quilts](https://quilthistory.com/victorian-quilts/): What Makes a Quilt Victorian? For purposes of American quilt history, this site defines the Victorian era as approximately 1870 to 1900. Quilts from these years ranged from practical cotton bedcovers to elaborate silk and velvet parlor throws. Crazy quilting - [Quilt Appraisers](https://quilthistory.com/quilt-appraisers/): Why should you have your quilt appraised? And what is an appraisal, anyway? A quilt appraisal is a written statement of value prepared by a qualified professional after a close examination of your textile. Appraisals are used for insurance coverage, - [Quilt Museums](https://quilthistory.com/quilt-museums/): This is a listing of museums which are primarily quilt museums or businesses that have great quilt collections on display. If you know of any that are missing, or museums that need to be updated, please contact me. The American - [Dating Quilts – A Brief Overview](https://quilthistory.com/dating-antique-or-vintage-quilts/): Click on the picture to see it up close Quilts and quilt making are a reflection of the life and times of the women who made quilts. Although the technique of quilting existed throughout history (quilted items have been discovered - [Cleaning Antique Quilts](https://quilthistory.com/cleaning-antique-quilts/): It's finally happened! It seems like forever you have been searching for that perfect antique quilt. Now you have found it. It spoke to you in sweet, melodious tones at a garage sale or auction. It smells a little, and - [A Brief History of the Feedsack](https://quilthistory.com/depression-quilts/a-brief-history-of-the-feedsack/): How Cloth Sacks Replaced Barrels The history of the cloth bag started in the early years of settling what later became the United States. At that time food staples, grain, seed, and animal feed were packed in tins, boxes, and - [Top Ten Titles for Antique Quilt Study](https://quilthistory.com/bibliography/): The Best Books for Antique Quilt Study Ask ten quilt historians to recommend the most important books on quilt history, and you'll probably get ten different answers. That is exactly what happened when this survey was first conducted in 2001 - [Conservation Resources](https://quilthistory.com/conservation-resources/): Quilts aren’t just fabric and thread, they’re stories stitched together. And if you want those stories to last, how you store and care for them matters more than you might think. This guide rounds up trusted conservation resources, archival storage - [Quilt History Articles](https://quilthistory.com/quilt-history-articles/): A brief essay on dating antique quilts by Kris Driessen "A Brief History of the 'Feedsack'" by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed - [About/ Contact](https://quilthistory.com/about/): About This Site Thirty years ago, the Quilt History List was a place for scholars, appraisers, and collectors to trade research with each other. Today, QuiltHistory.com carries that research forward for a different audience, the person who inherited a quilt, - [Home](https://quilthistory.com/): ♦ Celebrating 250 Years of American Quilts ♦ Quilt HistoryExplore our Quilting Heritage Every quilt tells a piece of history. This site is here for curious people who love old quilts, even if they do not know a turkey red - [Quilt Restoration](https://quilthistory.com/care-preservation/quilt-restoration/): If you are interested in doing your own quilt restoration, read our article Repair, Restore, Conserve; What to do with damaged antique quilts for some helpful tips.  The following people are professional quilt restorers.  No recommendation is implied.  Always check references.   - [Quilt Study Groups](https://quilthistory.com/people-stories/quilt-study-groups/): Quilt Study Groups are small groups of quilt enthusiasts who gather on a fairly regular basis to examine each others quilt treasures and share their knowledge of quilt and/or general textile history. These groups are an opportunity for the both - [Learn Quilt History](https://quilthistory.com/learn-quilt-history/): Discover resources to learn quilt history, including antique quilts, textile traditions, dating methods, and historical techniques. Be sure to see the Top Ten Titles for Antique Quilt Study - A compilation of the favorite books from noted quilt historians - [Civil War Quilts](https://quilthistory.com/civil-war-quilts/): 1861--1865: Civil War Era The Civil War years brought patriotic themes to the forefront of quilt design. Traditional German motifs, spread through immigration, became more widespread, and bouquet-and-urn designs on white grounds were particularly popular. Memorial quilts made from the - [Early American Quilts](https://quilthistory.com/early-american-quilts/): The roots of quilting in America stretch back to European traditions of patchwork, applique, and quilted garments, though these techniques were not yet combined into what we recognize as a quilt. By the colonial era, bed covers were made in - [Patterns & Techniques](https://quilthistory.com/patterns-techniques/): Dear Jane - the 225 patterns from the 1863 Jane A. Stickle quilt. Making a Silk Purse out of a Sow's Ear - using those wonderful vintage blocks in a new quilt.  Kris Driessen Stitched in Silk and Secrets: The Victorian Crazy - [Repair, Restore, or Conserve?](https://quilthistory.com/repair-restore-or-conserve/): Do you have a quilt that needs a little TLC? Maybe one that has been passed down through your family or one you rescued at a garage sale? Don't be afraid to make repairs to it. Many damaged quilts can - [Myths & Misconceptions](https://quilthistory.com/people-stories/myths-misconceptions/): Myths vs Facts by the late Judy Anne Brenneman Putting it in Perspective: The Symbolism of Underground Railroad Quilts Underground Railroad Myths Debunked Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth The T Block and Temperance Quilts: - [Care & Preservation](https://quilthistory.com/care-preservation/): Cleaning your Antique Quilt This guide walks you through safe, proven methods for cleaning antique quilts. Learn how to test for bleeding dyes, choose the right mild soap, handle stubborn stains with sodium perborate, and avoid common mistakes that can permanently - [Research & Resources](https://quilthistory.com/research-resources/): BibliographyState Documentation Books The Quilt Index Images of over 100,000 quilts and counting The Library of Congress. Enter "quilt" in the search engine and a great many images and articles will be returned, including WPA interviews with quilters during the - [People & Stories](https://quilthistory.com/people-stories/): A Red and White Quilt Show "A Brief History of the 'Feedsack'" by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed it, too. Learn how - [Fabrics](https://quilthistory.com/fabrics/): Talking about Textiles Textiles aren’t just fabric. They include anything fiber-based, from woven cloth to things like curtains, towels, and canvas. If it started as fibers, it's a textile. Textiles are as old as human civilization, with early examples traced - [Identify & Date Quilts](https://quilthistory.com/identify-date-quilts/): A brief essay on dating antique quilts by Kris Driessen A Short Introduction to Quilting in Europe by Lady Sarah Davies. Quilting is older than you think. Discover how it traveled from ancient Asia through medieval Europe long before American ## Blog Posts - [January 23 – January 31, 1997](https://quilthistory.com/january-23-january-31-1997/) (2026-08-17): Primary topics of this QHL Digest (January 23–31, 1997): New quilt find in the news — a local newspaper story about a quilt tied to an "Honest Abe" Lincoln anecdote, donated to a state collection. Museum exhibit reports — a - [January 11, 1997 – January 22, 1997](https://quilthistory.com/97011-2/) (2026-08-10): Primary topics of this QHL digest: Quilt dating and authentication — a running debate about whether an unfinished quilt top should be considered "dated" to when it was originally pieced or to when it's finally quilted, plus practical tips for - [January 5–11, 1997](https://quilthistory.com/january-5-11-1997/) (2026-08-03): Primary topics of this QHL Digest : Documentation vs. romanticized interpretation — a pointed critique of a well-known Oregon Trail quilt book for assigning symbolic "migration" meaning to traditional patterns without any actual evidence from the makers, sparking a broader - [January 2, 1997 – January 4, 1997](https://quilthistory.com/97001-2/) (2026-07-26): Primary topics of this QHL Digest: Comparative quilt history: US vs. Australia — a substantial discussion on why American quilting traditions (Amish quilts, church-based skill-sharing) didn't take the same shape in Australia, tying it to settlement timing, economic policy, and - [December 22, 1996 – December 31, 1996](https://quilthistory.com/96022-2/) (1996-12-29): Primary topics of this QHL Digest: Restoration vs. conservation debate — the most substantial thread here. One camp argues old quilts should be left untouched, wear and all; another pushes back, arguing quilts were always mended historically and that thoughtful - [December 16, 1996 to December 21, 1996](https://quilthistory.com/96016-2/) (1996-12-22): Primary topics of this QHL Digest (mid-to-late December 1996): Oral history vs. documented evidence — a substantial, occasionally heated debate between Rabbit Goody (textile historian) and Jean Ann Eitel over whether family oral history is legitimate documentation for practices like - [December 3, 1996 – December 15, 1996](https://quilthistory.com/96001-2/) (1996-12-01): Primary topics of this QHL digest (initial December 1996 postings): Introductions from members and descriptions of their quilt-history interests Dating antique quilts through fabrics, patterns, dyes, construction, and batting Safely cleaning, drying, storing, repairing, and restoring old quilts Recommended books --- # Full Content --- title: "January 23 – January 31, 1997" url: "https://quilthistory.com/january-23-january-31-1997/" lang: "en-US" type: "post" description: "Primary topics of this QHL Digest (January 23–31, 1997): New quilt find in the news — a local newspaper story about a quilt tied to an \"Honest Abe\" Lincoln anecdote, donated to a state collection. Museum exhibit reports — a" last_modified: "2026-08-17T16:01:44+00:00" categories: [Quilt History List Archive] tags: [Fabric Identification, Quilt Dating, Quilt History Resources, Restoration & Conservation] custom_fields: iawp_total_views: 1 --- # January 23 – January 31, 1997 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) 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 (January 23–31, 1997):** - **New quilt find in the news** — a local newspaper story about a quilt tied to an “Honest Abe” Lincoln anecdote, donated to a state collection. - **Museum exhibit reports** — a firsthand account of the Red and Green Applique exhibit, including meeting a well-known quilt historian, a “show and tell” workshop with 83 local quilts, and a visit to a restoration expert’s studio. - **Historical fabric terminology and dating** — an extended, multi-day thread identifying and defining obscure historical fabric names (Henrietta, dimity, pongee, shantung, Tusseh silk), with members tracing word origins and cross-referencing textile dictionaries. - **Old quilt tops: preserve vs. finish, revisited** — a follow-up clarification and broader philosophical discussion about custodianship versus ownership of antique textiles, with an archaeology analogy about minimally invasive preservation. - **Feedsack, target, and yo-yo quilt identification** — a recurring identification thread on the “Target” quilt technique, and a detailed sourced history of yo-yo quilts (their origin, peak popularity, and name derivation). - **Book recommendations and sourcing** — an active bulk-buy and lending-library effort, with multiple detailed bibliography lists (general American quilt history, pattern/textile identification) and hard-to-find title tracking. - **Quilt provenance and authentication case studies** — a detailed account of authenticating a Civil War-era crazy quilt containing actual uniform fabric, plus a signature quilt research method using the Soundex census index. - **Historical color and dye names** — inquiries into the origin of terms like “Eli Green” and “Madder,” tying back to the historical dye chemistry thread from earlier digests. - **State museum quilt documentation project** — an update on a multi-year quilt collection documentation and upcoming book at a state museum, including a conservation fund established from the project. - **Crazy quilt symbolism** — a sourced discussion of spider and spiderweb embroidery motifs on Victorian crazy quilts and their association with good luck. Well, I did go to the Red and Green Exhibit at the Museum of our National Heritage this weekend. I got to meet Merikay Walvogel and she was wonderful! Very nice person. I took her picture & will post it to the web page as soon as it is developed. As far as the exhibit goes – I was a bit overwhelmed. So many perfect quilts! Including an exceptional broderie perse. The Museum seems to maintain a permanent quilt exhibit. They had a display area just for quilts. The quilts were hung (on a hanging sleeve, I think) in a little niche, with plastic covering the niche so you couldn’t touch it:-(( The part I liked the best was the workshop. 83 local residents brought in their quilts and Marikay did a “show and tell” for each one. My husband promptly volunteered to help hold up the quilts, so he got to see them all first hand, and sometimes talk to the owner. Most of the quilts were family owned, and the owners were more than happy to share their story. There were two or three perfect Red and Green Quilts, two early 1800’s chintz quilts, one extremely nice crazy quilt, and one that defied description. It was made of folded pieces of fabric, almost like rows of prairie points facing in. It had a name, but I can’t think of it at the moment. Anyone know what that technique is called? Naturally, it was the heaviest quilt there! The next day, we stopped and saw Camille Cognac on the way home. She sold me all she had of “Quilt Restoration, a Practical Guide”, but will order more for me. (If anyone wants one, they are $24 each, and I will ask her to sign it for you.) She had this really beautiful wool challis bathrobe out on a table, dating from the Civil War. I have to admit, it did amaze me. I had not seen anything like it before, and I didn’t realize how much wool challis felt like polyester. The colors were exceptionally vivid, and the buttons were upside down yo-yo’s! I did ask her about the book she is working on now, Victorian Beauties. The official reason for the delay is that the book is “under production”. The REAL reason is that she simply wrote too much & is now paring it down. She has lots of other irons in the fire, too. The woman is a dynamo. While we were there, we talked to a fabric designer who is coming out with a new line of reproduction fabrics in early February. I asked if I could have a discount for my list members & she agreed to sign me up and send me a brochure. I’ll post to the web page if and when it becomes a reality. Meanwhile, I am still looking into bulk buys on the more popular books. I am trying to find “Just New from the Mills” – does anyone know who publishes this? I called the Museum of American Textile History, and they didn’t have any copies left, and couldn’t refer me to anyone who did. I did find two childrens books, “Quilting Then and Now” and “Cotton Then and Now” for $6.50 each, and I will be ordering them for anyone who wants one. I also called the American Quilt Study Group, and they had heard of us! They agreed to a discount for us on “Uncoverings”, which is their professional journal, but I don’t have any details yet. I have had a couple of suggestions from y’all, and I will keep looking into the books you want. I’ll post to the web pages as I find them. Kris Date: Thu, 23 Jan 1997 10:11:32 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Books Just remembered, for those who are interested in world quilt history like me,a great book thet I do not think has been menrtioned yet. It’s called ” Quilt Treasures-The Quilters Guild Heritage Search” First Published in 1995 in Australia & New Zealand by Kangaroo Press Pty Ltd. ISBN 0 86417 7135. This book is the result of a three year study by the British Guild-it’s first national index of quilts made prior to 1960 . 4000 + items emerged, from traditional British mosaic patterns, wholecloth quilts from Wales and North Englland,eighteenth century pieced framed quilt ,Bible,signature,friendship,military,political quilts etc. The earliest quilt dates from the early 1600’s. There are Red Cross quilts from Canada sent as war relief ,American 1930’s kit quilts,Egyptian applique panels and Chinese embroidery. There are more than 170 colour illustrations and enlightening chapters written by U.K.’s leading authorities on subjects ranging from textiles to quilt care. Basically it’s a superb book. Bye Again! Hiranya from Parramatta, Sydney Australia e-mail nomad1 [at] ibm [dot] net Date: Thu, 23 Jan 1997 10:22:10 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Historical names of colours Hi All! Still roasting here in sunny Sydney—-I would love to get some snow from you guys!!! I would like to excite my brain cells a tad and get some information re how colour names were derived? I have learned a bit about Madder, but how about Eli Green? Who was Eli Green? What other unusual names are there? Has anyone had any luck locating the “Rising Sun” collection.? I managed to get some from Vintage & Vogue,but there are still gaps in my collection. Even if I get samples of the full collection I will be happy, just as examples of it.Would appreciate some feedback. Thanks Hiranya Date: Thu, 23 Jan 1997 07:50:30 -0800 From: lrobins [at] cclink [dot] fhcrc [dot] org (laurarm) To: QHL [at] cue [dot] com Subject: QHL: more on shoulds/quilting old tops Message-ID: <2e78a980 [at] cclink [dot] fhcrc [dot] org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part I am feeling quite embarassed because I think that a posting I made earlier was misinterpreted. It wasn’t meant to be a list of shoulds and shouldn’ts — on the contrary I was trying to debunk some commonly held shoulds and offer alternatives. And I’m sorry if anyone was offended. May I try once more? First — old quilt tops don’t _have_ to be quilted. There seems to be a belief that it is incomplete and without value until its a useful quilt. But perhaps it’s OK to just leave it alone. Even if it’s not a Dior, of museum quality, it has value because it is a completed piece of needlework, and it’s old, and there is not an endless supply. This is NOT saying “don’t” quilt it. It’s just to say that the top still has value unquilted and will have even more as time goes on. And its color and design can still be enjoyed and displayed even if it isn’t a quilt we can wrap up in. Second – not all restorations are good restorations, and maybe some are not desirable. This list has many restoration professionals, but not everyone has that expertise. And there are differing opinions even among the experts. Caution is the operative word. Victoria said that owners should be given information and choices and I completely agree. That information must include the fact that an old piece that has been modified might lose some of it’s monetary or historical value. Those choices must include the alternative of doing nothing, or only what is essential to preserve the piece. Third, and this is perhaps more incendiary – yes an owner can do whatever they want with a piece. But perhaps it would be nice if rather than using it up just because we can, that we consider using it less so that we can pass it along. Example – a friend had some lovely Chinese embroideries brought from China in 1923. There was a small eyeglass case and a small sort of purse, made of silk and beautifully embroidered including gold thread and sections of Seed Stitch (Forbidden Stitch). They weren’t museum pieces, but still very lovely and unusual. She displayed them on a wide window sill and in just a couple years they were terribly faded and starting to deteriorate badly. She had been told that sun was bad for them but her attitude was that they were hers and she would display them the way she wanted, and that she had pleasure while they were there. I personally wish that she had seen herself as custodian rather than user. Yes, it was her right, but I think it was a sad loss. So, again, I’m sorry if I offended anyone. The only “should” is that we should consider all the possibilities, and I just wanted to bring up these particular ones. Laura Robins-Morris, Seattle Date: Thu, 23 Jan 1997 11:21:58 -0500 (EST) From: Laurajbr [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Museum/books Message-ID: <970123100644_681212606 [at] emout13 [dot] mail [dot] aol [dot] com> Kris The quilt you mentioned made up of the prairie points is called a Target quilt. When my friend from Black Mountain, NC, came to do an antique quilt talk/sale, she had one with her that was originally from the RJ Reynolds estate and it sold for $6,000! (and there were two ladies each bidding on it!) It was extremely heavy, as you mentioned, and was one of the most unusual quilts I’ve ever seen. I wonder if this was the same quilt. It was purchased by a lady named Connie from lakeland, FL, but it may have moved to another home. As I recall, it was in browns and beiges. Laura in Tampa Date: Thu, 23 Jan 1997 10:24:58 -0600 From: “herbilady” To: Subject: QHL: Newbie to list Message-Id: <199701231632.IAA21221 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I’m very excited to have found this list and want to thank all of you for the wonderful information you share….this is the mail I love to sit with first thing in the morning with a cup of coffee. Its also prompted me to drag out my VERY small collection and wonder about these tops and blocks…. I’m a novice at this and the first question I’d like to ask is what books you would recommend to someone like myself for studying and identifying fabrics in order to date the few pieces that I’ve collected. I’d also be grateful if I could send a photograph or two to someone for the purpose of perhaps dating one piece I have – and adore -, in particular. Its a bow-tie coverlet with alternating squares of a pale green. Parts of the top have rust-colored stains and within some of these stains the fabric appears to have been eaten away. The bow ties are sewn from what I would venture to guess are shirting fabrics, those tiny prints on white, but there are also plaids and a few dark fabrics as well. The range of colors are the light shirtings, browns, grays, black and dark blue. The coverlet is backed with a light colored, very faded fabric which appears to have been a rather large floral print. I’ve never washed it. A few of the bow ties haven’t held up, although the majority of them are in wonderful shape, especially the shirting fabrics. A few of the fabrics have completely deteriorated and some of them simply need to be re-sewn in several places. The blocks were sewn by hand then put together with a machine. I’d like to preserve this piece and although there is a section where those stains have tattered the pale green fabric, I wonder what I can do to preserve the blocks and coverlet in general. It was never quilted. Thank you for any help or suggestions and for providing such a wonderful list! Leah in Sallisaw, Oklahoma Date: Thu, 23 Jan 1997 15:07:38 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: Black Cotton Message-ID: <970123134823_1658752409 [at] emout19 [dot] mail [dot] aol [dot] com> Ricki, regarding the dark cotton – I don’t remember where I read it, but I know that there are cottons that grow in colors. Someone was even trying to market clothing in the last couple of years using these cottons and not dying the resulting fabric. Not a lot of help, but it is possibly an old variant on the new colored cottons. Alan Date: Thu, 23 Jan 97 15:10:52 PST From: John & Cinda Cawley Content-Type: TEXT/PLAIN; charset=US-ASCII I don’t know about Karen Buckley’s book (try getting it through inter-library loan before deciding whether to buy it) but her quilts are gorgeous. She’s from Carlyle, PA and is coming to teach at my guild, Pennsylvania Quilters, in May. I’ve heard that she’s a very good teacher. She’s won awards at the Fort Washington show the last two years. Cinda in Scranton Date: Thu, 23 Jan 97 15:26:20 PST From: John & Cinda Cawley To: JFavia [at] aol [dot] com, QHL [at] cue [dot] com Subject: QHL: RE: Advice on Fabrics Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Sue Rogers of Mountain Lakes, NJ who does the gorgeous stuffed work uses upholstry cottons in lots of her pieces. I don’t know what happens to the glaze when the piece is washed–it probably loses its shine. See if you can find pictures of Sue’s work. ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/23/97 Time: 3:26:20 PM ## This message was sent by Chameleon Date: Thu, 23 Jan 1997 19:28:16 -0500 (EST) From: SadieRose [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL:Rising Sun fabrics Message-ID: <970123172655_-2113447293 [at] emout15 [dot] mail [dot] aol [dot] com> Hiranya: You might try Patchworks in Montana, USA for the Rising Sun fabrics: [link removed] Margo (who is on QHL, but haven’t seen her post) did carry the RS fabrics, don’t know if she still has them available or not. There is a place on her web site, where you can send her e-mail messages, too. Good Luck!! Karan Date: Thu, 23 Jan 1997 20:59:26 -0500 From: Bobbi Penniman To: QHL [at] cuenet [dot] com Subject: QHL: Dimity definition Message-Id: <3.0.32.19970123205913.006f4750 [at] voicenet [dot] com> Content-Type: text/plain; charset=”us-ascii” My Dan River textile dictionary, to which I often refer, defines Dimity: “A thin, sheer cotton cloth in which stripes or cords may or may not be in the pattern. Usually made of combed yarns, its quality depends on the yarns used and the pick count in weaving. Used for dress and sportswear, aprons, pinafores, art needlework, bedspreads and many types of dress goods.” I had always thought of it as a pretty, delicate fabric. BobbaLoo in PA Date: Thu, 23 Jan 1997 21:38:16 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Museum/books Message-ID: <970123213803_980950964 [at] emout01 [dot] mail [dot] aol [dot] com> there is a TARGET quilt in LONE STARS, A lEGACY OF tEXAS qUILTS, 1836-1936, also known as a ‘quill’ quilt..these quilts were not known as a quilt, per say, because there is no quilting holding three layers together but more as a novelty quilt, according ot the story. It reminds me of a rag rug..Jane Date: Thu, 23 Jan 1997 21:47:50 -0500 (EST) From: shelley [at] winthrop [dot] slic [dot] com (Shelley Fracalossi) (by way of “Kris Driessen, Hickory Hill Antique Quilts” ) To: QHL [at] cuenet [dot] com Subject: QHL: Old quilts Message-Id: <2.2.16.19970123214551.19f72760 [at] mail [dot] albany [dot] net> Content-Type: text/plain; charset=”us-ascii” Hello everyone, I haven’t posted at all since my bio, but am catching up on the digest and wish to comment on several items. First of all, I am going to France in April for two weeks with two side trips, one to Northern Italy (Trento) and one to Dusseldorf Germany. We will be staying in Paris 3 1/2 days and would welcome info on quilt shops etc in Paris. We will also visit LaRochelle, Toulouse, Narbonne, Marseille and Nice. On the subject of quilting stitches, on another list I am on, there was a discussion on how to count the number of stitches per inch. It was put forth that one should could BOTH the top and the bottom stitches, but I feel that this is incorrect. In looking at antique quilts I have always counted only the stitches that show on the top. I believe this is correct since the stitch that shows on the top is essentially the SAME stitch as shows on the bottom. What do you quilt historians out there think about this? Regarding crazy quilts, most of the ones I have seen have no batting but were foundation pieced to muslin or some other fabric. I recently picked up a later crazy quilt which was unusual in that it was both foundation pieced to muslin and line with a cotton batt. It has a red sateen backing. There is some damage to some of the silks and since it is foundation pieced, I am thinking of tracing the shapes of the pieces that are missing and using that as a template to create an applique piece to cover the damage. I will be using old tie material since that is primarily what the quilt is constructed off. If any one can think of a better way to do this, please let me know. A friend of mine purchased a box full of quilt tops at an auction in Canada and sold them to me. There are 5 log cabins, one daddy long legs and one spool pattern top. They look to be from the 40″s and 50’s The log cabins are all out of white muslin for the light, and decorator style fabrics for the darks. Some of these fabrics are quite lucious, with gold overlay and such. Some look like African fabrics. The piecing is not the greatest. (What might be called improvisational or “crooked” quilts) I washed them all and started to iron them but found they were laid out so poorly that the best thing to do with them would be to undo all the blocks and square them all up and then restitch the rows together. It is interesting that each log cabin is in a different layout and that there were old papers pinned to the end of each row with the row number written in pencil. I sometimes wish these things could talk and tell us where they have been. I almost think these were done in a school or by a class of some kind. I am trying to add some more photos to my web page soon as these tops are for sale and sooner or later will get the photos loaded. I also picked up a box which included 29 embroidered state flower blocks. The original pattern layout sheet is there showing that there should have been 48 blocks to start with, although the actual patterns for the missing blocks are not there. It would be nice to assemble a complete set. If any one has any strays of this type, please email me privately and I can tell you what I am missing. So far this list has been informative and I look forward to seeing your input in the future Shelley in Sunny, 10 degree F, Plattsburgh NY Date: Fri, 24 Jan 1997 04:22:48 +0000 From: Susan Nixon To: QHL [at] cue [dot] com Subject: QHL: Passing it along Message-ID: <19970124042237.AAD2497 [at] LOCALNAME> Content-Type: text/plain; charset=”us-ascii” Laura R. Morris wrote on 1/23/97: > Third, and this is perhaps more incendiary – yes an owner can do whatever they want with a piece. But perhaps it would be nice if rather than using it up just because we can, that we consider using it less so that we can pass it along. Archaeologists are beginning to think this way. Here in Phoenix we have an ancient ruin near the airport, Pueblo Grande. Part of it has been dug out. It is from the people who first used canals in the city, and some of their old canals are still visible, as well as the foundations and lower walls of this particular site. The site is being preserved as it is. No further digging and restoration is being done. The new line of thought is that old methods are very intrusive and destroy as much as they preserve. Already archaeology is being done with instruments which can look though the dirt and rock to what is lying below, and this is the wave of the future. For those of us who like to walk and touch, it is disheartening, but it does mean that more is preserved to pass on to future generations. Perhaps we can do a little of both – some preserving for the future and some enjoyment for ourselves. A slight addendum to Alan’s comment. There is a lovely shade of dark tan cotton which grows here, and a lighter, almost yellow/cream color. They are at the state fair every year. I understand there is a widow who has experimented with hybrids and natural cotton colors to produce a light blue and a lavender, but these two I haven’t seen. Susan Nixon Phoenix, AZ, USA Date: Fri, 24 Jan 1997 06:50:27 -0500 (EST) a listing of fabric desscription, like you posted on dimity, might be of interest for us..I’m sure there are lots of young people who aren’ familar with different ones. I’ve seen eyebrows go up on ‘seersucker’ and ‘waffle pique’..Jane Date: Fri, 24 Jan 1997 07:37:13 EST From: marleneb [at] juno [dot] com (marlene a bush) To: QHL [at] cuenet [dot] com Subject: QHL: DAR Museum Message-ID: <19970124.064715.2991.0.marleneb [at] juno [dot] com> I’ve been lurking for a couple of months now and learning much from all the conversations. I’m a counselor at a residential high school for academically talented high school juniors and seniors and am on call 24 hours so my leisure time is limited, to say the least. The recent information on the special tour/workshop at the DAR Museum in Washington really caught my eye. However, thinking I wouldn’t get back to D.C. in the next several years, if ever, I deleted it. Now my husband has invited me to accompany him on a business trip to guess where – wouldn’t you know it! If anyone kept that information about the content of the tour, the telephone number, etc. and would kind enough to share it I’d be really grateful. Marlene Bush in Hot Springs, Arkansas where these warm temperatures in January are fooling the spring flowers. marleneb [at] juno [dot] com Date: Fri, 24 Jan 1997 09:20:19 -0500 (EST) From: PElkovitch [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V97 #21 Message-ID: <970124092018_1013064733 [at] emout04 [dot] mail [dot] aol [dot] com> Content-Type: text/plain; charset=unknown-8bit Content-Transfer-Encoding: 8bit << Has anyone had any luck locating the “Rising Sun” collection.? I managed to get some from Vintage & Vogue,but there are still gaps in my collection. Even if I get samples of the full collection I will be happy, just as examples of it.Would appreciate some feedback. Thanks Hiranya > > If you have tried Margo at Patchworks (she is wonderful!) but no luck, there was a company in Oakton, VA that offered packets of the entire Smithsonian line in 6″ x 6″ samples. Since this was from a fabric line produced in 1994, so I’m not sure if they would have any left (39 pieces and the cost was $10) The number for Merryvale, Ltd is 1-703-264-8959. There were also patches that go with the fabric to put with your quilt label and they were different for each of the Smithsonian lines (Groom and Little Sister fabric) I do have fabric from this collection. . . . . let me know if I can be of help to you. Patty in Skaneateles, NY pelkovitch [at] aol [dot] com Date: Fri, 24 Jan 97 10:08:34 PST From: John & Cinda Cawley To: marlene a bush , QHL [at] cue [dot] com Date: Fri, 24 Jan 1997 10:36:44 -0500 (EST) From: QuiltAlive [at] aol [dot] com Merikay Waldvogel here. . .I am just back from the opening festivities in Lexington, MA for the exhibit “The Art and Artistry of Applique: Quilts from the James Collection.” The collectors Robert and Ardis James were there along with a lot of quilt enthusiasts from New England. I especially enjoyed meeting Kris face to face. Her husband helped hold quilts during the Quilt Dating session. I love doing quilt days in New England because of the very early fabrics you often see in the quilts there. Kris commented on the Museum of Our National Heritage’s permanent area for quilt displays. That particular gallery is not always filled with quilts, but two years ago their staff developed a set of temporary display cases for quilts. The system worked so well–and they had such great response to antique quilt exhibits, the museum decided to mount other quilt exhibits. When they have had the exhibits, they had a series of two exhibits that lasted a total of six months. This exhibit series started with Star Quilts and now Red and Green Applique Quilts–a total of sixty quilts from the James collection. I think the most important James quilt on display there is a Baltimore Album Quilt that appeared in Dr. Wm Rush Dunton’s book Old Quilts (pg 207) and in Ellie Sienkiewicz’s book Baltimore Beauties and Beyond (pg 35). They have it displayed on a four-poster bed in a corner display area behind glass and under controlled light conditions. The broderie perse and applique examples are exceptional. Museum of Our National Heritage, 617-861-6559, located at 2A and Mass Ave in Lexington, MA just off I-95 (Hwy 128) outside of Boston. Admission is free. Hours are Mon-Sat 10-5 and Sun Noon to 5. If you go, please thank the staff, write your comments in the comment book, and encourage them to have more quilt exhibits. Kris, the book Just New From the Mills: Printed Cottons in America by Diane Fagan Affleck (1987) is a hard-to-find book. I’ve asked the Museum of American Textile History to republish it, but they say it’s not possible at this time. Re: the large heavy quilt with prairie points facing the center–Laura and Jane have already commented on it. The one we saw Sunday in Lexington, MA was not a $6000 version–I’m assuming the one that sold for such a high price in Florida was a late 1800s version in brown calicos. The one we saw Sunday was in 1950s fabrics. Jane mentioned an example in the Lone Stars of Texas book (pg 126-27) where it is labelled The Target. The Safford & Bishop book America’s Quilts and Coverlets has one made of smaller blocks of the same pattern on pg 156-57). I’ve seen other examples in the South–people have called them Target, Cockleburr, and Pine Burr. I own a chair seat cover made in the same pattern in pastel colors of 1920s-30s. I’ve been trying to find a printed source, but haven’t found one yet. I keep a file of photos of these quilts. My notes say there was an article pertaining to these quilts in the Feb 1933 issue of Antiques Magazine, but I don’t have a photocopy of the article. Re: Quilt Treasures of Great Britain mentioned by Hiranya of Australia. The American publishing rights to that British book were bought by Rutledge Hill Press. It costs $30. Call 800-234-4234 or maybe Kris can get copies to sell. It is an exceptional buy–170 color photos and excellent information. –Merikay Waldvogel Date: Fri, 24 Jan 1997 12:43:14 -0500 From: “Judy Grow” The safest way to store quilts, in my opinion, is flat, like on a bed, with a light barrier on top of the top most quilt. I store my biggest quilts that way in the guest bedroom, and only remove them when company comes. Second best, and the way I do with my smaller quilts is: folded as large as possible, with acid free tissue paper stuffed in the folds, and then placed in a (washed) muslin bag made specifically for that particular quilt. I store these in a bureau whose drawer insides have been sealed with shellac. The bags I make have velcro closures, and I write all sorts of information about the quilt on the outside of the bag with a Pigma pen (permanent). Hope this helps Judy in NJ judygrow [at] blast [dot] net > From: Suepurrrr [at] aol [dot] com Subject: Quilts touching wood… Hi Judy – I read with interest your note on QHL about wood and quilts. My mother has quite a few old quilts so I showed yur note to her. She wanted me to ask you what you recommend for storing quilts. What is the safest way. Date: Fri, 24 Jan 1997 12:54:54 -0500 (EST) From: DReyno3650 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Dimity definition Message-ID: <970124121913_1511361797 [at] emout16 [dot] mail [dot] aol [dot] com> I think that an on-going chat about certain fabrics of the past could be very illuminating. For my Friends of the Library job, I’m in a group that indexes old local newspapers (from 1850 in this locality of Santa Cruz, CA). In 1890, we were all puzzled by what the ladies were wearing: “She was married in a dark brown Henrietta….wore black Henietta to the ball…etc, while the men wore “nobby suits”, I could picture the suits being in a slubbed wool, and the Henrietta’s being a style of reddingote. Was I ever wrong! Later reading proved the suits of the men to be stylish and when we looked in the library’s big dictionary, the Henrietta was a type of slubbed silk similar to shantung. This was so common, it would undoubtedly be put in the crazy quilts of the eighteen nineties. When did Bemberg appear and was it always rayon? And what exactly is the “pongee” my Sunday School dresses were made from. These were strong fabrics and could be and probably were silk, but were they too thin/fragile to appear in quilts? When did the word “shantung” appear? I remember rayon shantung from the thirties, which my mother put in quilts. (Rayon rots.) It was a heavy, slubbed fabric suitable for spring coats and light suits came in colors light and dark. Could Henrietta cloth also come in colors both light and dark? As you might guess, I’m preparing to tackle my newly acquired 1890 crazy quilt, but more on that later. Willa Dean Reynolds, Soquel CA. Date: Fri, 24 Jan 1997 15:09:51 -0500 From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Dimity definition Message-ID: <970124150950_782850226 [at] emout02 [dot] mail [dot] aol [dot] com> EXCELLENT subject, Willa. You have already mentioned fabrics I am unfamilar with. In most cases if you don’t have a sewing background, you’re lost..I’m looking forward to this..and will start it off with “WHAT was a henietta?? Or am I getting the cart before the horse? Jane Date: Fri, 24 Jan 1997 14:16:29 -0800 From: harleman [at] micron [dot] net To: QHL [at] cuenet [dot] com Subject: QHL: glossary of textiles Message-ID: <32E934BC.4797 [at] micron [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Fellow QHL’ers, In the course of two semesters of Textile History I compiled a fairly good list of terminology. At the moment, my papers have been loaned out and I only have my original notes. However, when I get them back I’d be willing to post the glossary and the books they came from. In _Encyclopedia of Textiles_. American Fabrics and Fashions Magazine, editors, 3rd. edition, Englewood Cliffs, N.J. : Prentice-Hall, c1980, (check university libes), dimity is described as “sheer fabric with lengthwise cords or checks formed by bunching two, three, or more warp and filling threads together, usually of combed cotton.” In an example of an older dimity, it probably _was_ cotton, it is what was available then. Just last summer I made a dimity shirt (of course they don’t call it that anymore) from 100% polyester. The checks are windowpane type, something like a tic-tac-toe diagram. Any postings on description of old name textiles would be a welcome addition to my own files. What is the general feeling on this? Sharon in lovely sunny Boise (for now!) Date: Fri, 24 Jan 1997 14:27:05 From: “MARY PERSYN” Somewhat off topic. My apologies. If you’re not a member of the Indiana State Quilt Guild, you might want to hit delete or cursor down now . ISQG Members – We are finishing up the new membership directory and as a last minute thing have decided to include e-mail addresses for any members who would like to have them published in the directory. If you have an e-mail address and would like to have it in the membership directory, please send a message to DLYNBID [at] AOL [dot] COM. This is the e-mail address for Diana Biddle, the Vice-President for Membership who is putting together the directory. If you know other ISQG members who have e-mail addresses but aren’t on Quiltnet or QHL, please pass this message on to them. I am posting this message to Quiltnet and Quilt Heritage List only. If you are on another list, please forward this message. Thanks. Mary Persyn ISQG President Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Fri, 24 Jan 1997 15:05:54 -0800 From: harleman [at] micron [dot] net To: QHL [at] cuenet [dot] com CC: EKTupper [at] garden [dot] net Subject: QHL: Quilt History Book List: Startup note. Message-ID: <32E94052.5868 [at] micron [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Here we go again, after a week of being off-line (which happened in the middle of a list of 22 books), everything seems to be working fine, so far. Also, I have an uninterrupted block of time this afternoon: how unusual! I’ll repeat some information here that I started with before. “In the interest of saving your downloading time, I have divided them into 13 categories. Smaller groups may get ganged together, but the largest and, IMHO more significant, will go out as one unit. The categories will be on the subject line so that you can choose which lists to copy/save. I will not be recommending nor dis-recommending individual books since everyone has different interests, tastes, and specialties. Information will be standardized (Turabian) on all lists except the state books, which will be alphabetized by state.” I welcome queries and additions. First category, Pattern and Textile Identification, coming right up. Appreciate your interest, Sharon. Date: Fri, 24 Jan 1997 19:37:15 -0500 (EST) From: Quilting Heritage ListServ In reference to Merikays post – she is being so modest! No mention of the fact that she wrote the book _Soft Covers for Hard Times_ and autographed Jane’s copy which I just happened to have with me from the lending library:-)) Speaking of which, Mimi Dietrich made a donation to the library of her two books; _Quilts, An American Legacy_ and _Quilts from the Smithsonian_. These are both excellent books, IMHO, but I will do a formal review later. I did call the Museum of American Textile History about _Just New from the Mills_, and they referred me to someone who was on vacation, so no news on that front. The good news is that the woman I talked to seemed to think they might reprint the book, because there has been so much interest in it. (Probably me, calling every other day ) > Re: Quilt Treasures of Great Britain mentioned by Hiranya of Australia. The American publishing rights to that British book were bought by Rutledge Hill Press. It costs $30. Call 800-234-4234 or maybe Kris can get copies to sell. It is an exceptional buy–170 color photos and excellent information. I’ll call. I did get a call back from AQSG today on their prices – they are willing to sell Uncoverings as part of a bulk buy for $12 each, and their little technical guides for $2 each. I didn’t realize Uncoverings went back to 1980! I’ll post all this to the web page, so we can get back to discussing quilts. The web page has Hickory Hill’s prices – y’all are getting wholesale, so take the prices from my posts, not from the prices on the page. I also thought it might be an idea to list used books for sale, so if anyone has any they would like to list, feel free to let me know. Any other requests? I’m on a roll here. Kris Date: Fri, 24 Jan 1997 17:24:15 -0800 From: harleman [at] micron [dot] net To: QHL [at] cuenet [dot] com CC: EKTupper [at] garden [dot] net Subject: QHL: Q H bk lst, #2: General American Quilt History Message-ID: <32E960BF.3193 [at] micron [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Start/list: 7 items Kirakofe, Roderick. _The American Quilt: A History of Cloth and Comfort: 1750-1950_ New York: Clarkston N. Potter, Inc., 1993. ISBN 0-517-57535-3. Martin, Nancy J. _Pieces of the Past_ Bothell, Washington: That Patchwork Place, Inc., 1986. ISBN 0-943574-38-2. Martin, Nancy J. _Threads of Time_ Bothell, Washington: That Patchwork Place, Inc., 1990. ISBN 0-943574-66-8. Orlofsky, Patsy and Myron. _Quilts in America_ New York: McGraw-Hill, - Reprinted, New York/London/Paris: Abbeville Press, Inc., 1992. ISBN 1-55859-334-9. Safford, Carleton and Robert Bishop. _America’s Quilts and Coverlets_ New York: Bonanza Books/E. P. Dutton, Inc., 1980. ISBN 0-517-143917. Sullivan, Kathlyn F. _Gatherings: America’s Quilt Heritage_ Paducah, Kentucky: American Quilter’s Society, 1995. ISBN 0-89145-860-3. Wilens, Patricia, ed. _America’s Heritage Quilts_ Des Moines, Iowa: Meredith Corporation, 1991. ISBN 0-696-01905-1. End/list 7 items Date: Fri, 24 Jan 1997 23:40:38 -0800 From: Sharon Harleman Tandy Content-Transfer-Encoding: 7bit start/list: 5 items Brackman, Barbara. _Clues in the Calico: A Guide to Identifying and Dating Antique Quilts_ McLean, virginia: EPM Publications, Inc., 1989. ISBN 0-939009-27-7 Brackman, Barbara. _Encyclopedia of Applique: An Illustrated, Numerical Index to Traditional and Modern Patterns_ McLean, Virginia: EPM Publications, Inc., 1993. ISBN 0-939009-75-7 Brackman, Barbara. _Encyclopedia of Pieced Quilt Patterns_ Paducah, Kentucky: American Quilter’s society, 1993. ISBN 0-89145-815-8 Note: those first three get so much use I’ve had my local (large chain) copy store strip the covers, slice off the spine, and drill the pages for looseleaf binders. They’ll last much longer. Khin, Yvonne M. _The Collector’s Dictionary of Quilt Names and Patterns_ New York: Portland House/dilithium Press, Ltd./Crown Publishers, Inc., - ISBN 0-517-66914-5 (no author/editor) _Photographs of Fabrics in 19th & 20th Century Quilts: 26 Accurate color Plates Identified by quarter century_ Paducah, Kentucky: American Quilter’s society, n.d. ISBN (none given) end/list: 5 items Date: Sat, 25 Jan 1997 10:13:04 -0800 From: nomad1 [at] ibm [dot] net Thanks Merikay for supplying the info. re U.S. Publishers for Quilt Treasures. I was wondering what on earth to do if our List pals wanted loads. Yes, it is a superb book. There are such wonderful books to read—I do wish we did’nt need to sleep! Merikay, I wish I could be there for your Quilt Dating Sessions. I am sure you could do with a holiday in Australia. By the way, Dear All if you all ever come to Oz please give me a call (02) 9630-5839 and I will try my hardest to make your stay very special.You could even stay with me –check dates etc in advance.If you can handle a Labrapoodle who thinks he is human and children(9 & 21 months),you are more than welcome. Thanks also everyone who helped me locate Rising Sun. I have to wait for replies etc. re availability. Hiranya from Sydney Australia Date: Sat, 25 Jan 1997 07:04:17 -0800 (PST) From: Michele Weise Hi all, I asked this question last week and nobody responded so here goes again. Any info would be helpful. Can anyone give me information on yo yo quilts? What time frame were they made in and what was the height of their popularity. How were yo yo quilts used? I wonder about that because they are so fragile and have such a decorative nature–but they catch on things and obviously it wouldn’t work for for warmth. Were they designed for use in any special way? Who “invented” the design? anonymous maybe? Any and all info would be greatly appreciated. Michele in MoorparkCA Date: Sat, 25 Jan 1997 10:18:18 -0800 From: The Waites Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have ordered several out of print books from Peddler’s Wagon, P. O. Box 109, Lamar, MO 64759-0109, telephone: (417) 682-3734. They have been in business 11 years and are very helpful if you are looking for a specific quilting book. They also stock children’s books and some sewing notions. I enjoy getting their lists and usually find something wonderful to buy. Quilting is sharing and it is ever so evident on this digest. Thanks all. Audrey Waite, Sedona, AZ Date: Sat, 25 Jan 1997 14:46:02 -0500 From: mgoodman [at] albany [dot] net (Mary Beth Goodman) To: QHL [at] cue [dot] com Subject: QHL: I’m still here, just busy Message-Id: Content-Type: text/plain; charset=”us-ascii” I’ve been reading when I can, but I’ve been busy getting show stuff together and out and my own quilt for the show back in progress….. This past week one of my guild members brought a lovely quilt to show and tell. She’s going to put it in our show, which made me VERY happy! Made by her mother around 1940, supposed to be her first quilt….. it’s a snowflake type applique design. White snowflakes, all different, on a light-medium grey background. The daughter said it was very similar to a pattern offered more recently by Better Homes and Gardens. She believed her mother had bought a pattern for this quilt, but she no longer remembered where or other details. When we looked closely at it, there were blue markings along the edges of the applique. This made us wonder if the pattern had been sold as iron on transfers? Anyone have knowledge of this sort of pattern? On a note of possible interest to readers. Camille D. Cognac will be teaching and lecturing at our show in June. Registration opens Feb. 1st. All info is available at our web site. Mary Beth Goodman, Coordinator NYQuilts! Quilts, Fairfield Fashion Show, vendors, lectures, classes! June 7 & 8, 1997 Russell Sage College, Troy NY [link removed] Date: Sat, 25 Jan 97 16:40:29 PST From: John & Cinda Cawley Hi Michele, Yo-yos were popular in the twenties and thirties. Technically they aren’t quilts since they are only one layer (tho sometimes there’s a backing). I have a yo-yo made of a variety of depression era fabrics with a very gauzy Nile-green backing–pretty; it’s about 50 inces square and I don’t think it was ever intended to serve a practical purpose. A basting stitch is run around the edge of a fabric circle and pulled tight. The fabric doubles up, one side smooth and the other gathered with a little hole in the middle. The indiviual yo-yos are whipped stitched together. They’re not very practical. I don’t think there’s anyway to know where, when or by whom the technique was first used. A friend of mine made a yo- yo garland for her Christmas tree. In the Untouchables Kevin Kostner’s little girl had a yo-yo quilt on her bed. Cinda in Scranton ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/25/97 Time: 4:40:29 PM ## This message was sent by Chameleon Date: Sat, 25 Jan 1997 17:22:40 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: qhl [at] cuenet [dot] com Subject: QHL: Henrietta fabric Message-ID: <970125172240_1545108875 [at] emout08 [dot] mail [dot] aol [dot] com> I checked my copy of Fairchild’s Dictionary of Textiles for a definition of Henrietta. It says: Henrietta–a fine, soft and lustrous dress fabric made with a silk warp and fine worsted filling in a two up, one down, filling-face twill weave. Generally the effect was of a twilled face and relatively smooth back. Made in imitation of cashmere fabric. Produced as early as the middle of the 17th century, and formerly a popular fabric. Named in honor of Henrietta Maria of England, Queen of Charles I.” –Merikay Waldvogel Date: Sat, 25 Jan 97 17:03:59 PST From: John & Cinda Cawley To: QHL [at] cue [dot] com Subject: QHL: fabric with canon and flags Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII I’ve been working with the quilts in the collection of The State Museum of Pennsylvania in Harrisburg. One of the quilts, a flying geese in a strippy set made of red, green and yellow-gold calicoes, is backed with a fabric printed with red canon and American flags on a black staff. I think that this is a Centennial-type fabric. The family information that came with the quilt says that it was made during the Civil War. Is anyone aware of such a fabric being available as early as 1861-1865? TIA Cinda in Scranton ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/25/97 Time: 5:03:59 PM ## This message was sent by Chameleon Date: Sat, 25 Jan 1997 17:48:19 -0500 (EST) From: AJSNGS [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Dimity definition Message-ID: <970125174817_1826027977 [at] emout20 [dot] mail [dot] aol [dot] com> I would like to know more about the history of fabrics also. Not having much of a sewing background I don’t know too much about fabrics. I find this thread really interesting. Date: Sat, 25 Jan 1997 17:51:14 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Yo Yos Message-ID: <970125175112_1826031422 [at] emout01 [dot] mail [dot] aol [dot] com> You should see them done in red or green on a white table cloth for Christmas..and I have a ‘collar’ from a pattern I found in TX in regualr cotton but knew full well it would adapt to FEEDSACKS..and you can be it did. i contacted the lady who designed the pattern, carry the collar and pattern with me to my lectures and sell out everythime..YO YO’s are HOT!!..ALSO, all in white over ANY color..Jane Date: Sat, 25 Jan 1997 15:06:38 -0800 (PST) From: Michele Weise To: QHL [at] cuenet [dot] com Subject: QHL: Yo Yos Message-Id: <199701252306.PAA06701 [at] acme [dot] sb [dot] west [dot] net> Content-Type: text/plain; charset=”us-ascii” Hi all, I asked this question last week and nobody responded so here goes again. Any info would be helpful. Can anyone give me information on yo yo quilts? What time frame were they made in and what was the height of their popularity. How were yo yo quilts used? I wonder about that because they are so fragile and have such a decorative nature–but they catch on things and obviously it wouldn’t work for for warmth. Were they designed for use in any special way? Who “invented” the design? anonymous maybe? Any and all info would be greatly appreciated. Michele in MoorparkCA Date: Sun, 26 Jan 1997 01:34:13 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL: RE: Historic Colour Names Message-ID: <32EB2515.770D [at] ibm [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Okay Guys, Is anyone going to tell me Who Eli Walker of the Eli Walker Green is?? I know he cannot be a Martian! Also was the person who discovered the Madder plant madder than the rest or was that his Surname?. Also Dimity-I know what it is but where did the name come from? These names seem to have all originated in the U.S.A. so hopefully there must be some documentation somewhere? Here in Oz ,our colours seem to be the same as that of the U.K. So, please share your knowledge with an ignoramus ( but not for long(!) ) from Down Under! O>K Who stole our sunshine? Its raining like mad now Bye for now Hiranya from Sydney Australia Date: Sun, 26 Jan 1997 09:53:05 -0500 (EST) From: Michele Weise Hi All, reading over Willa’s post on 1890 dark brown Henrietta clothing Willa states, “when we looked in the library’s big dictionary, the Henrietta was a type of slubbed silk similar to shantung.” I checked w/The Story of Silk by Feltwell and shantung was very similar to Tusseh silk. The Tusseh silkmoth is a large Indian moth with a wingspan of 5.9 in. “Some authorities include 2 other closely-related silkmoth species as producers of Tusseh silk. These are the Chinese oak silk moth and the Japanese oak silkmoth….The Chinese silkmoth occurs throughout the province of Shantung where “Shantunk silk” is produced. and Tusseh silk may be obtained from a hybrid between the Chinese oak silkmoth and the Himalayan oak silkmoth. The cocoons produced from these silkmoths are at least twice as large and are greyish brown in color. The silk is difficult to reel without prolonged boiling in potash. This variet of silk is called Tusseh (spelled at least 10 different ways btw)….Tusseh silk is durable, coarse, dark colored and worn by the Brahmins and other Hindu sects.” …Goes on to say how these moths cannot be domesticated and people have to find them in the jungle, watch over and guard them from crows and bats. Also says in 1877 Tusseh silk from all the Indian villages produced a considerable amount of silk for export..London using 238 bales and 3 times that much to Paris in 1879 for theParis Exhibition. The time frame is exactly right and I sure much of the silk found its way here and I would safely guess this was the dark Henrietta. Last comment…. silk with the nubbles in it, is because of it being either this Shantung (Tusseh) and a mix of different types of silk moths and the larger nubs not being able to be broken down further, or as for domesticated silk moths, the nubs are a combination of raw silk and spun silk. But the dark Tusseh silk must be something special indeed. Willa asks, “And what exactly is the “pongee” my Sunday School dresses were made > from. These were strong fabrics and could be and probably were silk, but were they too thin/fragile to appear in quilts? When did the word “shantung” appear?:” I’ll research pongee another day. Michele from Moorpark,CA Date: Sun, 26 Jan 97 11:43:03 PST From: John & Cinda Cawley To: QHL [at] cue [dot] com Subject: QHL: Dimity Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Textiles in America: 1650-1870 by Florence M. Mongomery, W.W. Norton, N.Y., 1984 (A Winterthur Book) ISBN 0 393 01703 6, pp. 218-222 defines dimity, gives historical background and has several pictures in black and white which are worth a thousand words. ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/26/97 Time: 11:43:04 AM ## This message was sent by Chameleon Date: Sun, 26 Jan 1997 16:25:44 -0800 (PST) From: Diane Lockwood To: QHL [at] cuenet [dot] com Subject: QHL: Intro Message-Id: <3.0.16.19970126161022.21c73260 [at] innercite [dot] com> Content-Type: text/plain; charset=”us-ascii” Hello, My name is Diane Lockwood and I live in the Sierra Nevada mountains in northern California. I’ve been lurking for several weeks now. The antique quilt discussions have been _very_ interesting. I fell into collecting antique quilts quite by accident. Dsh and I lived in a small town in northwest Georgia for two years. I passed by a local junk store and saw an old wool crazy quilt in the window. After two weeks of passing by, I went in to ask the store owner to take it out of the window as the sun was shining directly on it. Well, it was love at first sight! I had to have that old thing. The store owner gave me an abrieviated history of the quilt which I shrugged off as just a story to sell the quilt. After examining it at home for several weeks, dsh and I started the long, but very exciting, process of authenticating it. Turns out it has both Federal and Confederate uniform pieces in it, as well as many pieces from a man’s wardrobe dated in the late 1800s. The backing is very rough woven fertilizer bags dated in the late 1800s. The stitching in the quilt is very crude though there are efforts of the maker to be decorative. There is no batting. As we went through the process of authenticating the old quilt, we kept a journal of every encounter we had. It is our intention to return the quilt to the South and donate it to the Atlanta History Museum along with all the documentation. We have hopes, but no firm date, to do so this spring. The old quilt really belongs in the South and sometimes I feel as though I have quiltnapped it! I have six pages of notes which I will be happy to copy to anyone who may be interested in reading about this old quilt and our authentication adventures. The second accident in collecting antique quilts was discovering 8 quilts in my DMILs attic while we were living in Georgia. But that’s another story…… Diane Date: Sun, 26 Jan 1997 20:11:38 -0500 (EST) From: Quilting Heritage ListServ Diane, I would be _very_ interested in hearing how you documented your quilt! I just bought a signature quilt that is in rough condition, but each block is signed by a different (family?) The signatures are embroidered in red on muslin, and put together with red. One block has the date 12/25/22, several are signed by Reverends – this leads to obvious conclusions, so I was going to write to the churches in the area where it was found and see if I could find any informations. I suppose I could look up the unusual names in the phone book, but somehow that seems too easy. I would be interested in anything others have done to research their quilts, too. Kris Date: Sun, 26 Jan 97 20:06:53 PST From: John & Cinda Cawley To: QHL [at] cue [dot] com Subject: QHL: Ely & Walker Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Ely & Walker printed cottons starting in 1878. They kept many of the same prints (sold under the name Quadriga Cloth) in production for years and years. They went out of business in the early 1990’s. I found some of their fabric in a hardware store in the Pocono’s a couple of years ago and I bought it all. The prints are identical to those found in quilts from the 1880’s. I kept the cardboard core from one bolt; it is printed with an address in Memphis TN, but I don’t know if that was their original location. ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/26/97 Time: 8:06:53 PM ## This message was sent by Chameleon Date: Sun, 26 Jan 97 20:30:57 PST From: John & Cinda Cawley To: Quilting Heritage ListServ , QHL [at] cue [dot] com Subject: Re: QHL: Intro Message-ID: Content-Type: TEXT/PLAIN; CHARSET=us-ascii Kris, Could you please post instructions for the List, sign up etc?. I”ve lost my copy and I want to tell a friend about the List. Thanks. Re. signature quilts: I bought a beautifully appliqed and embroidered quilt with 250 signatures. Each of 25 blocks contains 10 signatures embroidered in purple, an appliqued keystone and an embroidered bunch of goldenrod. The borders are a beautiful butter yellow. Obviously (the keystone) it’s a Pennsylvania quilt. Since the mountain laurel became our state flower in 1934 I assume it was made before that date, otherwise the maker would have chosen the state flower rather than the goldenrod. Pennsylvania is a big state and I wasn’t sure how to try to pinpoint the area where it was made until I talked to a professional geneaologist. She told me to consult the Soundex. In the PA State Library in Harrisburg there is a file which allows you to search for names by reducing the letters to a number code which then turns up clusters of people with the same name as listed in the 1920 census. Census information is not made public for 70 years so 1920 is the most recent available and may, in fact, be the only census for which there is a Soundex. This is not as complicated as it sounds and it’s really interesting. Several names appear quite a few times on my quilt (family groups) so I looked for those. In a very short time I found a number of the people who’s names are on my quilt. They lived in Indiana County in western PA between Altoona and Pittsburgh. I still have a lot more work to do, this quilt-detective stuff is such fun. ## Cinda in Scranton Date: Sun, 26 Jan 1997 22:28:21 -0500 From: Baglady111 [at] aol [dot] com Welcome, Diane,,I would love to read your story on the southern quilt. Altho I am born and reared in Pittsburgh, I moved to Virginia 20 yrs ago and am a legal resident there..I spend alot of time in Pittsburgh but my enjoy my farm as well..and being a very rural mountain town, the Civil War is a big topic as is quilting..they have been quilting there since the 1700’s when Floyd was settled..hence the beginning of me collecting feedsacks..Yes, I would like to read your story..Jane Date: Mon, 27 Jan 1997 05:09:43 +0000 From: Susan Nixon To: QHL [at] cue [dot] com Subject: QHL: Soundex Message-ID: <19970127050918.AAC20330 [at] LOCALNAME> Content-Type: text/plain; charset=”us-ascii” > consult the Soundex. In the PA State Library in Harrisburg there is a file which allows you to search for names by reducing the letters to a number code which then turns up clusters of people with the same name as listed in the 1920 census. Census information is not made public for 70 years so 1920 is the most recent available and may, in fact, be the only census for which there is a Soundex. I have used Soundex at the LDS genealogical libraries. It is, I believe, for every census. I know I used it for the 1900 and 1910. In many places there are branch LDS libraries, so you might try looking for one in your neighborhood. They don’t mind other people using the facilities. If you can’t find it listed as a library in the phone book, try calling one of the local churches and asking where the closest one is available to the public. Susan in Sunny Phoenix, Arizona, USA Date: Sun, 26 Jan 1997 21:34:01 -0800 (PST) From: Michele Weise To: QHL [at] cue [dot] com Subject: QHL: yo yo answers Message-Id: <199701270534.VAA21893 [at] acme [dot] sb [dot] west [dot] net> Content-Type: text/plain; charset=”us-ascii” Thanks for the answers on yo yos. I think they are so pretty, to me they look like flowers with a real old fashioned look. michele Date: Mon, 27 Jan 1997 09:09:23 -0500 (EST) From: HKnight453 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Re: Black Cotton Message-ID: <970127090922_1859790906 [at] emout13 [dot] mail [dot] aol [dot] com> I have seen garments made of a special fibre known as Foxfiber which are deep russet and medium leaf gren made from undyed cotton. The cotton is naturally inthese colors, and is grown in Texas. Such strains have been grown on and off for many years, according to the hang tags. i didn’t buy any, but saw the display at Bread and Circus. That’s just an add-on to Ricki’s comment. Best wishes, Heather Date: Mon, 27 Jan 1997 09:54:18 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: Yo Yo Quilts Message-ID: <970127095324_715327728 [at] emout18 [dot] mail [dot] aol [dot] com> The history of Yo Yo’s goes back a long way. Read: “Yo Yo or Bed of Roses Quilts: 19th Century Origins” by Virginia Gunn in the book 1987 Uncoverings published by American Quilt Study Group. Originally, yo yo’s were decorative additions to dresses, tablecloths, curtains, etc. Virginia Gunn’s article includes an engraved illustration of “the best way to form fabric disks” from December 1885 issue of Peterson’s Magazine. They weren’t called “yo yo’s” then. In the late 1920s and 30s, the technique was revived. Several magazine and needlework companies sold patterns and directions for the spreads. They were also made into pillows, seat covers, etc. I own a small kit for making yo yo’s–inside were a plastic circular disk, lots of pre-cut fabric circles, and the instructions for making a pillow. I also have a cutting diagram published by Grandmother Clark’s in St. Louis in 1932 for a “Yo-Yo, Puff or Bed of Roses Quilt.” The derivation of the name “yo yo” is interesting.. Virginia Gunn says “by the end of the 1930s, the term ‘yo yo,’ the trademark for a popular disk-shaped toy manipulated by a cord became the favorite name for this circular pattern.” I have an undated newspaper article about making a silk “yo-ho” quilt–note the spelling and the use of silk. The last sentence says “These quilts are often called Yo-Ho quilts as the circles resemble the Yo-Ho toys so popular with children.” Does anyone know about Yo-Ho toys? –Merikay Waldvogel Date: Mon, 27 Jan 1997 10:09:03 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: mgoodman [at] albany [dot] net cc: qhl [at] cuenet [dot] com Subject: QHL: Snowflake Quilt Kit Message-ID: <970127100902_847305986 [at] emout13 [dot] mail [dot] aol [dot] com> You asked about a Snowflake quilt on a grey background recently. I have information on two such quilts. Paragon published two versions–one in 1937 and another in 1949. The one in 1937 has one snowflake pattern used throughout. The pattern in 1949 had four variations on the same snowflake pattern–for example, one snowflake has small hearts radiating from the center and another has small stars radiating from the center. The four variant blocks are used throughout the quilt. The Version II appeared on the inside back cover of McCall Needlework Fall Winter 1949-50 and in 100 Best Designs from McCall’s Needlework & Crafts Vol 2 1976, pg. 139. If you want photocopies of the two versions to authenticate your quilt, e-mail me with your snail mail address. –Merikay Waldvogel quiltalive [at] aol [dot] com Date: Mon, 27 Jan 1997 10:35:42 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: qhl [at] cuenet [dot] com Subject: QHL: Averil Colby & Amy Emms Message-ID: <970127103414_1659309727 [at] emout11 [dot] mail [dot] aol [dot] com> I know there are some British quilt historians receiving this list. Would anyone be willing to write a short synopsis of the lives and accomplishments of Averil Colby and Amy Emms for a book to be published by the Quilter’s Hall of Fame? If so, please e-mail me for guidelines and information. –Merikay Waldvogel quiltalive [at] aol [dot] com Date: Mon, 27 Jan 1997 10:57:19 -0500 (EST) From: RLHlink3 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Intro Message-ID: <970127105108_1826241758 [at] emout14 [dot] mail [dot] aol [dot] com> Hello Diane What an interesting quilt! Thank you for sharing the story. How neat that you are considering returning the quilt to it’s “home”. BTW, where in the Sierras do you live? Linda/Redding Date: Mon, 27 Jan 1997 16:09:05 -0500 (EST) From: QRestore [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Intro Message-ID: <970127160903_1245609358 [at] emout06 [dot] mail [dot] aol [dot] com> Diane; Just wanted to say what a commendable act your doing by donating your “love at first sight” quilt to the Atlanta History Museum. It would be difficult for any of us to do. . .so glad you shared it with us here. Victoria Montgomery QRestore [at] aol [dot] com Boise, ID Date: Mon, 27 Jan 1997 16:43:14 -0500 (EST) From: AJSNGS [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Wool Crazy quilt Message-ID: <970127163854_1511805759 [at] emout17 [dot] mail [dot] aol [dot] com> Hi, I for one would love to hear more about the wool crazy quilt that was purchased in a junk shop in Georgia! I would be very interested in how it was determined that there was fabric from Union and Confederate uniforms in it. What a fascinating find! Please share this with the whole group because this is really a wonderful piece of quilt history. Thanks, Nancy in VA Date: Mon, 27 Jan 97 22:46:00 GMT From: l.evans5 [at] genie [dot] com To: qhl [at] cue [dot] com Subject: QHL: Averil Colby Message-Id: <199701280032.AAA16451 [at] relay1 [dot] geis [dot] com> Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=”us-ascii” I don’t know enough about her to write a biography, but Averil Colby’s contribution to quilt history is inestimable. I’d love to know more about her. Date: Tue, 28 Jan 1997 08:27:46 -0500 (EST) From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Dimity Message-ID: <970128082745_1178546124 [at] emout11 [dot] mail [dot] aol [dot] com> Cinda’s reference to the Florence Montgomery book reminded me how informative that book is, but–unfortunately–how difficult to find. It is now out of print, available only in some libraries. Anyone know where a copy might be found to buy? Kris, what do you suppose the chances are of someone reprinting this one? –Rachel Date: Tue, 28 Jan 1997 07:35:42 -0800 (PST) From: Diane Lockwood Date: Tue, 28 Jan 1997 15:27:19 -0600 From: Billie Corgan laurarm wrote: First — old quilt tops don’t _have_ to be quilted. Laura: I just wanted to tell you that I for one, and I’ll bet there are more like me, was glad to read your recent posting. My mother handed down some unfinished quilt tops from family members to me as my quilting progressed. These just added to my UFOs and the associated guilt that I could never get everything completed. After reading your post, I relaxed. I could finally just enjoy the quilt tops for what they are. Completed quilt tops not unfinished quilts. Thank you, thank you, thank you. Billie Corgan Choctaw OK Date: Tue, 28 Jan 1997 18:26:33 -0500 (EST) From: PAMIAM6 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: New history find Message-ID: <970128181601_1446527468 [at] emout19 [dot] mail [dot] aol [dot] com> > From here in the cold Land of Lincoln the front page of our paper has announced a new quilt find. As the story goes, Abe, as a young boy worked in a dry goods store and one day sold the fabric for a quilt to a Clarissa Hornbuckle. He did not give her enough change back and thus walked the 3 miles to her home to return several cents. Thus the name “Honest Abe. Well the relatives of Mrs Hornbuckle have found and donated the quilt to the state of Illinois. The pattern is Orange Peel and the picture in the paper showed it to be blue and white. It is considered to be too fragile to display and so the local quilt group is going to make the twin for display. Someone dated the quilt as 1830. It is so interesting how some things dont change…the quilt looks as if it could have been made yesterday. I thought some of you might be interested in this little new piece of quilt history. Pam Tjelmeland Springfield Illinois. Date: Wed, 29 Jan 1997 10:51:01 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL: RE:Memory Quilt Message-ID: <32EF9C15.77EA [at] ibm [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi All, Where has everyone gone? I guess we have all realised we cannot sit too long the computer !! Remember my Memory quilt I am working on ? Well, I was thinking I would like to represent my babies that I lost. I have 6 in heaven ( yes, I do not give up too easy!) and 2 on earth. I know there must be other mothers elsewhere who have thought & perhaps done this. How were babies represented ? I will use applique , but as my little ones never made it to full term I do not know quite how to represent them except as angels. With the current fad of angelmania I do not want my quilt misrepresented as a fad of the day in the future! Any feedback will be appreciated. It is pouring here, I adore rain but not this much! Will have to build an Ark if it does not stop shortly! Hiranya -Sydney Australia Quilting Treasures of Old email-nomad1 [at] ibm [dot] net Date: Wed, 29 Jan 1997 09:06:00 -0500 From: “Sue McClure” I’ve been hearing so much about the Dear Jane quilt that I recently made the trip to the Bennington Museum (only about an hour from here) to see it - only to discover that it was on loan to some international quilt show and even when back home, it isn’t often on display. I should have realized how fragile it must be and therefore not always out where it can be admired (they say they have to let it “rest” between showings) – maybe someday I’ll get to see it! Fortunately, I’m also a big fan of old sewing machines, and they had quite a few of them on display, along with the Grandma Moses paintings I always enjoy visiting. Sue McClure (suzy [at] albany [dot] net) Date: Wed, 29 Jan 1997 10:23:29 -0500 From: Gail Wagner I recently changed from AOL to a new carrier and had my computer up-graded so I am thrilled with faster better service. I have just started getting this digest and LOVE it!! My collection of antique quilts started when my husband’s grandmother died. She was estranged from the family by her own choice so we did not know she was gone until a few weeks after her death. Through the lawyer, I contacted the man who inherited her estate and asked, if there was something that Margie had made that he didn’t want, would he please allow us to buy it. Well, in a few weeks, I received a huge box (uninsured from UPS) containing, among other things, a white and rust Burrogyne Surrounded(aka Homespun), a 1930’s Grandmother’s Flower Garden, and an early 1900 calico Cakeplate. I was immediately hooked on quilts!!! Since then, I have acquired about 20 more antiques with my latest great find being an early 1900 string star quilt which was inside a tied Lone Star quilt. Sorry, got carried away with the antique quilts. What I set out to say is what is the name of the Florence Montgomery book that is out of print? There is going to be a huge used book sale here (Atlanta) next week put on by Goodwill. I have gotten some real treasures there and will be glad to look for books for someone else if I have the author and title. Also, I am very interested in the Southern Crazy Quilt. I was born in Atlanta and have always lived here – southern through and through. Please put me one the list to receive more info. Thanks. Thanks for this wonderful forum. Gail. Date: Wed, 29 Jan 1997 13:16:01 -0500 From: Ricki Maietta To: QHL [at] cuenet [dot] com Subject: QHL: yankee & rebel uniforms Message-Id: <199701291809.KAA16901 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=”us-ascii” Was fascinated by Diane’s crazy quilt with fabric from yankee & rebel uniforms. I had heard of this, but was beginning to think it just a rumor, as I never saw (or knew anyone who saw) an actual quilt like this. But, then, would I recognize those fabrics??? I was told that fabric from Civil War uniforms were used in early log cabin quilts, log cabin design having some significance to the south. (Anyone know why?) This info was given to me by a woman named Jane Ingersoll, the volunteer textile curator at the Lycoming County Historical Museum (PA). Jane is in her 70s, & claims this info came to her from her mother (getting back there in time), who was a seamstress & owned a costume shop in Williamsport, PA. Jane, BTW, has a textile/costume degree from Penn State & also ran the costume shop for years. I consider this woman very knowledgable, & would tend to believe it if she said so. Would love to hear of any actual, for sure, this-is-Civil-War-uniform-fabric-in-this-quilt documentation. . . Ricki – lovin’ this list! Date: Wed, 29 Jan 1997 12:53:24 -0500 (EST) From: QuiltLine [at] aol [dot] com Hi all, I saw this post on Quiltbiz, (Heidi, hope you don’t mind). I know we had a thread going about this awhile ago, but thought that another source for these products might come in handy. Debbie In a message dated 97-01-28 00:33:15 EST, ozzg [at] nmia [dot] com (Ozz Graham) writes: << Subject: QBD-acid free tissue paper One specialty company for archival storage needs (including acid free tissue and textile storage boxes w/ 20 sheets of acid free tissue included) is: The Hollinger Corporation 9401 Northeast Drive P.O. Box 8360 Fredericksburg, VA 22404 540-898-7791 800-634-0491 They also have textile storage tubes (3″ diameter x .125″ thick high density, inert polyethylene, cut to size up to 120″) in case you don’t want to fold quilts. Hollinger also sells Tyvek by the roll, which is chemically inert, resists mold, mildew, and moisture, but it breathes, so it is great for quilt storage, or lining shelves. Ann Russell is their conservation consultant and you can reach her on Wednesday or Thursday at their toll free number. It is my understanding that she has done consulting for The Smithsonian. She knows her business! You can also request a free catalog and samples. Heidi Wurst End Digest 1.27.97 Ozz Graham Date: Wed, 29 Jan 97 14:21:07 PST From: John & Cinda Cawley To: Gail Wagner , QHL [at] cue [dot] com Subject: QHL: books on textiles Message-ID: Content-Type: TEXT/PLAIN; CHARSET=us-ascii Gail asked about the Montgomery book. Textiles in America 1650-1870 by Florence M. Montgomery, W.W. Norton and Co. (A Winterthur Book) 1984. ISBN 0-393-01703-6. This book is a dictionary based on original documents, prints and paintings. I also reccommend Textile Designs by Susan Meller and Joost Elffers, Harry N. Abrams, Inc. New York. 1991 ISBN 0-8109-3853-7. 200 years of European and American patterns for printed fabrics organized by motif, style, color, layout and period. 1,823 color illustrations–this is a super book; expensive and worth every penny. ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/29/97 Time: 2:21:08 PM ## This message was sent by Chameleon Date: Wed, 29 Jan 97 14:41:23 PST From: John & Cinda Cawley To: quiltart [at] quilt [dot] net, QHL [at] cue [dot] com Subject: QHL: PA State Museum Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Ricki Maietta sent me a message about my work at The State Museum. I must have deleted it, sorry Ricki. I have been working with two friends/ colleagues on a documentation of the quilt collection at The State Museum of PA in Harrisburg for the last two years. Denise Nordberg and Lorraine Ezbiansky and I have written a book on the collection which will be published by the State Historical and Musem Commission in May of this year. The book will have color pictures of 41 quilts and black and white details of twenty more. The museum is planning “a quilt event” on June 7 to celebrate the publication. As a result of this project the Friends of the State Museum have set up a fund dedicated to the conservation and preservation of the collection. I would really like to put together a list of quilt guilds in PA so that they could receive information about the collection and perhaps consider making a donation to the fund. The museum owns about 200 quilts and related textiles (we documented 193 items, but some pieces are on loan to other sites and were not available to us). Another result of our work is that every quilt has been photographed and these pictures are available for study at the museum (or will be soon) along with the documentation information. It’s a fine collection; almost every quilt of which the origin is known was made in Pennsylvania. We are hoping that in the not too distant future the museum will have a major quilt exhibit. Perhaps you should all write letters urging them to do so. ## Cinda in Scranton Name: John & Cinda Cawley E-mail: cawley [at] epix [dot] net Date: 1/29/97 Time: 2:41:23 PM ## This message was sent by Chameleon Date: Wed, 29 Jan 1997 17:12:15 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: PA State Museum Message-ID: <970129164843_647774754 [at] emout03 [dot] mail [dot] aol [dot] com> May?? I would love to have had a copy for THE FEEDSACK CLUB’S CONVENTION/QUILT SHOW in April..drats..will put your request in our newsletter for members in Pa that belong to a guild and would like to donate. Are their forms or do they just send a check?? Jane Date: Wed, 29 Jan 1997 18:05:18 -0500 From: Diane McGuire To: antique quilts line According to my American Heritage Dictionary, dimity comes from Greek for “di” (two) + “mitos” (threads), and madder comes from Old English “maedere” meaning color, in this case red. When I am not quilting, I teach high school English, investigate word origins, and do historical research for fun. Diane in dry(for now), cooold Massachusetts ## —————————— Date: Wed, 29 Jan 1997 20:50:21 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: PA State Museum Message-ID: <970129164918_1245911715 [at] emout09 [dot] mail [dot] aol [dot] com> ooopps! I would also like info to put in our n/l for your June event..Jane Date: Wed, 29 Jan 1997 21:08:40 -0500 (EST) From: DReyno3650 [at] aol [dot] com This quilt may have more of a history than you might think. My other love is genealogy, and while I was poring over the history of my ancestors in Bibb County, Alabama (in the History of Bibb County) I ran across a section that had me spellbound. Each community had to furnish so many recruits (volunteers at first, a draft later) to the “cause”, in this case, Confederate Army. They also had to furnish the men with the required uniform and other gear (gun, blanket, etc.) The fascination started when I realized that First, They Had to Catch the Sheep. Then, the shearing, carding, spinning, and weaving started. Since they had no dye in Bibb County other than black, the gray cloth was achieved by the weavers being inventive using black thread and white intermittantly to make it look gray. As the fabric was woven, the ladies gathered at the churches to cut and sew, and all the sewing was done by hand. The ladies worked non stop, night and day, until they had made each recruit a uniform and furnished him with a blanket to keep him warm. And they continued to do this throughout the war. My great-grandfather fought for Bibb County and died of measles just before Shiloh. Maybe Georgia people had dye, but it would be interesting to look carefully at that cloth, especially the gray. I presume the Union soldiers had the might of the mill towns of the north to cloth their soldiers. This is from memory. If anybody wants portions of the original, I’ll be glad to look it up and send it to their mailbox. Willa. Date: Wed, 29 Jan 1997 22:00:45 -0800 From: iteach [at] slip [dot] net (Elizabeth Pruyn) Hi there, I have been lurking for several weeks and afer a question was raised in my “Quilting 101” class, I thought it was time to introduce myself. I have always been interested in quilting and even made a few simple, tied quilts with my second graders. I also have been doing living history re-enactment for twenty years as a hobby and have made many costumes for myself and my family. I started going into quilt shops a few years ago looking at the reproduction fabric to use for 19th century clothing. Somehow I started buying fat quaters and 1/2 yards and some books, and attended a few shows and now I’m hooked. Being someone who sews, I can appriciate the work that goes into modern, art quilt, but my love is the traditional designs and fabrics. I really enjoy the discussions on this list and have learned quite abit about fabric and quilts. My question concerns muslin. In the early 19th century muslin was an imported, fancy fabric used for both day and evening wear. Now though when we think about it, it is a “cheap” fabric with lots of brown in it. Yet it is used alot in quilting. Was it used as a quick “extender” fabric or due to the availablility, etc. Any answers would be appricaiated and I’ll share them with my group. Yours, Elizabeth Elizabeth Pruyn iteach [at] slip [dot] net Oakland, CA “If I had been around when Rubens was painting, I would have been revered as a fabulous model. Kate Moss? Well, she would have been the paint brush…” – Dawn French Date: Thu, 30 Jan 1997 06:37:35 -0500 (EST) From: AJSNGS [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: yankee & rebel uniforms Message-ID: <970130063735_948373873 [at] emout05 [dot] mail [dot] aol [dot] com> Willa, I for one would love more information about the rebel and yankee uniforms. This is very interesting to me as I love Civil War history anyway! Nancy in Fredericksburg, Virginia Date: Thu, 30 Jan 1997 09:02:43 -0500 (EST) From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com, quiltart [at] quilt [dot] net Subject: Re: QHL: PA State Museum Message-ID: <970130090243_472801382 [at] emout13 [dot] mail [dot] aol [dot] com> Cinda– Congratulations! You’ve done a lot of work we all appreciate in preserving our quilt heritage. I would be interested in a copy of your book when it comes out. Any chance I could get an autographed one (or four)? –Rachel Date: Thu, 30 Jan 1997 09:22:48 -0500 (EST) From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com, dpw13 [at] mindspring [dot] com Subject: Re: QHL: books on textiles Message-ID: <970130092239_1313039102 [at] emout18 [dot] mail [dot] aol [dot] com> Gail, et al. The Florence Montgomery book I have used is Printed Textiles, English and American Cottons and Linens 1700-1850. A Winterthur Book. New York: The Viking Press, 1970. I would, however, be delighted to find a copy of either book. (And several others–but that’s another story.) It’s unfortunate that a lot of the older books on quilt history are out of print, generally unavailable, or difficult to locate. There is a lot of information in these books (authors Montgomery, Pettit, Peto come to mind) that is useful to current researchers, and it’s always good to go back to the original source. It’s great when these books can be reprinted (Webster) or revised and reprinted (Orlofsky). Sometimes books are the only way we can see those quilts which are rarely exhibited due to either their fragility or the availability of quilt exhibit venues. (Or limited travel expenses.) Enough sharing. Thanks for the soapbox. –Rachel in NJ ## —————————— Date: Fri, 31 Jan 1997 12:47:19 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: RE:QHL:Memory Quilt Message-ID: <32F25A57.25D2 [at] ibm [dot] net> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks Karan for your idea of a bouquet wih blooms & 6 unopen blooms and Susan for the baby animal idea , I can definitely use these ideas. I wanted to check out if there were similar quilts historically as surely others had the same idea. Well I came across a wonderful book & wanted to share it with U guys. The Maria Hanks Quilt dated 1857 (Charleston, Coles County, Illinois) is found on pg. 88 of ” Wrapped In Glory: Figurative Quilts & Bedcovers 1700-1900 by Sandi Fox, Thames & Hudson , Los Angeles County Museum Of Art. This breathtaking quilt has appliqued & embroidered birds, berries & currents ; with lots of blooms , buds, leaves etc all in red, green and pumpkin orange in places on white. There is a little figure on the lower right corner of the piece, worked in “exquisite detail. ” There’s lots of wonderful details , but basically this quilt is supposed to represent Maria Hank’s daughter as she would perhaps have grown up to be. The author Sandi Fox believes this quilt to be a unique example of America’s mourning arts . I do not want to make anyone morbid with lots of details , but am happy to pass on info. of quilt details if any are interested. Thanks again to those who made the time to respond. Hiranya from wet Sydney Australia ( 8 ^ ) P.S. All the quilts in this book are really fabulouse and text very interesting. I bought this last year a quilt show for AUD $29 , so am not sure of US prices. Perhaps someone else can advise here. Sandi Fox is associate curator and heads the American Quilt Research Centre at LA County Museum of Art. Date: Fri, 31 Jan 1997 08:59:47 -0800 From: deb roby I have been reading this list almost since it’s inception. Haven’t given a bio, because I can’t really add a whole lot to the list. I read it to learn more… I have an idea that I would like to develop. I own an industrial quilting machine, and often advise people on quilting patterns to use on their quilts. I would like to develop a talk about the history of quilting patterns that I could offer to a number of the regional quilds. I miss teaching (taught HS English for 10 years), and this might come close to a substitute. It would be a way to help people think more about the quilting patterns that they use, and (I admit it) may be a useful marketing tool for my business. I am having trouble finding a lot of documentation about the history of quilting patterns (dont’ really know where to look). Can anyone supply some bibliographical information that might help me? Also, I saw that AQS has just published an Encyclopedia of quilting patterns. Has anyone seen this book? Would it be worthwhile for me to order? Any help is appreciated. TIA Deb Roby Date: Fri, 31 Jan 1997 06:56:35 -0800 (PST) From: Michele Weise To: QHL [at] cue [dot] com Subject: QHL: quilting patterns Message-Id: <199701311456.GAA08291 [at] acme [dot] sb [dot] west [dot] net> Content-Type: text/plain; charset=”us-ascii” To Deb Roby’s bio on the history of quilting patterns –you have a really great idea there. The very first quilt I ever made…oh no that was 1982 and it’s still not finished….was, is. a turkey red and white bears paw. Somewhere but I don’t know where, I got the information to make old quilt designs that were traditional. Alternating blank squares are of a spider’s web and an eagle with outstretched wings (view is face forward). Since drawing is what I love, I hand drew these in pencil. It is very heavily hand quilted and this is still my most favorite quilt. I hope I finish it before I die. I remember taking a class on rendering Amish quilt patterns by hand with Cunningham and Marsh in 1984 and they knew lots about old patterns. My memory fails me but they also talked about spider’s webs–I think it has something to do with friendship but am not sure. Does anyone know what that signifies? Also eagles are a symbol in quiltmaking. Experts????? Michele in Moorpark,CA Date: Fri, 31 Jan 1997 10:05:48 -0500 (EST) From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Re: QHL-Digest Digest V97 #28 Message-ID: <970131100520_242158581 [at] emout07 [dot] mail [dot] aol [dot] com> Debbie– Might be interested. Where is symposium? I’ll keep my eye out for mail on this. Rachel, also in NJ Date: Fri, 31 Jan 1997 11:00:06 -0500 (EST) From: JZgliniec [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Any Help with History of Quilting Patterns Message-ID: <970131105741_1313198869 [at] emout01 [dot] mail [dot] aol [dot] com> Dear Deb and QHL, I am new to this list, having only just discovered it this past week , being relatively new to the web. I am not new to quilting however. My card says, Quiltmaker, Instructor, Appraiser, certified by AQS. The best place to start for the history of quilting patterns is: Quilting. by Averil Colby. c. 1971. reprinted 1982. Scribner’s. SBN 684-16058-7 This text covers quilting, mainly in England from the 16 th cen to 20th cen. It will get you started with the origins of quilting and the heritage brought to this country. Regards, Julia Zgliniec, Poway, CA Date: Fri, 31 Jan 1997 10:06:54 -0600 From: “herbilady” To: Michele….I’m certainly not an expert but I believe that spiderwebs were used as symbols of luck, at least this is my understanding of their significance in crazy quilts. I could be wrong…..but this is why I’ve tried to incorporate them into some of my hand-quilted projects….I’ve got a great stencil for it! ## Leah Date: Fri, 31 Jan 1997 12:37:11 -0500 (EST) From: DReyno3650 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: yankee & rebel uniforms Message-ID: <970131123710_204548191 [at] emout19 [dot] mail [dot] aol [dot] com> Sorry, my memory played me false, so I will let email the bulk of the message to those who asked, and tell the rest of the net that this is the mistake I made: “After shearing the sheep and lacking gray dye, the ladies dyed some wool black, left some white, and CARDED the two colors together to make gray….” for the uniforms of the rebels. Date: Fri, 31 Jan 1997 17:13:36 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: some of everything Message-ID: <970131171316_682434565 [at] emout06 [dot] mail [dot] aol [dot] com> Well, I was crawling on the floor under my bed looking for articles to back up my thoughts on some of the input here. If you don’t read Piecework magazine, you ought to. It may not always have things you’re interested in, but the breadth and scope of the information is really good. This and QNM are the only needlework magazines I read every issue of. I’m the culprit who wrote about Hobbs Heirloom. It wasn’t a warning, just a comment that I was having problems with it in a quilt and wondered if anyone else had experienced the same thing. Everyone who’s given me input loves the stuff. I hate it. It made my quilting more difficult. I’m a purist – I use all-natural fibers at any cost, but for some reason decided to try Heirloom. The needle you use will definitely affect how easlly it quilts, so have two or three brands on hand. I think my silk baby-block is Henrietta fabric. Anyone know where I can purchase some yardage of either vintage fabric or a good facsimile? I’m looking for black silk. MBGoodman asked about the blue markings on the edges of the appliqued snowflakes on her quilt. I couldn’t find the article, but there was a depression-era marking kit that utilized a blue marking ink and stamps. The article, which I believe may have been in QNM, stated that it was nearly impossible to remove, which would explain why it would still be there after so long. Regarding the question about the change in fabric names (muslin), well, remember that names are always fashionable. They change with the times. Originally, chintz described the quality of the fabric in question, not the pattern. The same goes for muslin, which wasn’t what it is today. The same for calico, etc. Color names also experience this problem, especially now that instead of basic green colors, we have so many shade names, and then they never seem to match from manufacturer to manufacturer. I’m also interested in how to identify civil war era wools. It’s an interesting idea. I have a wool crazy and live below the Mason-Dixon, hence the interest. I have a question regarding the use of the Lone star pattern. I bought a retoration project that has nine stars set in circles which are then set in the block squares. All the diamonds are 3/4″ . It’s really neat bed sized quilt, but I’ve never seen mulltiple lone stars like this. Is there maybe a regional thing going on, or is it one-of-a-kind? Log cabin quilts had a special purpose in the South during the Civil War. It’s my understanding that people who had “stations” for the Underground Railroad would hang a log cabin quilt out front. These quilts had black block centers instead of the traditional red. This would send the message that if you were an escaping slave, safe refuge could be found. Well, I’ve written quite a bit. Haven’t had easy access to the internet the last couple of days. I did finish the Frank Lloyd Wright quilt and don’t have to fuss with the batting again! Have a good weekend. Alan Date: Fri, 31 Jan 97 16:58:35 PST From: John & Cinda Cawley Doesn’t the spider symbolize industry (I mean hard work not making steel or cars)? Cinda in Scranton Date: Fri, 31 Jan 1997 18:32:23 -0500 From: Diane McGuire To: In answer to Debby Roby’s inquiry: We have a lot in common. I have taught high school English for 27 years (I can’t believe it has been that long!) and I love history and quilting. In fact I run a sort of quilting open house for my friends every Monday after school. We eat and gossip, and sometimes sew a little. I used to teach quilting, but most ladies want to take it at night, and since I get up at 5am. it makes it hard. Instead I just teach my friends for fun. I have one antique quilt that you might be interested in. My Maternal Grandmother came from near Quebec and settled in Pawtucket RI. I brought a red and white quilt that I suspect she made (she was 70 when I was born in 1946 and did not speak much English) to a documentation day sponsored by URI. As a result of the fact that I knew so much about that generation and had pictures of her and her four sisters, her parents, and her mother’s parents, and the fact that it is very graphic and in in excellent condition, the quilt became the centerpiece for their book on Rhode Island quilts [still to be published] and for a special museum exhibit which is displayed at its second museum now. The first one was in Quebec and contained about fifteen quilts made by former residents of Canada who had moved to RI. I learned by reading the booklet written for the exhibit that my quilt had the typical quilting pattern of the time (probably the 1930ties) and location. It is like a series of overlapping half-rainbows. The piecing itself is very geometric and the quilting has no relation to the piecing. If I could figure out how to send attachments to email I would send you an electronic photo of it [and my cat who loves quilts]. If you send me your snail mail address I could send you a hard copy. I don’t know if this would be of interest to your customers, but it is authentic. I also don’t know how well it would translate to a machine design. The exhibit is supposed to be shown at the Slater Mill in Pawtucket sometime this summer. I will keep you informed. Diane in snow flurries in southeastern Massachusetts Date: Fri, 31 Jan 1997 19:08:35 -0500 (EST) From: SadieRose [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: spiderwebs Message-ID: <970131190739_-1610594765 [at] emout18 [dot] mail [dot] aol [dot] com> Here is information on Spiders, Butterflies & Insects, quoted from Penny McMorris’s book “Crazy Quilts” pub by EP Dutton, 1984, pg. 58 : “Spiders, moths, butterflies and insects of all kinds were used to decorate patches on crazy quilts. They were not a new subject for embroidery: inventories of Queen Elizabeth’s wardrobe, for instance, taken about 1600, mention dresses covered with embroidered spiders, flies, and webs. Nor was the interest in these creatures limited to their use in embroidery. Butterflies were worn during the second half of the 19th century on hats and hair, and jewels in the form of beetles, dragonflies, and other insects were popular. Pins were often designed witha somewhat pranksterish desire to fool the eye. GODEY’s (Sept 1879) told readers, “A fly is the fancy ornament of the day, a pretty little fly, so skillfully and perfectly imitiated that it looks like life…It deceives everyone.” “Late Victorians seem to have held a special fondness for spiders and their beautiful webs. The Ohio Historical Society has a wonderful hat covered with gold-embroidered spiderwebs, and HARPER’S BAZAAR tells readers of a spider pin “with its body of pearls and legs of silver…crawling in among the latest novelties.” This book does not go into the symbolism of spiders, butterflies, etc., but I have also heard that the spider/web was supposed to be a symbol of good luck, and the butterfly is the symbol of eternal life. Hope some of the rest of you have more to add! Karan from Iowa, with suddenly spring like temperatures!! Date: Fri, 31 Jan 1997 19:32:54 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Any Help with History of Quilting Patterns Message-ID: <970131193253_-2045383082 [at] emout16 [dot] mail [dot] aol [dot] com> Julia in Poway (where I have friends) does the book tell the origin of the quilt patterns, such as the Spider Web mentioned previously? Or like feathered wreaths, cables, etc?? Jane in Pittsburgh Date: Fri, 31 Jan 1997 18:01:37 -0800 From: Bev Jordan To: There will be a quilting party on March 22 and 23 in Coloma State Park, California. Those interested in attending and wanting more information can contact Carol Verbeeck, event coordinator at (408) 779-4844 (evenings until 8:00 p.m. Pacific Standard Time), or you can write her and request the information packet/invitation at P.O. Box 1731, Morgan Hill, CA 95038. To attend, you must register before March 1 and get your block done (they have a pattern and specific instructions for the block) and send it in before that date. The plans are for an old-fashioned quilting bee. Participants can make and send a block (need to contact Carol for the invite and instructions for the block) and can then spend all or part of the 22nd and 23rd putting the blocks received together and getting a quilt quilted during the two day event. On Sunday, those participating, including those who sent blocks, are entered in the drawing for the quilt, in whatever stage of completion and any completed tops made from the blocks or packets of blocks. As an added attempt to recreate the atmosphere of an original quilting in 1846, participants are requested to attend in clothing appropriate for the mid-1800’s, for example: a long, full skirt & simple blouse and shawl would be fine. If you are in the No. California area or will be and are interested in attending this event or want more information, contact Carol. No affiliation, just an interested potential participant. I’d be happy to share more information if you want it. Oh yes, there’s also going to be a Victorian Tea Luncheon for participants on Saturday, March 22, and as far as I can tell, other than a possible parking fee ($5) if you aren’t participating in the quilting, the cost of the Tea Luncheon is $12.50. Bev --- --- title: "January 11, 1997 – January 22, 1997" url: "https://quilthistory.com/97011-2/" lang: "en-US" type: "post" description: "Primary topics of this QHL digest: Quilt dating and authentication — a running debate about whether an unfinished quilt top should be considered \"dated\" to when it was originally pieced or to when it's finally quilted, plus practical tips for" last_modified: "2026-08-10T16:04:54+00:00" categories: [Quilt History List Archive] tags: [Quilt Dating, Quilt History Resources, Restoration & Conservation] custom_fields: iawp_total_views: 2 --- # January 11, 1997 – January 22, 1997 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) These restored messages come from the Quilt History List, an online forum where quilt historians, collectors, researchers, appraisers, and enthusiasts discussed antique quilts and related textiles. The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form at the bottom of the page if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged. **Primary topics of this QHL digest:** - **Quilt dating and authentication** — a running debate about whether an unfinished quilt top should be considered “dated” to when it was originally pieced or to when it’s finally quilted, plus practical tips for dating fabrics, tops, and blocks (indigo prints, feedsacks, Indian Head fabric, campaign fabric from the 1872 Grant presidential race). - **Red and Green applique quilts** — multiple posts about historic red/green applique exhibits (Seattle, Lexington MA), the chemistry of the aniline dyes and Turkey Red that made the style possible, and how those greens sometimes faded to blue or tan over time. - **Restoration vs. conservation ethics** — a long-running, sometimes pointed exchange over whether old quilt tops and damaged antique quilts should be finished/repaired/used, or preserved as-is as historical artifacts. - **Book recommendations and sourcing** — heavy traffic around quilt history reference books (Barbara Brackman’s encyclopedias, Camille Cognac’s restoration guide, Jeannette Lasansky’s series, The American Quilt by Roderick Kiracofe), plus where to buy them (Quilting Books Unlimited) and a group bulk-book-buy offer. - **Museum exhibits and travel reports** — member accounts of visiting quilt shows and museum exhibits (Newark Museum, Zimmerli Art Museum, Smithsonian’s Calico and Chintz show, Amish quilt exhibits, Shelburne Museum). - **Practical technique questions** — batting types (wool, poly-cotton, cotton), waxing thread for applique (beeswax vs. paraffin), sewing with fur/leather, and quilt cleaning/washing methods. - **Member introductions and community chatter** — several new subscribers sharing bios, plus lighthearted personal updates from list regulars (this was an active 1997 listserv digest for the Quilt History List, QHL). Date: Sat, 11 Jan 1997 20:54:08 -0700 From: ayjones [at] tacoma [dot] nwrain [dot] net (Yvonne Jones) To: QHL [at] cue [dot] com Subject: QHL: Red and Green Message-Id: Content-Type: text/plain; charset=”us-ascii” Dear quilt friends, I went to In The Beginning today, it is a quilt store in Seattle. There is a display of the owners Red and Green Applique Quilts, plus a wonderful antique Ocean Waves quilt. I’m not sure how long the quilts will be up, I was told they were part of the Christmas display.I would call them first as I did. I am happy to report how nice they were when I asked if they minded if I took pictures of the quilts. Absolutely was the responce! Wow! I sent DH running back to the car for the camera.Sorry to all of you that live so far away, but I appreciated being told about the display, so just maybe I will inform a Washington State QHL member and make their day. Happy quilting to you! Yvonne QUILT-R ayjones [at] tacoma [dot] nwrain [dot] net The Quilt-R 🙂 Date: Mon, 13 Jan 1997 08:25:02 -0800 From: Chris Smith To: QHL [at] cuenet [dot] com Subject: Re: QHL: Amish Exhibit in L.A., CA Message-Id: <9701131625.AA11766 [at] mail [dot] coos [dot] or [dot] us> Content-Type: text/plain; charset=”us-ascii” Please someone, let me know what I missed. We went to San Diego, CA for Christmas and left the day after. Weren’t able to go the the Visions Quilt Exhibit there because of their hours (or lack of) so decided to find out where the Amish Exhibit was in Los Angeles and stop there on the way home. However, DH got really paranoid driving in all the LA traffic (can’t blame him a bit – we live in a town of about 4,000 people) so we never did make the exhibit. Can someone please tell me what I missed? I love Amish quilts and would have dearly loved to see them “up close and personal”, so to speak, instead of in books. Chris Smith (csmith [at] mail [dot] coos [dot] or [dot] us) Coquille, Oregon =_=**=**_**=_=_**_=_=_=_=_=_=_=_=_=_=_=_=**= Date: Sun, 12 Jan 1997 11:54:20 EST From: debatqps [at] juno [dot] com (Deborah A Welch) To: QHL [at] cue [dot] com Subject: QHL: Ami Simms Message-ID: <19970112.115410.12878.1.debatqps [at] juno [dot] com> You can reach Ami Simms by calling her at 1-800-278-4824. I don’t remember any thimbles on her order form tho . . . Debbie in NJ Date: Sun, 12 Jan 1997 11:50:40 -0800 (PST) From: Michele Weise To: QHL [at] cuenet [dot] com Subject: QHL: San Diego visit Message-Id: <199701121950.LAA19663 [at] acme [dot] sb [dot] west [dot] net> Content-Type: text/plain; charset=”us-ascii” To Chris Smith–Since this is my neck of the woods I should be informed but I’m sorry to say that I did not make the Amish show at LACMA.in spite of everybody hounding me to. I just couldn’t get away. But I heard it was fantastic. I did spend a lot of time in the Visions show in S.D. My miniatures and antique blocks are in the Gift Shop there. That show closes the end of this month and is a beautiful show of “art quilts” with I think about 80 entries. You can see some of the samples on David Walker’s home page.(kris has his site on her site referrals) Too bad you just didn’t hang around Balboa Park…there is so much to do thereand almost always wonderful exhibits. I checked LACountyMuseumofArt has a home page: [link removed] btw your DH is right, that’s the lousiest drive in the world so you didn’t miss anything there. Date: Sun, 12 Jan 1997 13:34:43 From: “MARY PERSYN” To: QHL [at] cue [dot] com Subject: QHL: Fabric Identified! and other things Message-ID: <66171253E5 [at] wesemann [dot] law [dot] valpo [dot] edu> Last week I posted a question asking for help in identifying some fabric in a honeycomb quilt that a guild member had recently purchased. Well, it’s been identified. The part of the fabric that we could see the most of has HAVEPEACELETU on it. Turns out it is campaign fabric from the 1872 presidential campaign of U.S. Grant and Henry Wilson and it does say LETUSHAVEPEACE over and over. How did I identify it? Following a suggestion, I looked at Julie Powell’s article on campaign fabrics in ON THE CUTTING EDGE: Textile Collectors, Collections, and Traditions, by Jeannette Lasansky, (Lewisburg, PA: Oral Traditions Project of Union County, 1994). On page 29 in Julie’s article is a picture of THE fabric! Talk about serendipity. Of all the campaign fabric, Julie chose to use as illustrations pictures of the fabrics from the Grant campaign of 1872. When I told Jan (the quilt’s owner) that I’d identified the fabric (luckily she also owns the book), she asked how I knew to look there. When I told her from a response on QHL, she said “I’ve been telling my husband we need to get a computer.” Thanks to the lurker who put me onto the answer. Now that I’m able to send e-mail again (we’ve been having some MAJOR computer problems), I also want to comment on the Calicos and Chintz exhibit that is ending today at the Renwick. It was absolutely spectacular. I can’t wait for the book to finally come out (maybe around April 1). Following up on a thread of several weeks back about Grace McCance Snyder and her book, NO TIME ON MY HANDS . . . . When NQA was in Lincoln, Nebraska in 1991, the local arrangement folks talked various organizations around the state into have a “500 mile quilt show.” Museums, etc. mounted shows during the time period of NQA in various cities and towns along I-80 across Nebraska. (I had a Wyoming quilter tell me that it was the first time she’d enjoyed the drive across Nebraska). Anyway, at North Platte, Neb, at the Buffalo Bill Ranch they had an exhibit of Grace McCance Snyder’s quilts. The evening we were there Nellie Snyder Yost was “holding court” on the second floor. We had a wonderful time talking with her about her mother and the quilts. The quilts are just incredible. The Nebraska Museum on the Univ. of Nebraska-Lincoln campus owns the quilt with the design that came from the dishes. It was on display the last time I was there. Nellie Snyder Yost has died since that exhibit in 1991. I wonder where all of Grace’s quilts are now? Sorry for all the bandwidth. It’s just so nice to be able to send e- mail again. (I could read it, but not reply. Very frustrating). Mary Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Sun, 12 Jan 97 16:41:33 PST From: John & Cinda Cawley Content-Type: text/plain; charset=”us-ascii” Linda, I’m delighted to hear that you visited both of these exhibits — aren’t they wonderful?? Too bad you didn’t get to meet Lois Griffin, the artist-in-residence at Newark this month. (Lois, did you hear this?? Nobody there seemed to know about you??!!) She’s working upstairs in the studio and has the most fabulous quilts-in-progress: her Brooklyn Bridge series. Lois also gave a great slide show/lecture (plus “show & tell”) at the museum last Thursday. Anybody else out there — both exhibits are a trip! Rayna Gillman in NJ RG2 [at] worldnet [dot] att [dot] net Date: Mon, 13 Jan 1997 03:51:05 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Bio etc Message-ID: <32DA21A9.656C [at] ibm [dot] net> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi All! o.k ,here goes my Bio-My name is Hiranya Loder and I am 35 year young.I originally came to Australia from Sri Lanka in 1973 when the Socialists were pushing for power. As my family are from the “old” world and were pro-British plus Christians,and my parents didnt care a hoot for running after the favoured political types-our lives were in danger.Hence for the sake of their children-my parents left their tropical paradise with all their luxuries,servants etc and came to yet another paradise. Australia is home to us-a beautiful country of great contrasts in people,landscape,cultures etc.My teenage years were greatly influenced by Australian culture-which kept my parents on their toes!!! At University where I majored in Industrial Relations,Sociology, Anthropology and French I met My DH John(a Scotsman) who is an Electrical Engineer. He is a wonderful man who is usually very patient with my quilting and bookworm habits. We have been married for 12 wonderful years,though it feels much less-even with all the catastrophies that have touched our lives.We have a 9 year old son John Frederick who is going on 90 and a 20 month old daughter Anika who is also known as typhoon for the mayhem she brings to our alrady chaotic household.I have a small buisiness at home named Quilting Treasures of Old,selling antique and old quilts,tops and blocks.Besides reading Sci-Fi,Histories of different cultures,books on nature etc my passion is quilting and all aspects of it.I adore red and green applique,crib quilts and quilts with nature themes.All this makes it very hard to be a good buisiness woman as I want to keep everything I buy!!However my DH can be a BH by putting a stop to this due to a trifle such as the economics!! We live in Parramatta-a city in Sydney which was a frontier town where experimentation with crops and stock saved the feeble new colony from starvation.Here the first wheat was harvested and the wool industry was nurtured. Parramatta-the Aboriginal word meaning “head of the river” greatly influenced Australian history. Quilts that are unique to Australian history,besides the famouse one made on the ship Raj;are Waggas.This name is derived from the country city Wagga,Wagga-where quilts were made from discarded fabric such as cut down clothes and flour bags. I think I have yakked long enough! I’ll tell you guys more about flour sacks here next time. Thank you to all you lovely people for sharing all your knowledge and yourselves-you make my life richer with your presence.Big Hug to Kris for starting this list :> So bye for now- Hiranya Loder Quilting Treasures of Old e-mail nomad1 [at] ibm [dot] ne phone:(02)9630-5839 Date: Mon, 13 Jan 1997 05:06:58 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Saving Online Time Message-ID: <32DA3372.619F [at] ibm [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all you lovely people, My DH has been complaining loudly of general neglect,the children are running amok,our lovely dog a Labradoodle named Boots is rioting and no wife in bed even by 1a.m-all because she is at the computer reading all what you guys say etc.Hence the huge computer bill etc. So,I have found the perfect solution that I thought might help you guys as well.I print out the lists and I carry them with me wherever I go.At every opportunity I am reading,while my husband drives I read or sew,I read in the garden while keeping an eye on my 20 month old.I manage to stop her drinking from the bird bath and dog bowl most of the time, if I manage to tear myself away from what you guys are saying. Also DH has found a way to cut down on line time-you guys probably are not computer illiterate like me-but just in case I thought this might help you too. We download all mail in the morning then go offline.Compose all letters offline-hence interruptions are not costly;also people can actually get you on the phone.At night download again and then send all mail in one hit-takes about 2-5 minuites!! Bye for now Hiranya from Sydney Australia Date: Mon, 13 Jan 1997 06:35:30 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cuenet [dot] com Subject: QHL: Fabric Identified! and other things Message-Id: Content-Type: text/plain; charset=”us-ascii” Mary, thanks for this valuable information. I am trying to learn about a very unusual fabric in an antique quilt that i discovered recently. I am going to see if i can find this book, or at least something like it. I just wish public libraries carried more of these books. but at least, by living in Atlanta, i can try some university libraries. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Mon, 13 Jan 1997 12:43:23 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Wool Batting Message-ID: <32DA9E6B.2BC [at] ibm [dot] net> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear All, First of all an apology for the weird way my mail printed-I’m still trying to learn all about this wretched machine.I think I’m a closet Amish as I think we are too dependant on instant results brought about by Man’s inventions.Mind you, I would not give up some of these gadgets however,-like e-mail for one! Carol in VA-Thanks for your lovely mail.Yes,many Aussies use wool for batting and for stuffing.Besides being home grown and produced,wool has many qualities to promote it.For example it is a natural,durable fibre that retains it’s shape in the quilt due to it’s natural crimp.A small percentage of Polyester is blended to prevent bearding.The battings are also sanitised and treated for dust mites,easy care due to shrink resistent treatment and is washable in warm water.Last but not least it is also fire resistant,non flammable and self extinguishing;besides having excellent insulating qualities. Other battings like cotton and Polyester are also used-like everywhere else it depends on the quilter. You asked what I was working on at present-well its a memory quilt for myself of the many who have enriched my life.I was sick this year and time on this lovely earth seemed very short.Hence I wanted to honour some of my family and friends ranging from age 20 months to 99.I am doing alot of the work myself from their ideas or memories as some are unable to sew due to many reasons. Phew! I have blabbed too long.Bye for now and keep warm! Hiranya Loder-Parramatta Sydney Australia Date: Mon, 13 Jan 1997 09:56:20 -0500 From: Ricki Maietta To: QHL [at] cuenet [dot] com Subject: QHL: NQA in ’91 Message-Id: <199701131446.GAA03219 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=”us-ascii” Mary – thanks for reminding me of the NQA show in Lincoln in 1991, & the 500 miles of quilt shows. We were on our way to California for vacation (a trip we make every couple of years), & I talked DH into stopping for the show in Lincoln. Well, we got there at 4:45 (show closed at 5)!! I begged & pleaded, & they let me in free for 15 minutes – good thing – I had jumped out of the car so fast I didn’t even have my purse with me – DH & DS sitting at curb with bewildered looks on faces. I literally jogged through the ailes – saw approximately 400 quilts in 15 minutes, remember nothing but the guard telling me I HAD TO LEAVE! We did visit 2 other shows across the state the next day, in towns I don’t even remember. At one an ancient lady served DH coffee & called him “sir” – he was so impressed. I will always remember the quilts displayed over folding chairs that were on top of long tables. Also, stopped at one location & the show was closed, even though the literature I had said it was open. I thought the whole thing was a great idea – quilt shows along route 80, just for us travelers. Someone should do that again. . . . Ricki in PA Date: Mon, 13 Jan 1997 10:29:41 -0500 (EST) From: PAMIAM6 [at] aol [dot] com To: QHL [at] cue [dot] com, QHL [at] cuenet [dot] com Subject: QHL: Re:Use of indigos fabrics? Message-ID: <970113102939_1418750914 [at] emout07 [dot] mail [dot] aol [dot] com> I have a questions for those of you who know about old fabrics. I just returned from the antique mall where I purchased 30 long blocks which were pieced for the flying geese pattern. It is made up of shirtings and indigos. The indigos are about 25 different patterns. Now the shirtings I can understand are probably scraps, but who would buy 25 different indigos. I find this alot in the midwest where I am always buying old quilt tops. It is almost as if one half yards of indigo was given with a grocery order…..I have seen quilt tops made from fabric sample books where there will be 6 pieces of the same print in different colors, but there is too much of each of these patterns to be something like this. Does anyone know what used to be made from these indigos??????????? Thanks for all the information, I love readings all your posts. It would be nice if this old fabric could talk to me…I would ask so many things. Pam in Springfield Il where the temperature is 2 below zero which is a good excuse to stay inside and quilt. Pam I Am6 Date: Mon, 13 Jan 1997 09:09:22 From: “MARY PERSYN” To: QHL [at] cue [dot] com Subject: QHL: Book Source Message-ID: <79ABE547CB [at] wesemann [dot] law [dot] valpo [dot] edu> Karan (SadieRose) asked me if I had a source for the book I mentioned yesterday, ON THE CUTTING EDGE by Jeannette Lasansky. She also suggested that I post my answer to the list because others of you might be interested. I got the book from Quilting Books Unlimited in Batavia, Il. I don’t have their address and phone number with me, but they advertise in most of the quilting magazines. (I’ll post the address and phone number when I can get home and get them). QBU is an excellent source for quilting books. You may have seen them at some of the national shows. They have a great display of books at their store (and some really nice fabrics, too). In case you aren’t familiar with Jeannette Lasansky’s books, I think they are great. Following is a list of the titles that I know. BITS AND PIECES: TEXTILE TRADITIONS (1991). A GOOD START: THE AUSSTEIER OR DOWRY (1990) Not strictly quilting if I remember correctly. IN THE HEART OF PENNSYLVANIA: 19TH & 20TH CENTURY QUILTMAKING TRADITIONS (1985). IN THE HEART OF PENNSYLVANIA: SYMPOSIUM PAPERS. (1986). ON THE CUTTING EDGE: TEXTILE COLLECTORS, COLLECTIONS AND TRADITIONS (1994). PIECED BY MOTHER: OVER 100 YEARS OF QUILTMAKING TRADITIONS (1987). PIECED BY MOTHER: SYMPOSIUM PAPERS (1988). All of the above titles are from the Oral Traditions Project of the Union County Historical Society. I believe I’ve purchased almost all of them from QBU. Mary Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Mon, 13 Jan 1997 10:47:52 -0500 (EST) From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Book Source Message-ID: <970113104751_1560008287 [at] emout20 [dot] mail [dot] aol [dot] com> On The Cutting Edge, edited by Jeannette Lasansky is available from the Oral Traditions Project, at the Union County Court House, South Second Street, Lewisburg, PA 17837, phone 717-524-8666, FAX 717-524-8743. Cost is $24.95, plus $2.50 handling and shipping (.75 for each additional title). I have this info because I helped with one of the articles. –Rachel in NJ Date: Mon, 13 Jan 1997 09:18:53 -0700 From: ayjones [at] tacoma [dot] nwrain [dot] net (Yvonne Jones) To: QHL [at] cue [dot] com Subject: QHL: Antique quilts Message-Id: Content-Type: text/plain; charset=”us-ascii” Dear Quilt Friends, Ooooooops! The quilts that are being shown at “In The Beginning” quilt shop, in Seattle, are ANTIQUE Red and Green quilts! Sorry, Yvonne QUILT-R ayjones [at] tacoma [dot] nwrain [dot] net The Quilt-R 🙂 Date: Mon, 13 Jan 1997 17:04:28 -0500 From: Kathy To: MARY PERSYN CC: QHL [at] cue [dot] com Subject: Re: QHL: Book Source Message-ID: <32DAB16C.3B79 [at] ix [dot] netcom [dot] com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit When looking for any kind of books try checking the following web site: [link removed] I tried checking for the title “On the Cutting Edge” and came up with the book. It had to be special ordered however. I am not affiliated with them just know them to be a good and reliable source. A friend in quilting, Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com Date: Sat, 11 Jan 1997 22:18:29 -0700 From: kmccoy [at] glenerin [dot] com (Kay McCoy) To: QHL [at] cue [dot] com Subject: QHL: stitches/inch Message-Id: Content-Type: text/plain; charset=”us-ascii” On Sat. Jody wrote: > deemed that anything LESS than 10-12″ per inch was NOT acceptable and heaven forbid any machine piecing, let alone quilting! LOL! Being the rebel that I am, I didnt get deterred by her opinions, but always wondered how many potential good/great quilters we were scaring off when she ponificated about her “standards”. And I presume she was born with a needle in her hand that automatically did 12 stitches per inch. I was told by my aunt that you weren’t a “real quilter” until you did 12-14 stitches/inch but that didn’t stop me either. I guess I should call myself an “unreal quilter” because my usual is about 9/inch and it’s taken me years to get there. Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com Date: Tue, 14 Jan 1997 13:23:28 +1000 From: Sven Olsson To: QHL [at] cue [dot] com Subject: QHL: Stitches/inch Message-ID: <32DAFC30.3729 [at] pnc [dot] com [dot] au> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello All, This is my first note to you all, but I have been reading your comments for a few days now, and watching the U.S. weather with interest, while we in Australia are basking in warmth. My name is Lorraine Olsson and I live about 100 kilometers west of Sydney.N.S.W. in the Beautiful Blue Mountains, 1000 meters above sea level. My home is in Katoomba. My husband is a Veterinarian, and I am in partnership with my daughter and her chef boyfriend in a small restaurant called The Whistle Stop Cafe. In the upstairs of the cafe we have a small quilt gallery showcasing quilts made by local women. I am also an avid quilter and collector of Americam Antique Quilts. Now Back to the original topic. If I had been discouraged by the thought that I had to produce the “perfect” patch or hand quilt in the “perfect” way, I would not be talking to you now. Fortunately for me I have the most wonderful and Best Friend a person could have (Lynne) who told me that my work is to make me happy and no-one else. Good advice hey! Talk to you all later Lorraine Date: Tue, 14 Jan 1997 11:45:54 -0500 From: Betsy Szymanski To: “‘qhl-digest [at] cue [dot] com'” Subject: Textile Conservation Message-Id: <01BC0210.8048FAD0 [at] NTEMS> Content-Type: text/plain; charset=”us-ascii” Content-Transfer-Encoding: 7bit In a recent issue of Ladies Circle Patchwork Quilts magazine there’s an article about a collector of crib quilts. The article mentions that the collector has had some of her quilts restored by “The Textile Conservation Workshop” in South Salem, NY (914-763-5805). I have an old (mid 1800’s) needle work sampler that I would like to have cleaned and re-framed. I called the Workshop to talk to them about it. They were very nice, and said that they do that kind of work all of the time. They sent me a brochure that describes some of the conservation techniques they use. They said that I could send them the sampler and they would evaluate its condition and make some recommendations about what they could do to clean or restore it and tell me how much it would cost. The evaluation would cost $75, and any additional work would cost $50 per hour. Has anyone ever sent any textiles to them before? Are there other such workshops? Are any in the midwest (especially in SE Michigan)? Does anyone have any other suggestions on who I should contact about cleaning and framing my sampler? Any comments or help would be very much appreciated. Betsy Szymanski, Ann Arbor, Michigan ems [at] fame [dot] com Date: Mon, 13 Jan 1997 23:27:38 -0500 (EST) From: MamaBear76 [at] aol [dot] com To: QHL [at] cuenet [dot] com Subject: QHL: Fwd: QHL: Fabric Identified! and other things Message-ID: <970113162704_1075746261 [at] emout07 [dot] mail [dot] aol [dot] com> ## Received this by mistake. Forwarded message: From: quiltmag [at] mindspring [dot] com (Jean Ann) Resent-from: QHL [at] cue [dot] com To: QHL [at] cuenet [dot] com Date: 97-01-13 06:33:57 EST Mary, thanks for this valuable information. I am trying to learn about a very unusual fabric in an antique quilt that i discovered recently. I am going to see if i can find this book, or at least something like it. I just wish public libraries carried more of these books. but at least, by living in Atlanta, i can try some university libraries. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Tue, 14 Jan 1997 13:42:33 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: QHL- what makes a quilt/ Books Message-ID: <970114134230_679885352 [at] emout16 [dot] mail [dot] aol [dot] com> As to what makes a quilt, well, in my book it only requires that someone puts loving work into it. It doesn’t have to be quilted or even tied (what would you do with some of the untied Crazy Quilts?). A good quilt is just that – good. The seaming, color choices and placement, method to attach the layers together all need to be done well. There doesn’t even have to be 3 layers. I have a tied Postage Stamp, c 1930 kit, and I never considered that it might not be a “quilt” until this came up in the QHL. As for the 10-12 stitches per inch …… bah! The quilting must be regular. Personally I prefer itty bitty stitches (I average 10 – brag, brag), but the quilting must be an integral part of the entire piece. Re: Camille Cognac’s restoration book vs Barbara Brackman’s pattern book, you ought to get both. Camille’s book has more historical information – the pattern book lists patterns in a myriad of ways and gives you lots of differing names for the same pattern (no history on the pattern other than origin – ie: Ruby McKim pattern). If you want some history and help with restoration, get Camille’s book. If you want to I.D. quilt patterns, get the other. You actually should have both, because even if you don’t restore, you’ll have an idea into the processes that restoration professionals use. Alan Date: Tue, 14 Jan 97 11:01:00 EST From: “Bayha, Marty” <450002P8 [at] smtp-mmail [dot] oucom [dot] ohiou [dot] edu> To: QHL post Subject: QHL: Fabric Message-ID: <32DBB245 [at] mail [dot] oucom [dot] ohiou [dot] edu> I was lucky enough to be at the right place at the right time on Sunday. I have purchased a partial bolt – actually 15 yards – of fabric that was manufactured by Indian Head. I was told that this company went out of business before World War II. I was also told that this was 1930s fabric. When I took it off the bolt to see how much fabric I had purchased, it has a date stamped on a small white sticker that says patented 1922. Anyone familiar with this company or what the date might mean? Does it mean when the fabric was manufactured? I also purchased a quilt top (16 patch on point with alternating plain blocks - scrappy) that has the date 1872 embroidered on one of the blocks. It is hand and machine pieced. The thread used to embroider the date is also used some in the hand piecing. It is a thicker thread than used for most of the piecing of the quilt. I’m hoping to be able to identify some of the fabrics in the quilt to authenticate the date but haven’t had luck so far. Any suggestions? Hope you all are having a great day! Marty Bayha mbayha1 [at] ohiou [dot] edu Date: Tue, 14 Jan 1997 08:39:33 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: qhl [at] cue [dot] com Subject: QHL: Red & Green Applique Exhibit in Lexington, MA Message-ID: <970114083932_912405772 [at] emout14 [dot] mail [dot] aol [dot] com> I’ve been enjoying this list for weeks now. I’m thrilled to see the excitement about quilt history topics. My name is Merikay Waldvogel, Knoxville, TN. I’ve been deep into quilt history topics since 1980. This type of on-line networking is incredible. Thank you Kris for doing this. My current research interests are about 20th century quilts (especially the 1930s, feedsacks, and the Sears Quilt Contest). I have a collection of mostly 19th century quilts and lots of books and vintage patterns. I want to announce an exhibit of Red and Green Applique quilts that runs January 19 – March 23 at the Museum of Our National Heritage in Lexington, MA. The thirty quilts (1845 – 1895) are from the Collection of Robert and Ardis James. I curated the exhibit. The Jameses and I will be at the museum on Sunday, Jan 19 for opening festivities, informal gallery tours, etc. Please come. We’re also doing a quilt dating workshop ($5.00 fee) from 2-4 pm–bring a quilt. The applique exhibit does not have a catalog, but there is a free color brochure available at the museum. I’m recommending Ricki Clark’s book Quilted Gardens: Floral Quilts of the Nineteenth Century, which is available at the museum shop, bookstores, AQS, and Rutledge Hill Press (800-234-4234). Museum Admission is free. Hours are Mon-Sat 10 am to 5 pm, and Sunday, noon to 5 pm. Museum is located at 2A and Mass. Ave in Lexington, which is right off I-95. Call the Museum at 617-861-6559 for further information. Date: Tue, 14 Jan 1997 08:47:24 From: “MARY PERSYN” To: QHL [at] cue [dot] com Subject: QHL: Quilting Books Unlimited Address Etc. Message-ID: <914EFF4509 [at] wesemann [dot] law [dot] valpo [dot] edu> Here’s the information that I promised to post when I located it. Quilting Books Unlimited 1911 W. Wilson St. Batavia, IL 60510 phone orders (800) 347-3261 business (630) 406-0237 FAX (630) 406-0238 (anytime) Hours: M-F 10 am – 5 pm Sat. 10 am – 4 pm Sun. noon – 4 pm Batavia is a far out Chicago suburb so the times are Chicago times. Their area code recently changed to 630 from 708. They publish a catalog on an irregular basis. You might want to ask to be placed on their mailing list. Not affiliated with QBU. It’s just a place where I have left LOTS of money over the years. Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Tue, 14 Jan 1997 18:49:14 -0500 (EST) From: JQuilt [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: quilt show Message-ID: <970114184512_2022778299 [at] emout16 [dot] mail [dot] aol [dot] com> Come and celebrate National Quilt Day, March 15, 1997.. Bring yourself and your camera to the Bi-annual quilt show of the HAVQG( Hands Across the Valley Quilt Guild) Quilt Show…Quilts, Vendors, Quilt Appraisals When…the weekend of March 15 &16, 1997 Where…. In the LeFrak Gymnasium of Amherst College,on Pleasant St. in Amherst Massachusetts Hours : Sat & Sun 10:00 a.m. – 4:00 p.m. Admission $4.00 Adults… $1.50 for children 12 yrs and under If you would like a small flyer with printed directions to the show…send a SASE to My Favorite Quilt Shop 65 University Dr. Amherst MA 01002 Date: Tue, 14 Jan 1997 18:50:56 -0500 From: Diane McGuire To: QHL [at] cue [dot] com Subject: QHL: no need to be “perfect” Message-ID: <32DC1BE0.72A3 [at] ici [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Lorraine Olsson of Katoomba in the Beautiful Blue Mountains,N.S.W. noted that she was discouraged at the thought that her quilts had to be perfect. I would like to share with all of you my thoughts about making quilts. I have been making patchwork since the early 1970ties, before the revival. No one I knew made quilts, so I had to guess and teach myself. Fortunately, Mom taught me how to sew and I was making my own clothes by the time I was in high school in the early 1960ties. I have made over one hundred quilts in sizes from wall hangings to bed quilts, and I have taught quilting classes so I have met lots of quilters. I feel that quilting is the one area of my life that I can control. No one can tell me what fabrics to use or what colors I should choose. I decide on pattern, making many of them myself. I stopped selling my quilts because I fussed too much about their “perfection.” The ones for me or the few I give away are parts of me. I am not perfect, but I am pretty good. I am warm, loving, colorful, and comfortable to cuddle up with, just like my quilts. One of the best experiences I had was at Lisa’s baby shower. It was held at the home of Maureen, another long-time friend, and I had made a quilt for the expected arrival. Imagine my delight when Maureen’s ten year old daughter, upon seeing the new quilt, raced up to her room to get the quilt that I had made for Maureen’s shower. It was faded and soft, and obviously so much loved! That love is what quilting is all about. They are our personal expressions. Whether they express hope, love, grief, anger, rememberance, or the joy of living, they show who we are, and we should celebrate that expression. Don’t worry about perfection! Have a good time and savor the fabrics and the process. And best of all, wrap yourself in your own warm quilt and enjoy. Diane in cold, snowy Massachusetts, USA ## —————————— Date: Tue, 14 Jan 1997 08:41:48 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL: RE:Fur quilts Message-ID: <32DBB74C.1B78 [at] ibm [dot] net> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear All, The other day I came across a bag full of sheepskin scraps that I had put away years ago.They have been dyed a soft grey and years ago I had planned to make a fun quilt out of it;much to the horror of my family. As you all probably know wool is one of Australia’s chief exports.We have quite a few shops that sell “Ugg Boots”,jackets,slippers etc. So I was able to buy a bag of scraps for $5. We have a wonderful Patchwork & Quilting magazine here called “Down Under Quilts”.In the Winter issue there is an article discussing cloaks of animal skin.Basically when the European explorers came to Australia some of the Aborigines (or Koori people as they prefer to be known) here had made cloaks -where squares had been cut from fur,sewn together and decorated with designs. Each design was different and had a meaning identifying the wearer.Some squares were coloured with ochre. The European settlers began to copy these cloaks and also made warm rugs which were used like quilts. So,I am not too far out afterall-though the despair of my Quilting teacher who is cross that I do not conform!! Have any of you seen such a quilt? We have such a cloak in the Museum of Victoria,Melbourne. I would appreciate any advise re how one would sew the furry wool together,bind it ,back it etc. Or is it too weird afterall? Bye for now Hiranya from Parramatta-Sydney-Australia e-mail nomad1 [at] ibm [dot] net Date: Wed, 15 Jan 1997 09:05:20 -0700 From: kmccoy [at] glenerin [dot] com (Kay McCoy) To: QHL [at] cuenet [dot] com Subject: QHL: Thread for applique Message-Id: Content-Type: text/plain; charset=”us-ascii” I’ve just come into possession of what I think is about a 1940-50s??? old quilt top but not really sure how to tell how old it is. A friend of mine found it in the back of a closet in a house she bought and can’t contact the former owner to return it. It’s all basted for applique but not appliqued yet. What thread would be best to do the hand appliques with–machine embroidery thread or 100% cotton (or something else)? TIA Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com Date: Wed, 15 Jan 1997 13:39:09 -0400 From: tkorpita [at] titanic [dot] cs [dot] umass [dot] edu (Terrie Korpita) To: QHL [at] cuenet [dot] com Subject: QHL: Re: France/Paris quilting Message-Id: Content-Type: text/plain; charset=”us-ascii” Welcome! Years ago I spent a semester studying in Paris. Actually I lived in a town named Marcousis to the south and commuted in every day. I really loved living in France, though I learned that I don’t like commuting. The metro is not too bad for a subway, but I just don’t like being underground all the time. Just last month my boss was traveling to Paris and asked if I wanted anything. I said “Go to the Opera district, then a bit to the west, beneath the Church on the hill, (whats the name? Sacre Coeur?), there should be several fabric stores and other shops with sewing stuff. Bring me cotton or silk.” She couldn’t find anything! I know the city must have changed, but where are the fabric stores now? Even my school was in that neighborhood. I studied dressmaking. I cannot remember the arrondisement number. I will look forward to your input on this list. I was once fascinated by the copper roller printed fabric made in Jouay in, I think, the 19th century. I’ve seen it used on old American bed curtains of that time. Maybe gowns as well. Do you know if it was ever quilted? Either for bed quilts or for petticoats? I was also fascinated by the bobbin laces made in Brittany/Normandy and to the north. You are in a wonderful area – so rich in textile history! I visited your web site, and like your quilts very much. Soon I will have a color monitor and will visit it again 🙂 Terrie in Massachusetts where perhaps there will be snow tomorrow. tkorpita [at] cs [dot] umass [dot] edu on 4 Jan, Inge wrote: > Hello everyone, We’re all supposed to introduce ourselves when joining this list, and I guess that it’s time that I get it done. I’m living in France, more precisely in Saint-Germain-en-Laye which is a suburb 16 km (10 miles) west of the Eiffel tower in the heart of Paris – so, for short, I usually refer to Paris as my town. Living in Paris is, however, not synonymous with being French. Actually, I’m a Dane and have been living in France for the last 8 – 9 years. I’ve joined this list in particular for learning more about old quilts and the history of quilts, which I find interesting. At this point in time, I should be considered a greenhorn in these matters;-) I am so fortunate to have a small quilt museum in a small village, Barneville, 1.5 hours drive further to the west. The museum is called “Musee du Patchwork et de la Courtepointe” and is situated next to a quilting shop run by one of the finest quilters in France, Nadine Rogeret. Date: Wed, 15 Jan 1997 14:19:28 -0600 From: R D To: QHL [at] cue [dot] com Subject: QHL: Book Thank you! Message-ID: <32DD3BD0.3C91 [at] mail [dot] execpc [dot] com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Many thanks to all of you who responded to my questions about Barbara Brackman’s Encyclopedia of Pieced Quilt Patterns, and Camille Cognac’s book – Quilt Restoration A Practical Guide. I ordered the Quilt Restoration book today — and now I have to wait patiently for it to be delivered. Thank you so much for helping me spend money — wisely! 😛 Donna in Wisconsin Date: Wed, 15 Jan 97 14:50:18 PST From: Sharon Harleman Tandy To: Quilt History Listserve Subject: QHL: Quilt History Bibliography Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Fellow QHLers, At last I’m ready to follow through on my promise to list my almost 100 QH books. Planned to do it last week, but I forgot how much work it is to have a 6 yr old boy and a 13 yr old girl for nine days. Not much on _my_ schedule got done! In the interest of saving my hook-up time and your downloading time, I have divided them into 13 categories. Smaller ones may get ganged together, but the largest and, IMHO more significant, will be alone. The categories will be on the subject line so that you can choose which lists to copy/save. I will not be recommending nor dis-recommending since everyone has diff. interests and tastes. Information will be standardized on all lists except the state books, which will be alphabetized by state. That’s it for now, I hope; do e- me with queries, I will disconnect between categories. Signing off now but 1st category coming right up. Appreciate your interest, Sharon. Date: Wed, 15 Jan 97 14:57:18 PST From: Sharon Harleman Tandy To: Quilt History Listserve , Betty on QHL has Q Hy bk list on web Subject: QHL: QHBx.list: pattern and textile ID Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Brackman, Barbara. _Clues in the Calico._ McLean, Virginia: EPM Publications, 1989. Brackman, Barbara. _Encyclopedia of Applique: An Illustrated, Numerical Index to Traditional and Modern Patterns._ McLean, Virginia: EPM Publications, 1993. Brackman, Barbara. _Encyclopedia of Pieced Quilt Patterns._ Paducah: American Quilter’s Society, 1993. Khin, Yvonne M. _The Collector’s Dictionary of Quilt Names & Patterns._ (orig.) Washington, D.C.: Acropolis Books, 1980. (an incidental) no author/editor. _Photographs of Fabrics in 19th & 20th Century Quilts: 26 Accurate Color Plates Identified by quarter century._ Paducah: American Quilter’s Society, n.d. End/list Date: Wed, 15 Jan 1997 17:03:34 +0000 From: “The Garretts” To: QHL [at] cue [dot] com Subject: Re: QHL: Book Thank you! Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Donna wrote Many thanks to all of you who responded to my questions about Barbara Brackman’s Encyclopedia of Pieced Quilt Patterns, and Camille Cognac’s book – Quilt Restoration A Practical Guide. I ordered the Quilt Restoration book today — and now I have to wait patiently for it to be delivered. Thank you so much for helping me spend money — wisely! 😛 Donna in Wisconsin My comments – I am personally very frustrated when someone asks a good quilt history question and then ends the post with “please respond privately.” I feel this is very inconsiderate and not the purpose of this list. I would like to have quilt history questions answered to the list so that we all could have profited from the MANY people who responded to Donna’s question. If this trend continues, this list will dwindle to a list of questions followed by a list of thank yous, with no information in between. I can’t speak for everyone, but I think many of us joined so we could learn about quilt history and things relating to that. While I own Barbara’s book, I am not at all familiar with Camille’s book, and was looking forward to information about it. Please consider posting quilting history answers to the list in the future. I was a math teacher and I always told my students that if one of them had a question, at least 5 others wanted to hear the answer. I think the same analogy holds true here, except if one person asks a question there are probably 200 people who want to hear the answer because of the type list. Thank you for reading my opinion. Barb in southeastern PA ## Date: Wed, 15 Jan 1997 19:22:08 -0500 From: Kathy To: Quilting Heritage List Subject: QHL: Off the Subject but on Time Message-ID: <32DD74B0.7954 [at] ix [dot] netcom [dot] com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I know this isn’t quilt related but sometimes we have conversations about the time we posted and the time it shows up and I thought that this web site was helpful. [link removed] — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com Date: Thu, 16 Jan 1997 10:26:09 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Red and Green Quilts Message-ID: <32DE72C1.3EF [at] ibm [dot] net> Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit KENNETH K REGAN wrote: > > Dear Hiranya, I enjoyed reading your bio. Can you please tell me what Red and Green quilts are? Thanks, Tiffany -a native Texan living in Oklahoma. Hi Tiffany, Thanks for your mail-its always lovely receiving mail.I wasn’t sure whether to post this to you or the list,but as you asked -here goes.I am no expert but from what I have researched Applique from the mid-1800’s were predominantly stitched using red and green fabric on a white or off white background and there was only one or two accent colours such as yellow,pink and at times blue. Different areas had different trends of different backgrounds.The reason for the red and green theme is not fully known.Possible reasons are that in about 1850 a new aniline dye was discovered which produced a more colourfast green and red.Though the green did change colour in time it was an acceptable change. Turkey Red(referring to the Mediterranean area of the world)was far superior in colourfastness than other red fabric of that time.It was also very expensive and sold for as much as three times the price of ordinary calico.Another possible reason is that roses were favoured for applique at that time,hence they used the natural colours.Also the fads of that time for interior decorating were green and crimson colour themes. Tiffany,there is heaps more information on this theme.If you are interested I can hunt up my list of books o.k? I do not want to bore your eyes off too much!! Bye for now’Hiranya Date: Thu, 16 Jan 1997 06:38:26 +0000 From: “The Garretts” To: QHL [at] cue [dot] com Subject: QHL: Terrific History Book Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Hi all – I wanted to let people know about a book that may not be familiar to them because of the regional nature of its distribution. If you have not gotten to PA recently or don’t order books from Dover Booksellers – which was sold and I don’t know what is happening – you might not have seen this really fantastic book on PA quilt history. “Lest I Shall Be Forgotten – Anecdotes and traditions of quilts” by Nancy and Donald Roan is the result of the Quilt Documentation done by the Goshenhoppen Historians in 1990 to 1992. A large exhibit was held in June 1993 and this book was in conjuction with the exhibit. The book is paper bound, has 96 full-color pages, and is full of color pictures of quilts typical of this watershed area of southeastern PA. Quilts are pre-1940 and the area is primarily, but not exclusively, Pennsylvania Dutch. The PA Dutch include Mennonites, Brethren, Schwenkfelders, and Reformed, but do not include the Amish as they did not live in this area, but further to the southwest. The author, Nancy, is a wonderful quilt historian and has spoken at several symposiums, including one held at the Smithsonian 2 years ago. She is a stickler for detail and accuracy and likes to have first hand documentation for her statements, as in journals, diaries, etc. These are quoted in the book. The book was published by the Historians, and they get all proceeds. My only connection is that I helped alot with the documentation and the exhibit, so my name does appear in a list in the book, but I just believe it is a wonderful book. Books can be ordered by sending a check for $15 plus $3 postage and handling to – Goshenhoppen Historians, Inc. P. O. Box 476 Green Lane, PA 18054 Thanks for your time, and I hope you enjoy the book Barb in southeastern PA Date: Thu, 16 Jan 1997 08:35:26 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: 1940s-50s Applique Top Message-ID: <970116083521_1691238643 [at] emout09 [dot] mail [dot] aol [dot] com> Katie in Colorado, you wondered how to date an applique a quilt top (c. 1940s-40s) your her friend found. You said the top was basted for applique, but not sewn down. Would you please describe the design, colors, etc.? You might have a top from the 1930s when companies would sell applique quilts in various stages–as a kit with fabric stamped, as a basted applique top, and as a completed quilt. Anne Orr, Mary McElwaine, and even Ruby McKim sold such products. I have catalogs from these designers, and we might be able to establish a date for the quilt top if you describe it to me. –Merikay Waldvogel Date: 16 Jan 97 09:04:38 EST From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> To: “INTERNET:QHL [at] cue [dot] com” Subject: Re: QHL: Quilting Books Unlimited Address Etc. Message-ID: <970116140437_75444.1037_FHQ51-2 [at] CompuServe [dot] COM> unsubscribe Date: 16 Jan 97 09:04:37 EST From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> To: “INTERNET:QHL [at] cue [dot] com” Subject: Re: QHL: Quilting Books Unlimited Address Etc. Message-ID: <970116140436_75444.1037_FHQ51-1 [at] CompuServe [dot] COM> subscribe digest Date: Thu, 16 Jan 1997 09:33:21 -0500 (EST) From: HKnight453 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Thread for applique Message-ID: <970116093300_1758354132 [at] emout15 [dot] mail [dot] aol [dot] com> I like all-cotton general purpose thread for applique which is available from Coats and Clark in a reasonable range of colors. It is strong, especially when waxed. I use ordinary paraffin sold for sealing jelly jars; its much cleaper and better than beeswax. As I thread the needles, I run the thread across the wax. I know people who dip whole spools in melted wax, but have not tried this yet. Date: Thu, 16 Jan 1997 09:39:06 -0500 (EST) From: HKnight453 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Thread for applique Message-ID: <970116093901_172886149 [at] emout11 [dot] mail [dot] aol [dot] com> I like to use all cotton general purpose thread from Coats and Clark for allpique. It comes in a reasonable range of colors, and would be fairly authentic. As a child of the 70s, I fear synthetics. I wax all thread for hand work by running it across a cake of parrafin as sold for sealing jelly jars. Then again, I also use #9 or 10 embroider neddles or sharps for hand piecing, so I tend to go against THE RULES. Also, can anyone help me in finding a book with patterns for doing a penny square quilt. My DB saw one in an antique shop in Brimfield MA for several hundred beyond our price range, and I would like to make a replica, and include some squares with sketches of places significant to our relationship. This would include the MBTA station at Riverside, where we met. Bust wishes from Rhode Island where it is (thankfully) only raining. Heather (AKA HKNIght453 [at] AOL [dot] com) Date: Thu, 16 Jan 1997 10:08:43 +0000 From: “The Garretts” To: QHL [at] cue [dot] com Subject: QHL: Penny Square Applique Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Heather wrote – Also, can anyone help me in finding a book with patterns for doing a penny square quilt. Willa Bee Studio has a wonderful selection of patterns for 1900s Penny Square redwork embroidery. I have spoken with Willa (I hope that’s her name) at the Lancaster Quilt Show and she is delightful, has scrapbooks of quilts she has photographed and is really specialized in this area. She has drafted patterns for full size and wall hanging size quilts. Her pattern says, for more information send a LSASE to – Willa Bee Studio 269 Woodland Drive Orchard Park, NY 14127 I have no connection to her, just found her very knowledgeable, willing to share, and delightful to talk to. She is located at the “extras” merchant mall across route 30 from the Heritage Quilt Show. I think she does a lot of shows, so may have a schedule that puts here near you. Barb in southeastern PA Date: Thu, 16 Jan 1997 10:51:55 -0500 (EST) From: KirkColl [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: Indian Head Message-ID: <970116105154_2023016040 [at] emout02 [dot] mail [dot] aol [dot] com> Somewhere in our archives is a brochured from the manufacturer abotu Indian Head fabrics, They are (were) made in Nashua, NH and were definitely available through the 50’s because my mother’s uniforms were made from indian Head. The name is always printed in the selvage in the later years. Their logo is an Indian Chief whose image appears on the bolts and labels. They made both plain and printed fabrics. I’m not sure if they are still manufacturing. Maybe someone near Nashua can check it out. Nancy Kirk The Kirk Collection Antique Fabrics & Antique Quilts High Quality Reproduction Fabrics Conservation & Restoration Supplies 1513 Military Avenue Omaha, NE 68111 1-800-398-2542 (U.S. and Canada) (402) 551-0386 Email: KirkColl [at] aol [dot] com FAX (402) 551-0971 Web site: [link removed] Date: Thu, 16 Jan 1997 08:04:47 -0800 (PST) From: Michele Weise To: QHL [at] cuenet [dot] com Subject: QHL: yo yos Message-Id: <199701161604.IAA28467 [at] acme [dot] sb [dot] west [dot] net> Content-Type: text/plain; charset=”us-ascii” Can anyone give me information on yo yo’s? What time frame were they made in and what was the height of their popularity. How were yo yo quilts used? I wonder about that because they are a little fragile because they catch on things and obviously it wouldn’t be a quilt for warmth. Were they designed for use in any special way? Who “invented” the design? anonymous maybe? Any and all info would be greatly appreciated. Michele in MoorparkCA Date: Thu, 16 Jan 1997 09:49:01 -0700 From: kmccoy [at] glenerin [dot] com (Katie McCoy) To: QHL [at] cue [dot] com Subject: QHL: Re: Old quilt top Message-Id: Content-Type: text/plain; charset=”us-ascii” The response regarding the old quilt top given to me and what thread to applique with has been wonderful. At the suggestion of Kris, I will be taking photos and several people have offered to help me date the top. I will examine it more closely this weekend while taking the photos and will post a description next week. This group is fantastic–caring, giving, and helpful. My gratitude to you all……. Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com Date: Thu, 16 Jan 97 16:52:27 GMT From: osborne [at] iinet [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Dating quilts Message-ID: Hi, This is my first time writing to this list. I have a question I hope you can help me with. I was told by a quilt appraiser that if you buy, say a quilt top made in 1920 and you finish the quilt, the quilt is than dated by the time you finished it, 1997. What are you ideas about this? Is it better to leave the top a top? The same was said about just repairing a quilt, say replacing the tattered binding. Thanks for any info you can share. — Karen Osborne Quiltabeast in Murrieta, CA osborne [at] iinet [dot] com Date: Thu, 16 Jan 1997 13:39:32 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: Intro and question Message-ID: <970116133705_273135596 [at] emout04 [dot] mail [dot] aol [dot] com> I was thinking that I’ve put my two cents in several times in the last two weeks and not given y’all an idea of who I am. My name is Alan. 35 yo male living in sunny Florida (don’t get jealous, it’s supposed to go down to the low 20’s this weekend!). Even though I have a real job to pay the bills, I am a quilt restoration professional by choice. I have a family history of quilting – we come from the Lancaster Co., PA, area, but are not Amish. Rather, my family is PA Dutch. I hold a BA in Painting, which I don’t do any more, in lieu of needlework. I am very entranced by quilts, but also tat, am learning bobbin lace, and do the standard needle arts that are out there. I also collect antiques and am fascinated with history in general. Oh, I’m not married and have one cat and eleven fish. My question is this – I’m working on a hanging that has the poly-bonded cotton batting (20/80). I’m having the devil of a time getting the needle through the stuff, and I know it’s not extra layers of fabric. Is this normal? I noticed the poly seems to be in layers on the outside of the batting. Thanks. Alan Date: Thu, 16 Jan 97 16:46:22 PST From: Sharon Harleman Tandy To: Quilt History Listserve , Betty on QHL has Q Hy bk list on web Subject: QHL: Glitch gone, OK now? Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII While sending third book list a monster glitch cut me off, both incoming and outgoing. Would someone let me know what got throuh (and if this goes also)? First: there was a note explaining how I’d do the list; second was 1st list, pattern/textile ID; third was 2nd list, general American QH; and last was all 22 state books. Just tell me the last to make it completely. Thnx, Sharon in sunny, blue skyed Boise. Date: Thu, 16 Jan 1997 18:48:32 -0500 From: Kathy To: KirkColl [at] aol [dot] com CC: QHL [at] cue [dot] com Subject: Re: QHL: Re: Indian Head Message-ID: <32DEBE50.670F [at] ix [dot] netcom [dot] com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I live in Manchester, NH and we used to have an Indian Head factory outlet in the 1960’s maybe into the 70’s but it is not around anymore. I don’t believe they are in Nashua but I will see if I can check it out tomorrow. — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com Date: Thu, 16 Jan 1997 20:09:27 -0500 (EST) From: RLHlink3 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: Sharon’s book list Message-ID: <970116200831_101756706 [at] emout18 [dot] mail [dot] aol [dot] com> Hi Sharon! Am I glad (I guess) to hear there was a glitch. –I thought it was just my faulty understanding of what was intended. whew 🙂 I got one list which ended with “Photographs of Fabrics in 19th & 20th Century Quilts:” …..Paducah: Hope all glitches are cleared up. (Boy have we had a lot on our end!) I really enjoy this group. Good evening to everyone. Linda in Redding CA Date: Thu, 16 Jan 1997 20:28:24 +0000 From: gilsons [at] voicenet [dot] com To: QHL [at] cue [dot] com Subject: QHL: Quilt Restoration Book Message-Id: <199701170131.UAA04816 [at] mail3 [dot] voicenet [dot] com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Barb in Southeastern asked about Camille Cognac’s book “Quilt Restoration, A Practical Guide”. Here’s what I think after using for over a year. It’s the best book I’ve found on the subject. Topics covered are the difference between restoration and conservation, major kinds of damage, holes, flaking, and applique. She also discusses things to do with unfinished quilt tops and squares, borders, and bindings. What I like best are the pictures which illustrate the text. The advice is straightforward and practical. There is also a section on TLC for old quilts. Camille’s second book will be devoted to Crazy Quilts and is due out sometime this year. I’ve seen her lecture on repairing Crazies; she has developed or refined a number of techniques specific to that style of quilt. Quilt restoration is how she supports her family, so the techniques need to be well researched and executed. Peg G. from cooooold South Jersey Date: Fri, 17 Jan 1997 00:03:17 -0500 (EST) From: RLHlink3 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Quilt Restoration Book Message-ID: <970117000317_979947071 [at] emout17 [dot] mail [dot] aol [dot] com> Hello, Peg! This is Linda, responding to your note re: Camille Cognac’s book and next book. I like what I am “hearing” in your book report. I wasn’t in the market for such, but now I think I would like to look for it. Would you be so kind as to mention the publisher for me? –I am one of those people who likes to go “armed for bear” when I shop. 🙂 Thank you so much. Linda/Redding CA Date: Fri, 17 Jan 1997 02:27:01 +0000 From: Rayna Gillman To: gilsons [at] voicenet [dot] com, QHL [at] cue [dot] com Subject: Re: QHL: Quilt Restoration Book Message-ID: <19970117022652.AAC22068 [at] LOCALNAME> Content-Type: text/plain; charset=”us-ascii” I have Camille’s book but I also have — and _love_ Becky Herdle’s book, “Time Span Quilts.” Rayna Rayna Gillman in NJ RG2 [at] worldnet [dot] att [dot] net Date: Fri, 17 Jan 1997 00:52:33 -0500 From: SadieRose [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Re: Intro and question Message-ID: <970117005233_302054575 [at] emout02 [dot] mail [dot] aol [dot] com> In a message dated 97-01-16 Alan writes: << My question is this – I’m working on a hanging that has the poly-bonded cotton batting (20/80). I’m having the devil of a time getting the needle through the stuff, and I know it’s not extra layers of fabric. Is this normal? I noticed the poly seems to be in layers on the outside of the batting. >> You might try either changing to a new needle, the finish can wear on a needle making it pull or snag more. Or running the needle along your hairline. (The latter is a trick my Mom taught me for making diaper pins penetrate more easily…the oil at your hairline ‘lubricates’ the needle). Same with running the needle through a thin bar of soap. You might also try a smaller needle- although these sometimes will break if the batting is dense. I used a #8 Sharp needle the one time I hand quilted the “old” version of Warm & Natural, about 5 years ago. (The product is different now, a less dense version that is easier to hand stitch, note that I said easier….not as easy as poly batting, though). My stitches were not as small with the larger needle…but it didn’t break and I could take a couple at a time. If you are not happy with this batting, try one of the new all cotton batts for your next project. Addy at Pinetree Quiltworks could share info from her testing on the various new batts on the market. (pinetree [at] quiltworks [dot] com) (No afilliation, just a happy customer). Good Luck!! Karan (SadieRose [at] aol [dot] com) Date: Thu, 16 Jan 1997 23:37:16 -0700 From: lv2quilt [at] frii [dot] com (Heidi Hoff Wurst) To: QHL [at] cuenet [dot] com Subject: QHL: waxing thread Message-Id: Content-Type: text/plain; charset=”us-ascii” Heather talked about using paraffin for waxing thread. When I first started quilting I tried the same thing and mentioned my ‘discovery’ to a friend, who owns a quilt shop in town. She cautioned me that paraffin was petroleum based and may not good for quilts in the long run, but the beeswax was fine. I figured that she knew more about quilting than I did, but neglected to get any specific information. Anyone have any FACTS about paraffin vs. beeswax? Heidi in Colorado Date: Fri, 17 Jan 1997 06:52:54 -0600 From: R D To: QHL [at] cue [dot] com Subject: QHL: Re: Book Review Message-ID: <32DF7626.77AE [at] mail [dot] execpc [dot] com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Barb and all, I apologize for not sharing the description of the two books that I had asked about. I didn’t feel that I asked a quilt history question. I simply wanted a brief description of the two books so that I could pick (somewhat quickly and sight unseen) to use a up a store credit from another state. As these books have been lightly mentioned before on our board, I didn’t want to waste other people’s time with my question. Only one person privately emailed me to ask what people had responded with. Both of these books are available from the lending library. I just didn’t have time to borrow them and look them over. This is another reason that I didn’t feel I should use the QHL time this way. A description of the Restoration book has since been posted to the board by Peg G. I do understand what you are saying, Barb, and you do have a good point — however I WAS trying to be considerate! Donna in Wisconsin > RE: I am personally very frustrated when someone asks a good quilt history question and then ends the post with “please respond privately.” I feel this is very inconsiderate and not the purpose of this list. I would like to have quilt history questions answered to the list so that we all could have profited from the MANY people who responded to Donna’s question. If this trend continues, this list will dwindle to a list of questions followed by a list of thank yous, with no information in between. I can’t speak for everyone, but I think many of us joined so we could learn about quilt history and things relating to that. While I own Barbara’s book, I am not at all familiar with Camille’s book, and was looking forward to information about it. Please consider posting quilting history answers to the list in the future. I was a math teacher and I always told my students that if one of them had a question, at least 5 others wanted to hear the answer. I think the same analogy holds true here, except if one person asks a question there are probably 200 people who want to hear the answer because of the type list. Thank you for reading my opinion. Barb in southeastern PA Date: Fri, 17 Jan 1997 08:25:56 -0500 (EST) From: AJSNGS [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Book List Message-ID: <970117082555_1657847501 [at] emout14 [dot] mail [dot] aol [dot] com> Hi All, Maybe I’m missing something….but I never received a copy of Sharon’s list of books. She mentioned that there was a major glitch, but that it had been worked out. I never received ANY of her list! Help! Any suggestions? Nancy in VA Date: Fri, 17 Jan 1997 08:31:50 -0500 From: RBCochran [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Book List Message-ID: <970117083149_1419373685 [at] emout02 [dot] mail [dot] aol [dot] com> Yes, I’d like to know where to find the list, too. Thanks. Rachel in NJ Date: Fri, 17 Jan 1997 10:48:32 -0500 (EST) From: JQuilt [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Quilt Restoration Message-ID: <970117104830_815968115 [at] emout15 [dot] mail [dot] aol [dot] com> This month’s issue(Spring 97) of American Quilter has a short article about quilt restoration and an address for…. The Quilt Restroation Society P.O. Box 337 Hillsdale, NY 12529 518-325-4502 On the following page is another short piece on storing quilts. Jean Laino jquilt [at] aol [dot] com Date: Fri, 17 Jan 1997 11:15:51 -0500 From: Ricki Maietta To: QHL [at] cuenet [dot] com Subject: QHL: medevial quilts & new project Message-Id: <199701171606.IAA14678 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=”us-ascii” Hi everyone. Was very interested in Lisa from Springfield, MA who said she made replicas of medevial (sp?) quilts. I’d like to know more about that time period of quilts. I have seen pictures of the 14th C. Italian quilts, one in Italy & one in Britain (Quilter’s Newsletter, don’t ask me when), but have no knowledge of what was in vogue then in quilting, & where do you find sources for what they looked like?? Lisa, you out there. . .? On another subject – I just took in another restoration job yesterday, & it should be fun. It’s a Sunbonnet Sue quilt, with a small amount of many different kinds of damage. I will get lots of practice with this one, but not so much of one thing to get bored. The border is flapping off on one corner, there is some embroidery missing here & there, there are two very small holes, a little quilting needs replaced, the binding is shot, & it needs a bath! (It has been laundered many times before according to the owner, so I think this one won’t fade!) My only concern is that the woman wants to give this to a 3-year-old who was named after her. My concern is that this quilt will not be treated properly after it’s repaired. I am gently trying to get the message across that, on the bed for every day use would not be a good idea, & gave her one of my “care of old quilts” sheets. Ricki, making headway in PA Date: Fri, 17 Jan 1997 08:09:33 -0800 From: lrobins [at] cclink [dot] fhcrc [dot] org (laurarm) To: QHL [at] cue [dot] com, lrobins [at] cclink [dot] fhcrc [dot] org (laurarm) Subject: QHL: unfinished quilt tops/dating quilts Message-ID: <2dfa5a30 [at] cclink [dot] fhcrc [dot] org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part Someone posted a message about using old quilt tops and how their age and value change when quilted later (e.g. if a 30s top is quilted in the 90s, it is considered to be a 90s quilt). I think this brings up an interesting point about whether old tops _should_ be finished in a quilt. I personally advocate that many times they should be preserved in their original state. We have to get away from the notion of “unfinished” quilt and think of these as “completed” quilt tops. Many times they have intrinisic and historical value just as a top, especially when you can see the workmanship or methods used which might not be as apparent in a completed quilt. I really cringe when I hear of someone finding an old English-paper-pieced top with the papers still inside and then they want to remove the papers and make a quilt. Such a piece is valauble “as is”, because it shows the technique, and even the old newspaper pieces are interesting. When we find a 1930 top, it frequently is a family piece and we think we’re just completing what grandma started. And the piece has family value. But we should start thinking of those as historical artifacts. If you had a lady’s gown from 1730, would you alter it to fit and wear it?? If you had some textile from 1530 would you make a quilt with it? If we found an incomplete Rembrandt, would we “finish” it?? I know these are extreme examples and not exactly the same as finding a 1930 quilt top, but the older these quilt tops become, the more they are like the 1730 gown or the 1530 textile. And I think some of this also applies to repairing quilts — there’s a difference between preserving an old piece and actually replacing parts of it. And perhaps we should think twice or three times before doing anything (including washing). Maybe we should think how we would approach a quilt from 1800, and use some of that same reverence for a 1930’s quilt, because if cared for, that 1930s quilt will someday also be 200 years old, and the original parts might be much more valuable (historically and monetarily) than a 30s quilt with 90s replacement parts. I’m not criticizing people who want to create a family heirloom by quilting grandma’s top or repairing Great Aunt Hortense’s quilt (yes I had a Great Aunt Hortense!). And certain old tops are very simple, run-of-the-mill patterns and don’t seem to be worth much alone. I’m just suggesting that we start seeing the intrinsic value in old tops and blocks, and maybe sometimes they should be preserved as they are. Sometimes we should see ourselves as stewards of these pieces of history and preserve them rather than using them up. My 2 cents worth. Laura Robins-Morris, Seattle, whose only family heirloom is a double pink Drunkards Path quilt made by Great Aunt Flo (Hortense’s sister!) Date: Fri, 17 Jan 1997 11:22:42 -0500 (EST) From: QuiltAlive [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V96 #14 Message-ID: <970117112125_2090295222 [at] emout12 [dot] mail [dot] aol [dot] com> Re: Cotton carding of batts From: Merikay Waldvogel While doing research for my book on Depression Era quilting, I interviewed 80-year old women (from E. Tennessee) who quilted during the 1930s. Several women mentioned hand carding batts for their quilts. Large scale cotton growing was not prevalent this far north, but these women planted a few cotton plants in their vegetable gardens especially for their quiltmaking. They had childhood memories of picking the seeds from cotton bolls during the long winters. Their mothers would hand card the cotton and pile up the cotton batts (about six inches square). When the quilt was ready for the frame, the quilter would stretch the backing on the frame, and then distribute the cotton batts over the surface overlapping them slightly. Next, the top was put on, etc. etc. Date: Fri, 17 Jan 1997 12:52:01 -0500 (EST) From: HKnight453 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: medevial quilts & new project Message-ID: <970117125200_713913235 [at] emout05 [dot] mail [dot] aol [dot] com> I have to agree with Ricki that using old quilts for everyday use is probably not a good idea, especially around children and pets. That’s one of the advantages of making ‘replica quilts”. With the reproduction fabric and Warm & Natural batting around, one can make a quilt hat feels ‘old’, but can better bear everyday use. I have a 40’s Crazy Quilt does in scraps from the Fuit of the Loom men’s underwear and pyjama factory in Cranston RI by my grandmother’s Aunt Ree. I used it for several years, and it is too worn now to be used. I keepy it fold over a chair, changing the folds frequently about 1/2 rthe year (fal and winter) and store it in the cedar closet in a white all-cotton pillowcase in the summer. Heather (H knight453 [at] AOL [dot] com) Date: Fri, 17 Jan 1997 13:23:18 -0500 (EST) From: RLHlink3 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: research by Marikay Message-ID: <970117132143_1143448149 [at] emout09 [dot] mail [dot] aol [dot] com> Your conversations with the older women re: their quilting during the depression years sounds fascinating. Is your book finished? Is it available? Thank you for sharing the anecdote about growing your own cotton batting. As a gardener and quilter in VA, that is something that had never entered my mind. However, now that I am transplanted to rocky Redding CA, I don’t think I will try it. 🙂 Linda Date: Fri, 17 Jan 1997 13:22:58 -0500 (EST) From: Laurajbr [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Quilt Restoration Book Message-ID: <970117132258_1624005829 [at] emout19 [dot] mail [dot] aol [dot] com> Hi After reading the description of this book, I realize I definitely need to add it to my collection. Can any of you tell me where I might find it? Borders? Barnes and Noble? Thanks, Laura Date: Fri, 17 Jan 1997 17:37:18 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Red and Green Quits Message-ID: <970117173716_1959075027 [at] emout04 [dot] mail [dot] aol [dot] com> A couple of thoughts on red/green appliques…… First, about the analine dyes. If memory serves me, lavender was the first color produced in the mid 1850’s. When the other colors came along, well, I don’t know for certain. No one really ever seems to address anything but the fact that the first dye was lavender. Red and green quilts are neet, but don’t ignore other color combinations from that period, because they may actually be a former red/green quilt! Because so many dyes were not really color fast, you get some strange color combinations in 1997. I own a quilt dated 1880 that is made of 9 blocks with no setting. Each block is made of a cross in tan with blue leaves on each branch. What I beleive happened here was that this was formerly a red /green quilt. The red appears to have faded to tan. Greens were often hard to make and were often created by dying the fabric blue then green. I think that the green fabric originally used lost it’s yellow over the past century, which ended up leaving me with a blue/tan quilt. It’s still pretty and quite a steal, so I was lucky to get it. Date: Fri, 17 Jan 1997 17:45:01 -0500 (EST) From: QRestore [at] aol [dot] com To: QHL [at] cuenet [dot] com Subject: QHL: Re:Unfinished Quilt Tops/Dating Message-ID: <970117174417_1657925648 [at] emout10 [dot] mail [dot] aol [dot] com> In response to Laura Robins-Morris, first let me say, I do appreciate and respect your point of view, just thought I’d provide another. Not all quilts or quilt tops are Dior quality and to lump them all together as equally of great value is to deny reality. True restoration considers the historical value and importance, the date the quilt/top was made, what if anything should be done with the quilt/top and the “as is” value of the quilt/top. Not many of us on this ListServ and certainly no self respecting restorer would treat a “30’s quilt with 90’s replacement parts,” as described in your post. Research is a key factor in any restoration project. My we quilters seem to have alot of “shoulds” and “shouldn’ts” in our vocabulary. I hate to sound like a broken record on this subject, but “Who owns the quilt/top?” We all have the same goal in sight and that is to preserve, protect and in some cases rescue quilts, tops, and textiles from the landfill, etc. There is room for both the conservator and restorer and plenty of quilts, tops and textiles to be saved. Those items of historical importance have their place in a museum setting but the majority are not of museum quality and can be enjoyed and protected by those who love and/or own them. One of the very reasons for this QHL is to share and educate others about the proper methods of preserving, restoring, cleaning and storing quilts, tops and textiles. There is no one answer which can satisfy every quilt/top dilemma, only after careful research and consideration can one determine the best choice for their particular situation. Value can be a very subjective thing, what you or I value as important may not be the same as someone else’s. No one is suggesting you cannot enjoy the “intrinsic value” of quilts/tops/blocks in their “as is” condition, however, who are we to flatly tell others what to do with their family heirlooms and/or found treasures? Lets provide good choices and let them decide without the “shoulds and shouldn’ts.” Victoria Montgomery QRestore [at] aol [dot] com Boise, ID Date: Fri, 17 Jan 1997 17:49:33 -0500 (EST) From: QRestore [at] aol [dot] com To: QHL [at] cuenet [dot] com Subject: QHL: Sharon’s Book List Message-ID: <970117174933_302151970 [at] emout14 [dot] mail [dot] aol [dot] com> To the Group; Sharon Harleman Tandy is still having computer problems (gremlins) and is unable to receive or send e-mail at the moment. She’s trying to correct the problem and will be back online with the book list ASAP. She sends her apologies . . . Date: Fri, 17 Jan 1997 21:27:27 -0500 (EST) From: Quilting Heritage ListServ To: QHL [at] cuenet [dot] com Subject: QHL: Book Order Message-Id: <2.2.16.19970117212524.2e5f28ec [at] mail [dot] albany [dot] net> Content-Type: text/plain; charset=”us-ascii” I spent some time on the phone today and made arrangements for a bulk buy on several of the more popular books on the list. I arranged to buy Textile Designs for $55 a book (this is an $85 book in the store), Clues in the Calico for $25 (this is a $40 book in the stores), Textile Bags by Anna Lue Cook for $10 (this is $13 book, not available in stores.) I am going over to Camille Cognac’s house on Monday, I’ll ask her for some books, too, (Quilt Restoration: a Practical Guide) although the last time I talked to her she couldn’t offer too much of a discount because she herself doesn’t get one. I can get her to sign them, though:-)) I can accept credit cards through Hickory Hill Antique Quilts, so if anyone would like one of the above books, please let me know at oldquilt [at] albany [dot] net. You could also fax me at 518-875-9141. I would like to point out that we have several other authors on the list. I don’t want to volunteer anybody, but if anyone wants to offer their books for sale (with or without a discount), please let me know and I will add it to the list. Are there any other books you would like me to look into getting? Kris Date: Fri, 17 Jan 1997 22:14:29 -0500 (EST) From: QuiltLine [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Fwd: QHL-Digest Digest V97 #15 Message-ID: <970117221428_680434980 [at] emout06 [dot] mail [dot] aol [dot] com> Content-Type: text/plain; charset=unknown-8bit Content-Transfer-Encoding: 8bit In a message dated 97-01-16 22:27:56 EST, QHL-Digest-request [at] cue [dot] com writes: << Hi, This is my first time writing to this list. I have a question I hope you can help me with. I was told by a quilt appraiser that if you buy, say a quilt top made in 1920 and you finish the quilt, the quilt is than dated by the time you finished it, 1997. What are you ideas about this? Is it better to leave the top a top? The same was said about just repairing a quilt, say replacing the tattered binding. Thanks for any info you can share. — >> Dear Karen, The appraiser was right. The quilt cannot be dated any earlier than it was completed. After all, it is not a quilt until it has a top and a bottom. What is normally done in this situation, is on an appraisal form the appraiser would make a note that the quilt is a c. 1920 top, recently completed – 1997. Then it would be noted if it were completed as traditional to 1920 (vintage fabrics, repro fabrics, etc.) or if the back were a 1997 print. In most instances if the top is made into a quilt, and the workmanship is excellent, and the style of finishing does not detract from the top, this will increase the value. The same is pretty much said for restoration or repair. Does the restoration or repair detract from the quilt? Was the restoration done in such a way as to enhance the quilt? Is the restoration noted on the quilt? Was the restoration done as traditional to the period and style of the quilt? These are just a few questions we consider when appraising a quilt. When dating a repaired or restored quilt, the circa date remains as it was when the quilt was first made, However, an ethical restorer will label the back as to when repair was done, and what was done. To be very honest, I must say that I have seen quilt tops that were made into quilts that went down in value because of poor quality of workmanship and poor selection of fabrics, etc (c.1910 top with c.1970 edge and back), but have seen beautiful and valuable quilts recently made from an antique top. Be very careful however, when making the top into a quilt, that the top’s fabric is not too fragile to handle the abuse of the needle and thread. I hope this answers your question. Deborah Roberts – certified quilt appraiser Date: Fri, 17 Jan 1997 23:47:30 -0800 From: Jody Bordner To: Quilting Heritage ListServ CC: QHL [at] cuenet [dot] com Subject: Re: QHL: Book Order Message-ID: <32E08012.1CBC [at] gte [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Kris, Yes! I just discovered this one in Barnes and Noble yesterday! It is lovely, and I would be interested in knowing if anyone has it/and their opinion of it…. Title: The American Quilt by Roderick Kiracofe. I forgot to get the publishers name, but it is a large size book, lots of beautiful pictures and history (my first impression, briefly went thru it in the store) The list price was $60. Thanks! Jody Date: Sat, 18 Jan 1997 00:45:38 -0500 (EST) From: QRestore [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Re:Roderick Kiracofe Book Message-ID: <970118004537_781905411 [at] emout20 [dot] mail [dot] aol [dot] com> Jody; The American Quilt by Roderick Kiracofe is excellent. It’s definately one of those “must have” books, full of history and beautiful colored photos. If your budget wont allow it, try the local library or your local quilt quild library. Maybe someone on the QHL (book list) has a copy they’d be willing to lend. (?) Just borrowed it from a friend of mine to preview and have decided to order my own. Highly recommend it! Victoria QRestore [at] aol [dot] com Date: Sat, 18 Jan 1997 06:44:00 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Book Order Message-ID: <970118064359_72481729 [at] emout09 [dot] mail [dot] aol [dot] com> Kris, I’ll be interested in Camille’s book..let me know when available. Am I correct that it gives the history of the patterns? Tells why they are called “Variable Star? Log Cabin? etc??” Jane Date: Sat, 18 Jan 97 19:06:00 GMT From: l.evans5 [at] genie [dot] com To: qhl [at] cue [dot] com Subject: QHL: Medieval quilts Message-Id: <199701181916.TAA19442 [at] relay1 [dot] geis [dot] com> Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=”us-ascii” Diane & Ricki – Sorry it took so long for me to write back – I hurt my left arm and have been trying not to strain it (it’s much better, thank goodness). Good places to look for medieval and Renaissance quilts are Averil Colby’s book =Quilting=, which is pretty much the standard work on the subject to date. She has a good picture of a 1390’s bedquilt in the Victoria & Albert Museum in London, a couple of German quilts from about a hundred years later, and much information on the early quilt trade from India. There are also pictures of early quilted objects in Jill Liddell & Yuko Watanabe’s book =Japanese Quilts=, including a quilted shoe from the ninth century, an elaborately quilted war jerkin from the 15th century, and a patchwork kimono from the 16th century. Liddell co-authored a book on ecclesiastical patchwork, =The Patchwork Pilgrimage=, that includes two photos of very early European patchwork (a 13th century cope in Toledo cathedral and a 16th century English chasuble owned by a descendant of the maker). Beyond these, good places to look are old books on heraldry (patchwork and applique herald’s tabards), and as many books of contemporary paintings as you can find. There’s a very fine representation of a trapunto coverlet in a 1450 painting by Bartolomeo Bermejo, =The Death of the Virgin=, showing the Virgin lying on a cream trapunto coverlet. I’ve also recently found several Slavic frescoes and icons showing saints (especially Saint Sava) in patchwork vestments, including one where the seam lines between the patches are very clearly painted. Most of these are in the former Yugoslavia and I have no idea if they survived the Bosnian civil war, but they were intact and photographed within the last ten years. The problem with researching early quilting is that very, very few people have done so. Right now I’m aware of another amateur out in New Mexico, and a professional named Janine Janniere in Toulouse. She tracked down a boasting letter by a French tailor in the early 16th century about how he had made a patchwork banner of 8,000 pieces and exhibited it in Metz on St. Martin’s day. But to my knowledge there is no comprehensive guide to pre-colonial quilts available in English. I’m working on writing something along those lines myself, but most of the research has to be done from scratch. It’s fascinating stuff, though; I started doing it because someone told me that quilts weren’t made in the Middle Ages, and I was determined to prove him wrong. Amazing, how something can start from a trivial remark! Two more things: the first aniline dye was Prussian blue, I believe, and was synthesized from coal tar. The early ones were harsh and ugly, but very fashionable because they were largely shades you can’t get from natural dyes. And yes, you _can_ get lavender from natural dyes. I did it myself, completely by accident, by preparing an indigo dyebath in a pot with a tiny bit of cochineal residue left around the rim. The cochineal seeped into the indigo bath and dyed the thread a lovely light purple. I made it about six months ago and it shows no signs of fading, so it seems to be reasonably colorfast. Finally, when it comes to beeswax v. parafin, I’d stick to beeswax. It’s basically the same reason why I mark my quilt tops with pencil instead of those high tech fading pens – I _know_ the pencil marks will wash or fade out without damaging the fabric, but I have no idea of what the long term effects of the ink will be. Beeswax won’t hurt the thread or cloth in the long run, so I’d go with that. Hope this helps – Lisa Evans Date: Sat, 18 Jan 1997 16:14:08 -0500 (EST) From: BBMorris [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: carding cotton batts Message-ID: <970118161408_240305734 [at] emout09 [dot] mail [dot] aol [dot] com> Just this past week I was talking to a friend at church and the subject of quilts came up. She said that she had never been interested in making a quilt as she remembered them as being “work”. She is in her mid 50’s in the area about 30 – 40 miles north of Atlanta. She helped her mother card cotton for quilt batting when she was about 9 or 10 years old. She didn’t remember where the cotton came from as her parents had quit farming by then and moved into town. She was a “late in life” baby so her parents were older than her friends parents. So, cotton was still being carded for batting in parts of the south as late as 1950. As to washing old quiltls, sometimes it is necessary in order to even take them in the house for them to be washed. I inheirited one of my Grandmother’s quilts that had been stored in an old wooden refrigerator crate in the upper floor of an old unheated farm house for years. The lower rooms had fireplaces. The upper rooms didn’t. It is in an area that is very humid. The quilt even felt damp to touch and smelled awful. It had never been used. I aired it on my deck for two weeks and still could not stand to be in the same room with it. So washing it was my only choice. Unfortunately, one of the fabrics had been home dyed a dark green. Now the entire quilt has a green glow. But, at least, I now have my grandmother’s quilt and the baby grandchildren love to lay on it and look at all of the different prints and colors in it. It is not a museum piece, but it is special to me. Barbara in GA Date: Sat, 18 Jan 1997 17:30:40 -0500 (EST) From: Susieh [at] aol [dot] com To: QHL [at] cuenet [dot] com Subject: QHL: cleaning quilts Message-ID: <970118173038_1177163272 [at] emout15 [dot] mail [dot] aol [dot] com> I am trying to find out how to clean an antique name quilt. All of the quilters signed their names on the quilt. I don’t know if the ink is permanent. The quilt is red and white. It is over a hundred years old. There is a little mildew on it, too. Any info will be greatly appreciated :o) Date: Sat, 18 Jan 97 23:34:00 GMT From: l.evans5 [at] genie [dot] com To: qhl [at] cue [dot] com Subject: QHL: Cleaning quilts Message-Id: <199701182347.XAA14491 [at] relay1 [dot] geis [dot] com> Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=”us-ascii” If I had an antique quilt, I’d first take it to the nearest museum with a textile conservation department and have them take a look at it. It might be too fragile to clean, or it might be best cleaned by being gently vacuumed through a scrim. With something old, it’s best to make sure. If it _can_ be washed, test whatever soap you’re planning to use on a small section on the back, to make sure there won’t be a chemical reaction that dissolves the fabric. Also, test every fabric for color fastness by wetting a cotton swab and gently rubbing to see if any of the color comes off. If it does, even if only one fabric, don’t wash the quilt. If the quilt is strong enough and color fast enough, soak it in cold water in either a laundry tub or your bathtub. Use the mildest soap possible (I’ve had good luck with Dr. Bronner’s sal suds – the guy who makes this soap is a lunatic in California whose wrappers spout a mixture of what he claims is Essene Judaism and some very odd political theories, but the soap is great) and let the quilt soak for a while. When it comes to rinsing, squeeze the suds out as gently as possible and rinse until the water is clear. When the water runs clear, spread the quilt out flat to dry – do NOT put it in the dryer! I’ve had good luck spreading a wet quilt out in my backyard on a clean sheet, with another clean sheet over it to protect it from bird droppings and squirrels. Let it dry on a clear, sunny day. This has worked well for me; I know there are booklets out there on caring for old quilts. Any suggestions? Date: Sat, 18 Jan 1997 20:49:42 -0500 (EST) From: QuiltFixer [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: 1930’s baby quilt kits? Message-ID: <970118204941_879547844 [at] emout15 [dot] mail [dot] aol [dot] com> I recently went through some things that were my mothers that she had saved for a long time. In the box were two quilt tops. They were baby quilt tops with embroderie and applique. The material is obviously 1930’s and the base if very rough muslin. much like the “flour sack” dishtowels my grandmother used to have. When I asked Mom about them she was a little hazzy about their history, only that “Aunt May” had made them for me, but they had never been tyed. Were these kits? Did they come with the design stamped on and perhaps the material included? Would the muslin soften up if I washed them and then used softner? I was born in 1934 so the time would be right. Anyone know more about the history? Would like to do something with them. They are in very good condition. Toni Baumgard QuiltFixer [at] aol [dot] com Date: Sat, 18 Jan 1997 21:31:24 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: 1930’s baby quilt kits? Message-ID: <970118213123_1277828167 [at] emout16 [dot] mail [dot] aol [dot] com> In re” to the baby quilt kit, it is possible the fabric IS feedsack. I was surprised to find various items polular today that were made back then also..the dolls/animals that come in a panel with a front and back..cutting lines..sew them together leaving a small hole..stuff the doll/dog, then sew small hole closed..well, they had them back in teh 40’s and 50’s as well..also, a would have a pattern on the back with full details as tohow to embroider/sew it, and wash out the directions..mine is a pinafore..some of my members have small tot’s dresses, blouses, etc..so it is very possible you have feedsack fabric..and one thing for sure..the more it is washed the softer it gets..If you would like a few sqs of feedsacks to try to identifly yur fabric, I would be happy to send them,,is it a white or off white in color? Jane of THE FEEDSACK CLUB Date: Thu, 16 Jan 1997 09:49:25 -0700 From: kmccoy [at] glenerin [dot] com (Katie McCoy) To: QHL [at] cuenet [dot] com Subject: QHL: Old quilt top Message-Id: Content-Type: text/plain; charset=”us-ascii” Hi Merikay (love your name), Thanks so much for your response and offer to help. I’ve just posted to the list that I will be taking photos this weekend. Will have an extra set made to send you if you send me your snail mail address. This quilt top is doing something strange to me! (I’m new to this idea of preservation of _all_ quilts.) When my friend first showed it to me, I said I wasn’t interested in finishing someone else’s work (barely have time to do the ones I want to create as it is), but just before she was going to ditch it, a quilt teacher helped me realize the error of my thoughts and I quickly contacted my friend. Now it’s calling me and I’m getting excited about it. Could it be haunted? Again, I sincerely appreciate yours and everyone’s interest, Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com > Katie–I read your message on the quilt history list. I’ve posted a message to you on the board because I, too, agree we ought to be responding to each other’s questions on the board so others can hear (and learn). But . . . I wanted to also ak you directly to tr to describe the quilttop you mentioned. If you take a photo and send it to me, it would be even easier to date and identify. I have lots of 1930s-1950s catalogs for quilt patterns and kits. I might be able to identify the top–the date, patern name, and company. Please e-mail me and answer on the list. Thanks. Merikay Waldvogel quiltalive [at] aol [dot] com Date: Sun, 19 Jan 1997 07:43:43 -0500 (EST) From: Quilting Heritage ListServ To: QHL [at] cuenet [dot] com Subject: QHL: Off to Lexington Message-Id: <2.2.16.19970119074134.2e37451c [at] mail [dot] albany [dot] net> Content-Type: text/plain; charset=”us-ascii” Dear Gang, I talked DH into letting me take him on a romantic weekend – visiting the Red and Green Antique Quilts in Lexington MA:-)) He just loves it when I take him on these educational excusions. Don’t worry, I’ll take lots of pictures! But I will be away until Monday night as we are sight seeing and visiting on the way back. Be good, now! (Gee, do you think I have too many kids?) Kris +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ To subscribe or unsubscribe, send a request to: QHL-request [at] cuenet [dot] com with only the word subscribe in the body of the note. To subscribe or unsubscribe from the digest version, send the request to: QHL-Digest-request [at] cuenet [dot] com. To post to the list, you should send your note to QHL [at] cuenet [dot] com. Visit our members web page at [link removed] This is YOUR page, we can put anything on it that you like. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Date: Sun, 19 Jan 1997 14:08:12 -0500 (EST) From: MHerron4 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: QHL: Subject: QHL: Penny Square Applique Message-ID: <970119140810_1419692190 [at] emout03 [dot] mail [dot] aol [dot] com> Dear Heather et al. January 18, 1997 I just recieved the new Spring Keepsake catalog and they sell a book in it with penny square patterns. You can request a catalog be sent to you at their web site which is [link removed] I love their catalogs as they always give me lots of ideas. Their website is new and under construction so at this point about all you can do there is request a catalog. Good luck with your quilt, hope this has been useful. Mary H. Date: Sun, 19 Jan 1997 14:59:32 +0000 From: “The Garretts” To: QHL [at] cuenet [dot] com Subject: QHL: NJ Museum Shows Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT A thank you to QHL, with special thanks to Rayna and Cinda, for posting about the wonderful quilt shows in Newark and New Brunswick, NJ. Were it not for this list, I would not have known about these shows, which I was fortunate to see on Saturday. Please continue to post about local museum shows in your area. Neither of these were advertised in my papers, and I was only 2 hours away from each. Museums have low budgets, and we need to network so many can enjoy the quilts. An additional note about the Newark Museum. They have in their gift shop a book of postcards published by Dover Books which pictures most of the quilts on exhibit. Also, if you ask at the information desk and sign a waiver saying you will not publish nor profit in any way, you can take pictures, nonflash. I was glad to find both of these benefits. The Lancaster County Amish Quilts at Rudgers in New Brunswick were not able to be photographed, and there were no flyers or anything about the show. But intense viewing of 30+ quilts is an overwhelming experience. Some observations for those unable to attend — I knew that Lancaster Amish quilts were machine pieced. I have seen bindings that were applied by machine also. But there was a quilt in the exhibit with machine quilting — a double nine patch on point with spacer blocks. The blocks and spacer blocks were machine quilted around the edge, and the inside edge of the inner border was machine quilted. Everything else was hand quilted. Has anyone else seen quilts with machine quilting? Is this unusual, or more typical than we have been led to believe? This is the first I have seen, but I have not studied traditional Amish quilts first hand. The date on this quilt was 1900, and had initials embroidered on the back. There also was a double Irish chain, with the corner squares in the spacer blocks appliqued on by machine. Since wool is thicker than cotton, these squares really laid on top of the quilt surface, instead of what we usually see in cotton Irish chains were those corners tend to lie flat. This quilt was dated 1920. Two wonderful exhibits that I was able to attend because of QHL. Thanks for the information. Barb in southeastern PA Date: Sun, 19 Jan 1997 20:22:08 -0500 (EST) From: SadieRose [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: 1930’s baby quilt kits? Message-ID: <970119202207_615793038 [at] emout18 [dot] mail [dot] aol [dot] com> Toni, I would suggest you contact Shirley McElderry about your quilt kits. She has been researching patterns from this era for childrens’s quilts….maybe she can help. If you have photos of them, you might mail those to her for more definite info. Here is her address: Shirley McElderry 3655-91st Ave. Ottumwa, IA 52501-9136 ph 515-684-7483 Shirley does quilt restoration – doesn’t have a modem yet, though. Good luck!! Karan Date: Mon, 20 Jan 1997 10:33:56 -0700 From: kmccoy [at] glenerin [dot] com (Katie McCoy) To: QHL [at] cue [dot] com Subject: QHL: Old quilt top Message-Id: Content-Type: text/plain; charset=”us-ascii” On 1-1697 Merikay said: > you wondered how to date an applique a quilt top (c. 1940s-40s) your friend found. You said the top was basted for applique, but not sewn down. Would you please describe the design, colors, etc.? The top is lavender background blocks, but interestingly enough, some of the blocks are pieced as though they were not cut large enough the first time. Basted onto background blocks are calico sunflowers, flowers are all different fabrics & colors, centers all yellow, stems “poison green” and in flowerpots of varing colors. Blocks are machine sewn together, applique has edge turned with basting and then whole flower & pot basted onto block. Top is twin size, blocks don’t all meet well in the corners but the edges seem to be even which makes me think that if I measured each block I would find all different sizes! A few of the yellow centers have already been appliqued already in a fairly visible fashion but the edge turned basting hasn’t been removed. Some of the centers look completely round and well turned, others look poorly rounded and turned. The flowers seem a bit stiff, not sure if it’s starch or age. Blocks seem softer though. I’m quite certain all fabrics are cotton. Some of the basting threads are coming out and I have re-basted things down to keep them in place. Would hate to lose a leaf or flower pot. I plan to finish the quilt. I’m not concerned that it be an heirloom, but would like to keep it from deteriorating further. What would you suggest as a backing and quilting pattern to remain at least as true to it’s times as possible? Thanks for your help, Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com Date: Mon, 20 Jan 1997 13:47:33 -0800 From: harleman [at] micron [dot] net To: QHL [at] cue [dot] com Subject: QHL: Glitch gone, I’m baaaack! Message-ID: <32E3E7F5.76FF [at] micron [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit QHListserve, Thnx for your patience. Maybe the problems are over; then again, maybe not. In the meantime, I have a full day today (in addition to reading 71! messages) so will have to wait til Tue or Wed to resume list. So many are saying they did not receive any of them, so I guess I’ll have to start over. ? Any more input on what was recived? By the way, I had better plans for today than hanging on a tech line for over two hours in three calls; it just happens to be my and DH’s 34 anniversary. Sharon in gray, gray (and it just stopped snowing HUGE flakes, but it only snowed for about 15 minutes) Boise. PS The last time it snowed like that we ended up with over 1 1/2 ft of snow and I was in John Flynn’s workshop on Arabic Lattice. Fun day. Date: Mon, 20 Jan 1997 16:59:41, -0500 From: LWKB50A [at] prodigy [dot] com ( KENNETH K REGAN) To: QHL [at] cuenet [dot] com Subject: QHL: bio and old blocks Message-Id: <199701202159.QAA37304 [at] mime3 [dot] prodigy [dot] com> Hi to all. I’ve been enjoying QHL for a week or so, and just found out how to post a note. I became interested in the history of quilts after 2 separate sets of quilt blocks were given to me. One set of blocks was done by my great-grandmother, the other set by my DH’s gr. grand-m. I like the book reviews and have ordered several that were reccomended on QHL. I’m anxious to learn more about dating quilts. I’ll describe the blocks that I have. The first set is 9 blocks about 18″ on a rough off white muslin. Each block has 4 butterflies hand-appliqued on. They are all different fabrics. In the center of the blocks are embroidered flowers. They were made in the 30’s. I made it into a quilt for my mom. If anyone has heard of a pattern like that, I would like to hear any info. you can offer. The second set of blocks (20 of them) are in the pattern Mosaic. The colors are blue, gold-yellow, and white. I’m guessing these were done in the 40’s. The blue almost looks like a polished cotton, since it’s rather shiny. I washed them in ORVUS, and are piecing them together by hand. Again, any info would be great! Thanks! Tiffany Date: Tue, 21 Jan 1997 06:40:24 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cue [dot] com Subject: QHL: Brackman Book Message-Id: Content-Type: text/plain; charset=”us-ascii” I am not familiar with Camille’s book on quilt restoration. I use Barbara Brackman’s book every day. It is simply block illustrations of over 4,000 pieced blocks. Each one has every source that Barbara has researched and found for the block…that is every place that it was printed. Newspapers, magazines, books. etc. They illustrations of the blocks are in categories (four patch, nine patch, etc) and numbered. The index at the back of the book has an alphabetical list of every block in the book. Many of the blocks have several names. There are often more than one block design for a single name. I use the book to identify blocks, by looking at all the pictures in a certain category. I use the book when i want to make a new quilt and want to find a block to use. It is a great reference book. No text to speak of….just 4,000 plus illustrations and sources. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Tue, 21 Jan 1997 07:59:21 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cuenet [dot] com Subject: QHL: missing QHL emails Message-Id: Content-Type: text/plain; charset=”us-ascii” well…i did wonder about the silence of this group…..everyone was so vocal! I only got the occasional message from the list in the past ten days. I am glad the glitches are worked out. I love this list. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Tue, 21 Jan 1997 08:06:48 -0500 (EST) From: Tubeywooby [at] aol [dot] com To: QHL-Digest [at] cue [dot] com Subject: Donkey quilts Message-ID: <970121080647_441782096 [at] emout17 [dot] mail [dot] aol [dot] com> Dear Quilters, I have been listening in for about a month, thoroughly enjoying all the quilt chat. I meant to respond earlier to a requset for any info on a donkey quilt that someone had found. I have a GREAT book called Great Little Quilts by Eleanor Levie (published 1990 by H.N. Abrams, Inc.,N.Y.). There is a whole section describing elephant and donkey quilts which were campaign related, pattern originally published (June 6, 1931 for elephant and July 22, 1931 for donkey) in the Kansas City Star. They are mosaic pictorial small quilts. Thanks for letting me eaves drop for the last month. I’m glad I could get my two cents worth in! Quilting in warm Houston,TX., Melissa Date: Tue, 21 Jan 1997 08:15:37 -0500 (EST) From: Tubeywooby [at] aol [dot] com To: QHL [at] cuenet [dot] com Subject: QHL: Donkey quilts Message-ID: <970121081535_1110440924 [at] emout15 [dot] mail [dot] aol [dot] com> Dear Quilters, I have been listening in for about a month, thoroughly enjoying all the quilt chat. I meant to respond earlier to a requset for any info on a donkey quilt that someone had found. I have a GREAT book called Great Little Quilts by Eleanor Levie (published 1990 by H.N. Abrams, Inc.,N.Y.). There is a whole section describing elephant and donkey quilts which were campaign related, pattern originally published (June 6, 1931 for elephant and July 22, 1931 for donkey - named Giddap) in the Kansas City Star. They are mosaic pictorial small quilts. Thanks for letting me eavesdrop for the last month. I’m glad I could get my two cents worth in! Quilting in warm Houston,TX., Melissa Date: Tue, 21 Jan 1997 09:08:42 From: “MARY PERSYN” To: QHL [at] cue [dot] com Subject: QHL: New Books (to me) Message-ID: <139AE8837F2 [at] wesemann [dot] law [dot] valpo [dot] edu> I paid another visit to Quilting Books Unlimited in Batavia, IL last Saturday and dropped another bundle of money. (They like to see me coming ). I thought some of you might be interested in my latest purchases. I’ll give a short description based just on a scanning of the books. Haven’t had time to read them all yet. Oliver, Celia Y. ed., 55 FAMOUS QUILTS FROM THE SHELBURNE MUSEUM IN FULL COLOR. New York: Dover, 1990. ISBN 0-486-26474-2 This is a Dover book that I had not seen before. Unusual for a Dover publication, it has color pictures of 55 absolutely gorgeous quilts from the Shelburne. Makes me want to take a trip to Vermont. (Pat Lyons, how far is it from Syracuse to Shelburne, VT?) Kraybill, Donald B., Herr, Patricia T., Holstein, Jonathan, A QUIET SPIRIT: AMISH QUILTS FROM THE COLLECTION OF CINDY TIETZE & STUART HODOSH. Los Angeles: UCLA Fowler Museum of Cultural History, 1996. ISBN 0-930741-53-6 This is the catalog from the show that was at the Fowler Museum at UCLA. I can’t remember whether the show was discussed here or on Quiltnet. The book has three essays as well as pictures of the quilts in the exhibit. The essays are: Quiltwork of Amish Culture by Kraybill; Quilts within the Amish Culture by Herr; and In Plain Sight: The Aesthetics of Amish Quilts by Holstein. I can’t wait to read this one. von Gwinner, Schnuppe, THE HISTORY OF THE PATCHWORK QUILT: ORIGINS, TRADITIONS AND SYMBOLS OF A TEXTILE ART. West Chester, PA: Schiffer Publishing Ltd., 1988. (Translated from German. Original title Die Geschichte des Patchworkquilts). ISBN 0-88740-136-8 I was reminded of this book when reading yesterday’s message about “really old” quilts. (I don’t have access to my legacy mail’ at the moment so can’t look up who sent the message). Anyway, this books has pictures, some black and white, some in color, of quilted items from many different time periods. For example, it contains pictures of a Sicilian wall hanging c. 1395; a quilted linen blanket from Germany from the 16th century; and a saddle blanket from the Altai Mountains, 5th century BC. It looks really interesting. Freeman, Roland L., A COMMUNION OF THE SPIRITS: AFRICAN-AMERICAN QUILTERS, PRESERVERS, AND THEIR STORIES. Nashville, TN: Rutledge Hill Press, 1996. ISBN 1-55853-425-3 The author traveled around the United States interviewing and taking pictures of African-American quilters. Many of the pictures are of the quilters with their quilts. The following book didn’t come from QBU. I got it at the museum shop at the Museum of American History (part of the Smithsonian) in Washington DC. It has wonderful closeups of the Harriet Powers’ Bible Quilt. Perry, Regina A., HARRIET POWERS’S BIBLE QUILT. Rizzoli Art Series. New York: Rizzoli International Publications, 1994. (Distributed by St. Martin’s Press). ISBN 0-8478-1653-2 Sorry for the bandwidth, but I thought some of you would be intrested in these titles. I don’t work for either QBU or the Smithsonian, but I support them with my purchases. BTW, Rob Roberts from QBU told me Saturday that CLUES IN THE CALIO is not out of print, but that some distributors find it difficult to get ahold of. He doesn’t know why. Mary from finally warming, and now slushy, Valparaiso, IN Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Tue, 21 Jan 1997 10:19:51 -0500 From: Ricki Maietta To: QHL [at] cuenet [dot] com Subject: QHL: Irish Chain Message-Id: <199701211509.HAA04882 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=”us-ascii” Barb mentioned the corner squares of an Irish Chain being appliqued on top (by machine?). My grandmother did hers that way – but she wasn’t Amish. She made a beautiful Irish Chain in blues & grays on white – one of her better quilts. I actually liked the appliqued corner squares, as it eliminates the seam necessary if you would piece those squares in. I go to great lengths to eliminate seams. Hate quilting over them. BTW, my grandmother did her by hand. Ricki in PA, granddaughter of the wild & crazy quiltin’ Jessie Mae Watson Cremer of Mt. Orab, Ohio, who mixed colors with abandon & wore way too much jewelry (is that where I get it?) Date: Tue, 21 Jan 1997 15:04:01 +0000 From: “Kathleen Duvall” To: QHL [at] cue [dot] com Subject: QHL: Old Fabric Message-Id: <20064697620312 [at] kong [dot] gulfnet [dot] com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT DH is miraculous at finding me old quilts. He brought home two last weekend ($5 each!). One is an intricately pieced and quilted star that I put on display, and the other is definitely a utility quilt. It consists entirely of sewn-together squares forming no pattern and is not quilted very expertly, but I fell in love with it! I threw it on the back of the couch and have already taken a nap under it. Beautiful weather today and I took the opportunity to wash all the bedding, including this quilt. It fared very well except that one patch has disintigrated. I was very fortunate to have a stash of 30’s fabric and patched it with a piece of that and you couldn’t tell now which one it was. Which brings me to my question. I was very lucky to come across this fabric at a garage sale recently. There are yards and yards of it!! Some of the fabric still has the tag attached (5 yards for 59 cents!!!). There are some solid colors like green and blues and a lot of prints. I was thinking of making a quilt from this fabric — maybe just a simple 9-patch — but was wondering if I should preserve the fabric as is. There are so many knowledgable people on this list, perhaps you can advise me. Would it be heresy to cut up this fabric? If I do, should I wash it first, and how should I wash it? Should I seek out some particular pattern to do it justice? Thanks in advance for your help! Kathleen in Florida Date: Tue, 21 Jan 97 22:44:00 GMT From: l.evans5 [at] genie [dot] com To: qhl [at] cue [dot] com Subject: QHL: Old Quilts Message-Id: <199701212305.XAA02443 [at] relay1 [dot] geis [dot] com> Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=”us-ascii” Mary – thanks a million for the tip on the von Gwinner book. I think I know all three pieces you mentioned (the 1395 one is actually a wedding quilt, done in trapunto), but I don’t have good pictures of most of them. Is it still in print? And was it terribly expensive? (gulp) Thanks! Lisa EVANS L.EVANS5 [at] GENIE [dot] GEIS [dot] COM Date: Tue, 21 Jan 1997 23:15:15 -0500 From: mrbill [at] magicnet [dot] net (Bill Wohlfart) To: QHL [at] cue [dot] com Subject: QHL: Vermont Message-Id: <199701220414.XAA08534 [at] magicnet [dot] magicnet [dot] net> Content-Type: text/plain; charset=”us-ascii” I was lucky enough to get to Vermont last year and really enjoyed the quilts at the Shelbourne Museum. Well worth the trip. Also loved the Renwick Show. I Think it closes next week. Really nice to see the really old fabrics and the tiny hand work that was done. Waiting for the book to come out! Jeanann in Orlando Date: Tue, 21 Jan 1997 22:53:43 -0500 From: Ricki Maietta To: QHL [at] cuenet [dot] com Subject: QHL: “black” cotton? Message-Id: <199701220343.TAA23064 [at] orbital [dot] cue [dot] com> Content-Type: text/plain; charset=”us-ascii” Hi everyone. Big question here. Have any of you ever heard of “black cotton”? Reason for the question – there is an interesting old, old quilt in our local history museum, The Lycoming County Historical Museum in Williamsport, PA. This quilt, at some point in history, had it’s back removed! Yep – all the quilting stitches were clipped, some still hanging in the fabric, but the back is gone. What’s even more interesting is that the batting is still stuck to the back of the quilt top! The batting is not completely white. There is a large portion of the batting that is very dark, but still appears to be cotton – very long fibers. I was puzzled by this, but while reading Sandi Fox’s “Small Endearments” last night, saw a reference to “black cotton” in a diary quote. Anyone else familiar with this? Also, wondered if I should put a layer of netting on the back of this quilt so that is doesn’t come apart with time. BTW, this quilt is probably 1840s & in extremely fragile condition. Any comments? Ricki in PA Date: Wed, 22 Jan 1997 06:00:19 -0800 From: nomad1 [at] ibm [dot] net To: QHL [at] cue [dot] com Subject: QHL:Fur Quilts Message-ID: <32E61D73.5E98 [at] ibm [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi, Hiranya, I think your idea sounds really neat! I tried making rabbit fur mittens many years ago. What I learned from sewing those and sewing fake-fur material is that you should try to stitch through the backing/skin and keep the fur out of the way. Then the fur covers up the seamline on the front. You may even have to trim a little of the fur away in the seam allowance area. I had to purchase a special needle used for sewing leather and I had to sew by hand because my machine was not powerful enough to sew through the leather. I do believe, however, that you can purchase machine needles specifically made for stitching leather. As for backing, thinking back to when I was a youngster and my mom had a mink-stole — I think just backing with a nice satin fabric would be lovely. You wouldn’t have to “quilt” it necessarily and you definitely wouldn’t need any batting! The satiny feel would be a delightful contrast in texture/feel to the fur on the other side. Maybe you could start out small and just make a pillow or something. My stepmom bought a mink-stole at a yard sale once for only $25 and carefully took it apart and made a teddy bear out of the fur. It’s gorgeous! Have fun! Good luck! Susan Crown Springfield, Ohio where the temps are dropping to 10 farenheit and the wind chill is -25!! scrown [at] wittenberg [dot] edu Date: Wed, 22 Jan 1997 06:24:07 -0500 (EST) From: Baglady111 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: “black” cotton? Message-ID: <970122062406_135037148 [at] emout12 [dot] mail [dot] aol [dot] com> Ricki, I have a friend and member of THE FEEDSACK CLUB who is an expert on cotton. She does on-going research and is going to be very interested in your post. I would like to send it to her and have her contact you with input. Her name is Anna Lue Cook and wrote the bible on feedsacks..she herself picked cotton as a child. Jane Date: Wed, 22 Jan 1997 07:00:50 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cuenet [dot] com Subject: QHL: Use of indigos fabrics? Message-Id: Content-Type: text/plain; charset=”us-ascii” Pam…i can give an explanation from my family who were early Michigan Pioneers. My aunt, who was not a pioneer…, but who was born in 1906 on a dairy farm in Michigan says that the blue indigo fabrics were used to make the work shirts for the men and the work aprons for the women. It was as common as muslin and being a darker color suited to the hard work. They were purchased in abundance and by the bolt. remember that fabric on the bolt was narrower and there were not as many yards per bolt as we use today. So a large farm and large family would use a lot of blue indigo. The little strawberry pink prints were also purchased by the bolt to make pinafores for little girls. They wore the pinafores over all their dresses as it was easier to sew and wash a pinafore than it was to sew and wash a long dress. I have a quilt made by my great grandmother out of lots of pink and blue fabrics that were leftovers from sewing the shirts and the pinafores. She had 15 children, 6 boys, 9 girls. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Wed, 22 Jan 1997 23:09:52 +1000 From: Sven Olsson To: QHL [at] cue [dot] com Subject: QHL: Re Use of indigo fabrics Message-ID: <32E611A0.3304 [at] pnc [dot] com [dot] au> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jean Ann I am trying to gather information pre 1900 fabrics so your note really interested me. The little strawberry prints that you mentioned, are they also known as double pinks? Date: Wed, 22 Jan 1997 07:40:15 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cue [dot] com Subject: QHL: another point of view Message-Id: Content-Type: text/plain; charset=”us-ascii” i purchase old tops and blocks and i do finish them. I feel very comfortable doing this. they are everyday quilts blocks/tops as my budget wont allow me to buy anything that is of museum quality. or even close to. however, i do recognize and respect museum quality quilts and if one ever fell into my hands i would treat it with the utmost respect, as a curator would want. i like to think that the women who started the quilts would be happy that they are finished. they are just every day quilts. i am finishing one very nice 1930 Rose Wreath quilt now and i will be using it as my summer quilt on my own bed. i vote for choices….at 55 i have had too many oughts and shoulds in my life. Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Wed, 22 Jan 1997 08:25:53 EST From: debatqps [at] juno [dot] com (debra a welch) To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V97 #19 Message-ID: <19970122.082017.6470.2.debatqps [at] juno [dot] com> Hi everyone, I went a little crazy when I placed my last book order for the shop and ordered some of the books on the list and a few others I came across. I sold two already that I didn’t get a chance to look at before they went : ( but I did snag one that I haven’t seen posted yet. PIONEER QUILTMAKER, THE STORY OF DORINDA MOODY SLADE 1808-1895 by Carolyn O’Bagy Davis. One of the ones that sold was QUILTS FROM THE THIRTIES by Sara Nephew. That one I did peek at, it had copies of old newspaper ads for sewing machines, fabric and copies of the old quilt pattern columns that appeared in the papers in the 30s. There was also an anthology of short quilt stories that looked really neat but I didn’t get to do more than page through it before it sold. I have the name of that one at the shop and will look it up if anyone is interested. I can still get Clues in Calico, one came in yesterday, so I know its still available. Debbie in NJ Date: Wed, 22 Jan 1997 08:50:28 From: “MARY PERSYN” To: L.EVANS5 [at] GENIE [dot] GEIS [dot] COM, QHL [at] cue [dot] com Subject: QHL: von Gwinner Book Message-ID: <151611D7E5F [at] wesemann [dot] law [dot] valpo [dot] edu> I don’t know whether the book is still in print, but it IS listed in QBU’s latest catalog and I just bought a copy of it there on Saturday. The amazing thing is that it costs $16.95! You might want to give Quilting Books Unlimited a call at 800-347-3261. Yes, the Sicilian piece is a trapunto wedding quilt. Some of the pictures in the book are black and white, others are color. I think the Sicilian one is a b & w. Glad to be of help. Mary Mary G. Persyn mpersyn [at] wesemann [dot] valpo [dot] edu Law Librarian (219) 465-7838 School of Law Library FAX: (219) 465-7917 Valparaiso University Valparaiso, IN 46383 Date: Wed, 22 Jan 1997 12:19:59 -0500 (EST) From: DReyno3650 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Re Use of indigo fabrics Message-ID: <970122121204_980743967 [at] emout07 [dot] mail [dot] aol [dot] com> Hi: Just curious, but were the double pink fabrics for pinafores made of dimity? Dimity was a thinner fabric than percale that had thick and thin weft(? the lengthwise of the fabric threads) that made it almost transparent in the thin parts. a lurker: Willa Dean Reynolds, Soquel CA Date: Wed, 22 Jan 1997 12:23:54, -0500 From: LWKB50A [at] prodigy [dot] com ( KENNETH K REGAN) To: qhl [at] cuenet [dot] com Subject: QHL: new book Message-Id: <199701221723.MAA49458 [at] mime3 [dot] prodigy [dot] com> Hi to all! I just got a notice from Amazon books that a new book is available: Above & Beyond Basics: A Medley of Quilted Memories by Karen Buckley, pub. by Collector Books, $17.06. Has anyone heard of this one or read it? I’m trying to be very selective on books that I purchase for “budget” reasons, so I would appreciate some feedback. Thanks! Tiffany Date: Wed, 22 Jan 1997 13:54:55 -0500 (EST) From: Quiltfix [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL: Old Quilts Message-ID: <970122124513_173800756 [at] emout12 [dot] mail [dot] aol [dot] com> Well, I finally caught up reading all the QHL from the weekend. Whew! I read today (Wed) that Kathleen in Florida found 30’s yardage. First off, I’m so thouroughly green with envy it isn’t funny! It is hard to find yardage here where I am in Florida. I always seem to have to go out of state. But regarding using it, well, it depends on whether you have quilts that need rescuing or if you want to start a fabric collection. While others will agree with me regarding this, there is no rule stating you can’t cut up yardage. You did, however, describe tags and such still attached, which indicates that the fabric has never been washed. That means a buildup of 60 years’ dirt. Dirt is abrasive and the fabric should be washed very gently if your going to use it (I’m ambivalent about washing it and removing tags if it is for a collection – collectibles are usually more valuable if the item is as intact as possible as it was at the original point of sale). When I wash an old quilt, I am ALWAYS amazed at the dirt that comes out of seemingly clean pieces. But if you want to use it, I’d say go for it. As for restoration in general, I’ve come through a long evolution in my opinion of it. There is always a time and a place for everything. Not every piece should be restored. But then not every piece should be conserved. About 10% of my collection (45+) is truly a piece that I will donate to a museum eventually (probably over my – literally – dead body!). The rest are lovely and worthy of being kept, but you can’t treat them all alike. My silk baby-block quilt, if not restored, will someday get thrown away because of its condition. That’s not to say it isn’t stunning now, but the main black silk is disintegrating and won’t be around a long time. It must be restored so that it will continue to be loved. But then, I have another 1871 star quilt in nearly perfect condition but for one block where the black stripes are going. I won’t touch this, because I know this will be donated eventually and is important to the history of qulting. We have to go beyond over-sentimentalizing the quilts and understand that not all are important. The 1930’s quilts I’ve restored all are lovely, but many seem to have the same problems of poor fabrics and hard use/washing. The better ones need to be restored. There is also another problem with saving the quilts as they are. In my business, I often come across people who love the quilts, but for whom it doesn’t matter if the quilts are intact. They want to fix them and use whatever fabric is most cost effective (of course, some want vintage). They want to be able to put them on the bed and sleep under them. I am always truthful in my opinions on the use the quilts should experience (I turn away business if the proposed restoration is not appropriate). I’ve gotta stop. I’m beginning to lose the train of thoughts. Thanks for the pointers on the poly/cotton batts. I changed the needle (how obvious can you get) and it has helped, but I am going back to cotton – I rarely use man-made materials). Alan Date: Wed, 22 Jan 1997 15:16:08 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cue [dot] com Subject: QHL: not dimity Message-Id: Content-Type: text/plain; charset=”us-ascii” the pinafores are definitely not dimity. they are cotton, they were used for everyday wear so sturdy fabrics were needed. it was definitely cotton 🙂 Jean Ann Eitel Editor, QUILT magazine [link removed] Let’s Talk Quilting: dal.net IRC – /join #quilttalk [link removed] Date: Wed, 22 Jan 1997 12:12:02 PST From: psiera [at] juno [dot] com (Pam D Siera) To: QHL [at] cue [dot] com Subject: QHL: Re: American Quilter Message-ID: <19970122.124719.9566.23.PSiera [at] juno [dot] com> When you’all talk about American Quilter you aren’t refering to American Quilting and Patchwork are you? I picked up a copy of that and while I enjoyed all the quilt recipes I don’t think it’s what you are referring to. Could you enlighten me and share a way of obtaining a copy? TIA Pam Date: Wed, 22 Jan 1997 12:21:47 PST From: psiera [at] juno [dot] com (Pam D Siera) To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V97 #16 Message-ID: <19970122.124719.9566.24.PSiera [at] juno [dot] com> Thanks Victoria for you comments on the shoulds and should-nots, I don’t know why my mother’s cedar chest hasn’t stained her Sunbonnet Sue quilt but it hasn’t, perhaps it’s the fact that the chest is only 10 years younger than the 60 year old quilt. After my daughter put in about 10 hours fixing the appliques I sent it off to college with her. I did tell her not to have all her friends sitting on it on her bed and to keep it out of direct sunlight so that she wouldn’t have more hours of repair work to do. This DD is the one who treasures all the dumb quilts I’ve made over her lifetime including the replica I made her to go off to college with. She took her Strawberry shortcake comforter with her too! I used this quilt myself as a young child on my bed and it’s sat in the cedar chest ever since. It’s not a work of art by any means while I hope DD passes it on I want her to enjoy it because I know she will more than the cedar chest. Pam in Santa Rosa Date: Wed, 22 Jan 1997 16:43:02 -0800 From: harleman [at] micron [dot] net To: QHL [at] cuenet [dot] com Subject: QHL: cedar chests and dimity Message-ID: <32E6B415.3C4A [at] micron [dot] net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Regarding the reasons for taking stored and valued textiles out of cedar chests, they are: it’s not the stains (never saw any caused by cedar) it’s the resins in cedar. Cedar has far more acidic resins than most other woods which cause deterioration of textiles (including laces, etc.) I think it is ironic that so many of our treasures from the past were kept safe for us in cedar chests, but perhaps they would have lasted much longer had they _not_ been in cedar. As to dimity vs cotton: “apples to oranges”? : dimity is a type of weave, cotton is a fiber. Sharon in half gray/half blue-skyed Boise. Date: Wed, 22 Jan 1997 18:29:02 -0500 (EST) From: HKnight453 [at] aol [dot] com To: QHL [at] cue [dot] com Subject: Re: QHL:Fur Quilts Message-ID: <970122173158_681128006 [at] emout11 [dot] mail [dot] aol [dot] com> One can buy special needle made for leather from a German concern whose name I can’t recall, but the quality is excellent. Also, the Vogue Sewing Book has some useful tips on sewing with fur. In my experience, sew by machine and use a large darning needle to pick the plush out from the seams. However, this was with faux fur. Also, cut from the back. Heather from warm and drizzling RI P>S> If other members of the Quilt Heritage Usenet Group are planning to attend the Hands Across the Valley Show 15-16 March, would others be interested in meeting for dinner Saturday night? If so, contact me HKNight453 [at] AOL [dot] com. --- --- title: "January 5–11, 1997" url: "https://quilthistory.com/january-5-11-1997/" lang: "en-US" type: "post" description: "Primary topics of this QHL Digest : Documentation vs. romanticized interpretation — a pointed critique of a well-known Oregon Trail quilt book for assigning symbolic \"migration\" meaning to traditional patterns without any actual evidence from the makers, sparking a broader" last_modified: "2026-08-03T16:00:33+00:00" categories: [Quilt History List Archive] tags: [Fabric Identification, Oral History & Documentation, Quilt History Resources, Regional Quilt History, Restoration & Conservation] custom_fields: iawp_total_views: 6 --- # January 5–11, 1997 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) 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 :** - **Documentation vs. romanticized interpretation** — a pointed critique of a well-known Oregon Trail quilt book for assigning symbolic “migration” meaning to traditional patterns without any actual evidence from the makers, sparking a broader discussion on the difference between documented history and historical fiction. - **US vs. Australia comparative quilt history** — a detailed continuation of this thread, with a structured list of possible factors (immigration timing, convict vs. family settlement, social structure, poverty levels, fabric availability, climate, and geographic isolation). - **What defines a “quilt”?** — a recurring identity question sparked by regional differences over tied vs. stitched bed coverings, with terms like “comforter,” “hap,” and “counterpane” compared by region. - **Prewashing fabric practices** — an extended, detailed exchange on methods, reasoning (chemical residues, shrinkage, allergies), and even a formaldehyde-in-new-fabric anecdote. - **Quilt storage and preservation** — further detail on acid migration from wood, mylar as a barrier material, desiccant packets, and where to source archival supplies. - **English and Welsh quilting origins** — book recommendations and a discussion of Durham quilting, Welsh influence on Amish quilt design, and how developed quilting and patchwork were in Europe before American colonization. - **Crazy quilt construction techniques** — backing fabric choices (cotton sateen), tying methods, binding materials, and a puzzle over mystery loops on an antique silk baby-block quilt. - **Feedsack and fabric bag history** — origins of the cloth sack industry tied to the invention of the sewing machine. - **Historical dye chemistry** — black dye recipes (iron tannate, logwood) and their long-term effects on fabric durability. - **Book recommendations and TV resources** — several state and regional quilt history titles, plus Simply Quilts broadcast schedules across the US and Canada. Date: Sun, 05 Jan 1997 11:21:09 +1000 From: J Marlow To: Subject: QHL: Talula Gilbert Bottoms quilts After reading “Legacy – The Story of Talula Gilbert Bottoms and Her Quilts” you may like to have a look at the book “Family Ties- Old Quilt Patterns from New Cloth” which is a treasury of elegant, colourful quilt patterns based on the quilts of Talula Bottoms grandmother of the author Nancilu Butler Burdick. The quilt patterns illustrated range from easier to more challenging. The “Pieced Quilts” section, for instance, begins with the Snowball, a pattern often used in the past by grandmothers to introduce very young girls to curved-patch piecing. The “Applique” section, however, is offered randomly, because any quilter can see at a glance a pattern’s appeal and skill level. Family Ties provides a rare glimpse of how older quilt patterns can reach across generations to enrich lives and strengthen family ties in our own fast-moving world. It is Published by Rutledge Hill Press ISBN 1-55853-134-3. No affil. just enjoyed both books. The Legacy book may inspire you to try one of her patterns. Jeanette jmarlow world.net Date: Sat, 4 Jan 1997 21:39:18 -0500 From: SadieRose aol.com To: Subject: Re: QHL: Speck more info on Baptist Fan quilting In the book “Treasures in the Trunk” the ‘Baptist Fan’ quilting motif is called “elbow” quilting. Anyone heard it called this before?? “The curved lines of elbow/fan quilting were also easy to place for quilting. A series of marks was spaced equidistant along a board. As the lines were needed, the elbow was placed on the appropriate mark and the line drawn as the arm swung the curve across the quilt.” (pg 142 T i t T Mary Bywater Cross) Karan from Iowa where we are expecting new snow tomorrow Date: Sat, 4 Jan 1997 21:39:12 -0500 From: SadieRose aol.com To: Subject: Re: QHL: Quilt History books I want to emphasize that this is my Personal Opinion….. I think “Treasures in the Trunk” is a lovely book with some great quilts and information on the quilt makers, families and their travel to Oregon over the Oregon Trail. The thing that really frustrates me is the 1990’s interpretation of women’s lives and intents about making their quilts. I got so mad reading about traditional designs being interpretted as ‘Migration Quilts’ that I actually threw the book across the room in disgust! Poor DH couldn’t figure what was going on. He got a sermon on my point of view on this. If there was a diary or written account by the maker…..and she said “I chose this pattern to symbolize my migration to Oregon” then that would be fine with me. But to interpret someone else’s intentions 150 years later (without documentation) ….is not history to me, but historical fiction. The other problem with this is that future quilt enthusiasts may accept these interpretations as “fact” (which has already happened with quilt ‘history’ over the years). I hope that no one in 2145 looks at my Ocean Waves quilts, and decides that I was drowning in technology.. or pining for the ocean, here in the landlocked Midwest. I just like scrap quilts, and the Ocean Waves design. Now my “Shooting Stars” quilt (actually the Japanese Snow Crystal’s pattern) was so named because I cut out the diamonds as I listened with horror to the start of Desert Storm (had friends with sons over there). I guess there are 2 sides to this….one is to be careful in your interpretation of someone else’s quilts….and the other, is to leave a written record of how and why you made your quilts, so they won’t have to guess in the future! Will get down off my soapbox now! Karan Date: Sun, 05 Jan 1997 02:23:19 -0800 From: nomad1 ibm.net To: Subject: QHL: Intro Hi everyone! Just introducing myself to all you facinating folk.I hail from Australia -yes another one! My name is Hiranya and I too am nuts about quilts among other things. When some of you were talking about the Smithsonian Book ,were you talking about “Quilts From the Smithsonian”? Or is there another available? Bye for now Hiranya Date: Sat, 4 Jan 1997 22:39:08 -0500 (EST) Subject: Re: QHL: Speck more info on Baptist Fan quilting Yes, as a matter of fact, at one of the shows I was at, an older woman came up to me and told me that one of my quilt labels was wrong. I had refered to the quilting pattern as “fan” quilting, she told me that, growing up, it was always called “elbow quilting.” I assumed that to be a Southern reference, I didn’t realize it was in Treasures in the Trunk, too. Kris Date: Sat, 4 Jan 97 22:25:47 PST From: John & Cinda Cawley Subject: QHL: RE: Speck more info on Baptist Fan quilting Message-ID: Hi Carol, There was definitely more than one quilt in the Renwick exhibit that had fan quilting. Cinda in Scranton Date: Sat, 4 Jan 1997 23:14:43 +0000 From: “The Garretts” Subject: QHL: Re: Quilt History books Karen, aka Sadie Rose – I loved your post about Treasures in the Trunk and agree with your point about us creating quilt history facts without documentation. There are many untrue “facts” being circulated because they have appeared in writing somewhere, and then used as a reference for another writing. The domino effect can occur quite easily. Authors need to be held accountable for what they write, and they need to realize the importance of documentation as opposed to heresay. In my opinion, there has been considerable “romanticism of quiltmaking” without regard to facts. The romantic version reads/sells/sounds better. Actually, I feel that if you dig deep enough, you can find the “true” romantic version. That’s why I enjoy being involved in quilt documentation so much. Happy quilting from Barb in southeastern PA Date: Sun, 05 Jan 1997 08:41:25 -0800 From: nomad1 ibm.net To: QHL cuenet.com Subject: QHL:Nancy Sentipal Nancy,never call Romance silly!The world certainly could do with more Romance.Actually when one considers quilts,there is so much Romance attached to them in a way,if you get my drift. Reading the other Intro’s I felt a bit guilty as I was so brief,I did not mean to be secretive or snobby.Basically I did not want to Yakk too much! Looking forward to chatting with you all, Hiranya Loder from Sydney Australia Date: Sun, 5 Jan 1997 09:09:36 +0000 From: David Lewis Subject: QHL: Durham Quilts Message-ID: This may appear strange, writing from England to an American group to ask about English quilts. A week ago, I saw a section in a video about Durham Quilts (that is Durham in the North East of England). So far, I have been unable to find any more information. Can anyone point me in the right direction? Thank you. Marie Marie Lewis Date: Sun, 5 Jan 1997 07:24:44 -0500 From: Baglady111 aol.com To: Subject: Re: QHL: Lending Library another thought and good business fo YOU..an article on antiqeu quilts, what to look for, care of, prices to pay, etc..it could be a series..you fo course get the fee/full credit..Jane Date: Sun, 5 Jan 1997 10:58:12 -0500 From: “Judy Grow” Subject: Quilts touching wood All this talk of putting quilts in chests, on frames or on wooden poles has gotten me to unlurk. I am a professional picture framer. My education has been in protecting paper and fabric from the inherently harmful effects of wood and paper (also a wood product). Unless all wood products are sealed permanently, acid migration will take place and damage the artwork (quilts are art). Therefore placing quilts in muslin bags will not be protective in a cedar chest or in a bureau drawer. As the cellulose fibers in the lignan break down they form gases that, of course, will permeate a muslin bag and stain what is inside the bag. The muslin will get stained first, then the quilt. And if that cedar chest is in the attic — all chemical processes are speeded up by 10% for every increase of 10 degrees. And if the cedar chest is in the basement you have the problem of mold forming in a moist environment. A thumbprint can be a banquet for mold spores, so any quilt must be throroughly cleaned before storage. There is a reason for wearing white gloves at quilt shows. Judy in NJ judygrow blast.net Date: Sun, 5 Jan 97 08:17:50 -0900 Subject: QHL: Re:pre-washing Content-Type: text/plain; charset=”US-ASCII” > Before I sign off, I would like to find out if everyone pre-wash their fabrics, before making a quilt? For those who pre-wash, how do you do it? With cold or hot water, in detergent or salt & vinegar, by hand or machine, etc, etc? And what are your personal reasons & opinions for pre-washing the fabrics? I pre-wash everything; fabrics before quilting and new clothes before wearing. I do it to remove any residual chemicals before I handle the fabric, as I am sensitive to them. But I also figure if there will be a problem with washing a fabric, better find out before I use it! So I wash them same as everything else, mild (unscented) detergent and warm water. I also wash finished quilts when done. Partly to remove any dirt or oils that could adversely affect it and partly to be sure it will survive washing before going to a new home. (Which they all will, sooner or later, except those I wear out!) Abby Fuller nickf xyz.net Date: Mon, 6 Jan 1997 02:34:55 +0000 From: “Hester Butler-Ehle” Subject: QHL: Introduction I’ve been feeling a bit guilty, having been on the list for a few weeks without introducing myself, but now that the holiday rush is over, I can do so. I have really enjoyed reading this list–I’m one of those who has at least as many history books as how-to-do-it books in my quilt book collection, and probably more. I especially like the different state quilt project books–it’s fascinating to see the regional differences, as well as the different ways the projects have been run. Also, since I prefer to make traditional quilts, these books provide endless inspiration! There isn’t really a quilting history in my family; my grandmother made one top (from scraps of fabric from clothing she had made–my mom can look at it and identify the dress or housecoat that each came from) in the late forties or early fifties, but had it quilted by someone else. Until last year I thought that was the only family quilt, but then my mom found an old Ducks Foot in the Mud that my grandmother had had. Unfortunately she has no idea who made it, as my grandmother and her youngest sister (my great aunt) were the only seamstresses in the family. We looked at it and the fabrics used seem most likely to have come from the first quarter of this century, but that’s all we have been able to figure out. It certainly gave me new motivation to make sure I sign _all_ my quilts! Looking forward to “meeting” you all, Hester hjbe portup.com Date: Sun, 5 Jan 1997 15:57:14 -0500 From: Baglady111 aol.com To: Subject: Re: QHL: Reading list ideas What a wonderful idea..and I too am very lucky to be in Pittsburgh, the home ANDREW CARNEGIE..RING A BELL?? I myself will check to see if they can acquire any that peek my interest. And sometimes they ask for suggestions as to what to order..and you are welcome to borrow NE/TX..Jane Date: Sun, 5 Jan 1997 16:58:58 -0500 From: AJSNGS aol.com To: Subject: Re: QHL: Reading list ideas Hiya Jane, We watched part of the Steelers game….weird weather huh? This book list thing could get confusing but it still will be fun. Kris said she would like to borrow “Soft Covers…” after me, so would you like me to send it on to her when I’m finished, or do you want it back first? Stupid question, I know, but it’s your book so I feel that I should ask it anyway. And put me in line for the Oregon Trail…. Nancy in VA (where going back to work tomorrow is really getting in the way of doing all the stuff I really need to be doing–like reading your book, and buying quilting stuff, etc.!! (smile). Date: Mon, 6 Jan 97 14:34:24 PST From: Geolink P/L Subject: QHL: My Intro and Books. Good-day there – I am Leanne from Darwin, Northern Territory, Australia and am thoroughly enjoying the few weeks that I have been on this list. I have only been quilting for 4 years but have spent lots of time while the children are little doing quilts (large and small) and am addicted to quilting!! I am starting to collect the history-of-quilting books now after having bought many how-to-do-quilting books. I have 5 for the list of books: - Treasures in the Trunk – quilts of the Oregon Trail. - Old Patchwork Quilts and the Women Who Made Them. - Signs and Symbols – African images in African-American Quilts. - Pieces of an American Quilt – behind the scenes of the movie “How to make an Amercan quilt”. - Amish Women – lives and stories. All the best for 1997 everyone and happy quilting!! From Leanne McGill. Leanne McGill and John Humphries : Say G’Day Geolink P/L, ACN 009 640 215 : and PO Box 886, Palmerston, NT, AUSTRALIA 0831: Smile! geolink ozemail.com.au : * * Date: Thu, 02 Jan 1997 12:19:51 -0800 Subject: QHL: Re: QHL-Digest Digest V96 #30 Someone said:(I was too ambitious with my editing): > > I have one more comment about storing quilts. I said borax would ward off silverfish but in the years I have dealt with quilts I have found the worst > damage from mice, especially in quilts stored in the attic. > > I wonder what is the best way to discourage them. I have read that mice do not like newspapers and if there were a layer of newspaper around what you stored they would leave it alone. Again have a couple of layers of cotton or something nonacid between the quilts and the newspapers. Does anyone know if > this works or what does work? moth balls? they cause such a bad odor? ??? So many things to consider, maybe a safe would be better. 😉 Ah better yet have them out where all can see, use and enjoy. 🙂 I have been told that mice do not like hte scent of citrus. Infact I planted orange-mint around my sheds to discourage the mice from inhabiting them. (The mint died in the shade of the sheds; the mice thrive inside the sheds). Still, I would consider mixing lemon/orange scented herbs to discourage mice before I would use newspaper or mothballs. The mice we have love to nest in paper (and insulation, and potting soil, and tractor engines…). Date: Mon, 6 Jan 1997 07:37:41 +0000 To: Subject: QHL: circa 1930s quotes I enjoy going to yard sales and flea markets, always hoping to find something interesting. Last night I was looking through a box of miscellaneous quilting papers I had been fortunate to find – the kind of stuff that usually gets thrown out because it appears useless. But, when not thrown out, the owner says it is really valuable because it is “old.” This was just things torn out of magazines, sketches made by people, etc. – the kind of stuff I save and have piles of, but is the closest I have come to finding personal journals and the like. The few things with dates say 1932 to 1937. Several sheets of notebook paper have Alice Brooks newspaper patterns glued to them – the pictures for ordering, not the entire patterns. On the back of one of the pages, someone had typed the following paragraphs. By the way they are written, I am guessing someone found this written somewhere, liked it, and wanted a copy – not unlike what we do today, only we have easier means at hand. I found what she said very interesting and hope some of you do too. Sorry, but it is fairly long. I don’t know the original source for the quote, but feel it has to be from the 1930s or earlier. Anyone recognize it? Enjoy — She made a patchwork pattern of pointed oblongs clear red on white; she set the bright peaks around square beyond square in ranges that keep the eye climbing upward. She named it the Delectable Mountainss, and it is an outburst of joy. Only the guilt itself can give its effect. At the sight every face brightens. How can mere pieces of cloth sewed together have this power to lift the human spirit. No one can explain this; it is the mystery of art. This mysterious power will chill you when you see these same pointed oblongs set in a distrubing pattern of dark colors; they convey a feeling of fearful uncertainty even before you know the pattern’s name: Kansas Trouble. It speaks of those years of raids burnings murder and massacre in Bloody Kansas before John Brown came out of them to raid Harpers Ferry and kindle war’s atrocities from Canada to Mexico. Then look at these two patterns. Lincoln’s Platform and Little Giant. When the self-taught backwoodsman, rawboned Abraham Lincoln, met Stephen Douglas, the cultured gentleman, in the debates that still are brilliant expositions of American political philosophy their ardent partisans made these patchwork patterns. Lincoln’s Platform is study, four square, crudely candid; the Little Giant, firmly decisive, is elegant and subtle. Both are honest; the lines in both are straight and in Little Giant the straight lines frame the firm center in what seems to be gentle curves. Patchwork triangles never have been used more skillfully. The uses of triangles are inexhaustible though. Simply following each other in rows they have such life and movement that on the Atlantic coast they are named Ocean Waves while beyond the mountains the inland women call the Birds in Air or Wild Goos Chase. Set triangles into triangles in widening rows, apply a bias strip or bit of tape for a handle, and you have Flower Basket, a modern design two centuries old. Triangles set into triangles in colored circles blazing out from a round center make Rising Sun, or the wetern desert’s Blazing Sun, or, when the circles split and the colored run to brilliant points, the Star of Bethlehem or the Lone Star of Texas. Square bits of cloth, cut across into triangles, oblongs, diamonds; with these simple forms and scraps saved in the rag bag thousands of unkown women have expressed their tastes, interests, emotions, beliefs, hopes, and fears; they created a folk art and it becomes a record of American life & American history. Only listen to the names of some of the patterns – Coronation, King’s Crown, Brunswick Star, Bear’s Paw, Tomahawk, Log Cabin, Pine Tree, Birds in the Window, Union Star, Potomac Pride, Washington’s Quilt, Martha Washington’s Flower Garden, Dolly Madison’a Star, Mountain Pink, Lemon Star, 54-50 or Fight, Oregon Trail, Kansas Trouble, Kansas Sunflower, Lone Star of Texas, Calaifornia Star, California Poppy. Only a few and how much they mean. Let us treasure as part of American culture the infinite variety of old patchwork patterns that record their gallant lives, and honor as culture bearers the thousands of housekeeping women who created and enriched this heritage that is ours to carry on and leave, enriched, to our grandchildren’s grandchildren. Hi, it’s me again – hope some of you liked it too. What I liked is that this wasn’t someone in 1980s or 1990s writing about how the women felt in 1930s, but was their writing instead. Barb in southeastern PA Date: Mon, 6 Jan 1997 08:49:15 -0500 From: Baglady111 aol.com To: qhl cuenet.com Subject: QHL: lending library I have the info on the FEEDSACK BOOK for our list. TEXTILE BAGS (The Feeding & clothing of America) Identification & Value Guide. it ANNA LUE COOK . Date: Mon, 6 Jan 1997 08:56:07 -0500 From: Baglady111 aol.com To: qhl cuenet.com Subject: QHL: library sorry, hit the wrong button again.. ANNA LUE COOK 7892 Cross Pike DR, Germantown, TN 38138 it sells for $12.95 + $1.00 p&h..total 13.00. she will autograph on request..I spoke with Anna last night and she is setting aside 3 books to lend..if you feel you want to own one for your collection contact her for buying it or having her send you a NEW one if you have rec’vd a used one..right now they will be brand new. This is an excellent book, in black and white, prices ACCORDING to dealers so they are higher than what you would pay at auctions/yd sales..but there are pictures so that you will recognize many of them, and history as well..No matter how many I carry to my lectures, I sell out..Jane Date: Mon, 6 Jan 1997 09:58:47 -0500 (EST) From: aardvark ime.net (A.A. Harkavy) To: Subject: QHL: Prewashing fabrics Abby Fuller asked why subscribers prewash fabrics and how. I’m really opinionated on this subject, so I’m going to risk boring some of you to tears. - I _hate_ unpleasant surprises. I want prewashing to be the worst thing the fabric will have to endure. - Fabric as purchased often has residues of detergents used to remove excess dye (it often smells like Synthrapol), sizing to make it feel stiffer, etc. I don’t want this stuff in fabric I store, and I don’t want in my sewing area any fumes from chemicals on unwashed fabric. - All fabric may not shrink in the same proportions, if it shrinks at all. Prewashing assures that everything I put into a quilt is in about the same condition from the get-go. Here’s what I do: - Contrary to popular advice, I wash all fabrics in _hot_ water on the theory that if I give away or sell the quilt this may happen. Since I was quilts (even antiques) in hot water and use only cotton batts, this works fine for me. - Unscented, uncolored liquid detergent’s my stuff of choice. Orvus quilt soap is simply concentrated detergent (sodium lauryl sulfate). If you use _that_, then dilute the paste in a cup of water before adding to washer. Orvus quilt soap is expensive unless you buy it (as Orvus horse soap) by the tub at a feed or ag supply store. - After a 12-minute wash cycle on _hot_, I use a cold rinse. After wash/rinse cycle is complete, fabric still may smell like industrial-strength detergent (such as Synthrapol). Whether or not it does, the fabric gets a _second_ rinse cycle in cold water. Then I dry on cotton setting, which is _higher heat_. Note: never have I lost the metallic stuff on a metallic fabric, and I have had absolutely no disasters using this treatment. Note: Wash lights and darks separately. Pretest dark fabrics by placing a corner in a white bowl of hot water. Just because water colors, it does not mean that the color will be deposited on other fabrics. In fact, it usually will not be. But you can’t be sure … so when prewashing, make sure darks and lights are nto washed together! Addy aardvark ime.net Date: Mon, 6 Jan 97 10:42:10 PST From: Sharon Harleman Tandy To: “A.A. Harkavy” Subject: RE: QHL: Prewashing fabrics Addy makes an excellent point about the chemicals in unwashed fabric. My best friend worked in a fabric store for several years and like many of us had many allergies. Every Wednesday at work she would lose her voice, be completely hoarse, had difficulty breatheing and nearly lost consciousness more than once. The manager discovered this all happened within 30 seconds of the new bolts being unwrapped after a delivery! I don’t know what it is used for but there’s formaldehyde in new fabrics. (So my friend stayed in the office during unloading and unwrapping and worked on the books.) Apparently it is also in new carpets and guess what her husband did for a living? Right, carpet layer. Any fabric I bring home goes to the laundry before it goes to the sewing room as I also have too many allergies to encourage a really dangerous one like that. Sharon in sunny, blue-skyed Boise. Date: Mon, 6 Jan 1997 13:48:34 -0500 From: Baglady111 aol.com To: qhl cuenet.com Subject: QHL: Fwd: Posted on Gardening Chat Board In a message dated 97-01-06 09:33:41 EST, JackJumpUp writes: << Subj: Posted on Gardening Chat Board Date: 97-01-06 09:33:41 EST From: JackJumpUp To: Baglady111 Subj: Re:herb repellent/Baglady111 Date: 97-01-06 09:28:24 EST From: JackJumpUp Baglady111 writes >>We are a group of quilters with a net forum dedicated to the research and care of antique quilts..the preservation of our textile history. Peopple think moths attack quilts (which are in most cases total cotton) when in actuallity we are given to understand that silverfish can be a serious problem. Years ago a friend (herbalist) concocted a repellent using herbs that worked like a charm. I have no idea what was in it..so we are looking for that answer as well as any other herbs that would protect stored quilts, other antique fabrics as well..<< ``` Baglady/Jane posted another request that was more specific to silverfish, but I found this one first. I don't ever recall seeing an herbal reference specifically mentioning silverfish, but herbs were historically used with fabrics for their ability to repel moths (as well as other insects), and some were added simply for fragrance. I've been reading a 'new' book (this was a Christmas gift), and was just reading about 'Sweet Bags and Fragrancies.' I thought some of you might be interested, so I'll post it a short excerpt. This is from Magic Gardens, by Roberta Clarkson, The Macmillan Co., 1939. ``` ` Note: Roberta Clarkson is quoting from an 1864 issue of ‘Godey’s Lady’s Book.’ These were directions for perfuming clothes: ” ‘Cloves, in coarse powder, one ounce; cassia, one ounce; lavender flowers, one ounce; lemon peel, one ounce. Mix and put them into little bags, and place them where the clothes are kept, or wrap the clothes round them. They will keep off insects.’ [Roberta Clarkson]… “Besides filling bags and pads with spices and herbs, the crushed herbs mixed with freshly crushed cloves may be scattered among clothes…Laying in the dried tops of some herbs is also effective, the tips of santolina (lavender cotton), rosemary, southernwood, yellow melilot (sweet clover), thyme, wormwood, mint, tansy, lavender, also flower heads of the lavender, and dried and sliced roots of valerian and sweet flag. Choose what combination you will and mix about two tablespoonfuls of crushed spices to a scant pound of herbs. Southernwood used to be so universally used in France that it was called ‘Garde robe,’ its modern name ‘citronelle’ coming from the distinct odor of lemon which it has.” ``` Jane~ there were other herbs used like sweet woodruff, Florentine iris root (more commonly called orris root), etc. I'd like to suggest a trip to the library. Several of my older herb books (and a few new ones) list several other herbs and recipes. You might also contact something like a textile museum or Sturbridge Village, Colonial Williamsburg, etc. There's a lot of information available, but hopefully this will get you started. ~JJUp P.S. If you learn about something that works with silverfish, please let us know. :-) >> --------------------- Forwarded message: Subj: Posted on Gardening Chat Board Date: 97-01-06 09:33:41 EST From: JackJumpUp To: Baglady111 Subj: Re:herb repellent/Baglady111 Date: 97-01-06 09:28:24 EST From: JackJumpUp Baglady111 writes >>We are a group of quilters with a net forum dedicated to the research and care of antique quilts..the preservation of our textile history. Peopple think moths attack quilts (which are in most cases total cotton) when in actuallity we are given to understand that silverfish can be a serious problem. Years ago a friend (herbalist) concocted a repellent using herbs that worked like a charm. I have no idea what was in it..so we are looking for that answer as well as any other herbs that would protect stored quilts, other antique fabrics as well.. --- --- title: "January 2, 1997 – January 4, 1997" url: "https://quilthistory.com/97001-2/" lang: "en-US" type: "post" description: "Primary topics of this QHL Digest: Comparative quilt history: US vs. Australia — a substantial discussion on why American quilting traditions (Amish quilts, church-based skill-sharing) didn't take the same shape in Australia, tying it to settlement timing, economic policy, and" last_modified: "2026-07-27T14:07:07+00:00" categories: [Quilt History List Archive] tags: [Fabric Identification, Quilt Dating, Quilt History Resources, Regional Quilt History, Restoration & Conservation] custom_fields: iawp_total_views: 1 --- # January 2, 1997 – January 4, 1997 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) 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:** - **Comparative quilt history: US vs. Australia** — a substantial discussion on why American quilting traditions (Amish quilts, church-based skill-sharing) didn’t take the same shape in Australia, tying it to settlement timing, economic policy, and social structures. - **DAR Museum program schedule** — a detailed January–March lineup of quilt exhibits, lectures, textile ID clinics, and workshops in Washington, DC. - **Quilt storage and pest prevention** — cedar chest acidity concerns, herbal repellents (pennyroyal, wormwood, artemisia), and safe storage methods (muslin bags, avoiding plastic and unfinished wood). - **Feedsack sample exchange** — an ongoing offer to mail feedsack fabric samples to interested members for identification purposes. - **Political campaign quilt patterns** — identifying the “Giddap” donkey and “Ararat” elephant patterns from the Kansas City Star pattern series, tied to 1930s election-era quiltmaking. - **Book recommendations and reviews** — several state and regional quilt history titles, plus an emotional review of a biography centered on a 19th-century quiltmaker’s life. - **Quilt provenance and maker research** — members sharing stories of owning multiple quilts by the same maker, and how tracking down that history can happen by chance. - **Technical textile dating methods** — a discussion of thread counts, ply, and other measurable fabric characteristics used to date and authenticate textiles, plus a question about identifying old vs. new rayon. - **Fabric pre-washing practices** — members debating methods and reasoning for pre-washing quilting fabric before use. Date: Thu, 2 Jan 1997 11:33:07 +0800 From: Susan Nixon Bev, I was interested in the things you had to say about Australian history. I think the difference may lie in the kinds of settlements and the places being settled. The earliest settlers came to the US because they wanted to. When they got here, things were rough, but this was a rich land – rich in food, minerals, furs, lucky in weather. I think your early settlers, though 100 years or more later than ours, faced much worse problems. Jamestown, Virginia, was settled in 1620, and many of the earliest settlers died, but more kept coming. There are virtually no quilts from that time, for the same reason as Australia. Any there were got used right up. There are more from the 1700s. By Revolutionary days, around the last quarter of the 1700s, life was not so harsh on the seaboard. Big cities had risen, like New York and Boston. Not big like London, but big enough to provide a lot of the things besides necessities. In the south, there were slaves to do the worst of the farm work and white women of means had plenty of time for quilting. Some of their house slaves also quilted. For a long time, northern quilts were pieced from smaller scraps and bed linens, and southern quilts were more likely to be appliqued because the white women had more time there. As industrialists developed in the north, and a wealthier class grew there, in the 1800s, women there also began to do applique. Throughout the 1800s, quilts of all kinds were made. Lots of them were used up, but there were more leisure class women, even in these “pioneer” days. Many of the quilts hanging in museums from this time period are not from the pioneer states, or if they are, were made back east or in California, before pioneer treks began. Our country was developed in stages, pretty much east to west, though California was earlier than the rest of the west because of Spanish exploration and shipping around South America. One generation would move to the frontier and settle it, the next would move on again. I don’t think Australia was settled in quite that “orderly” a fashion, so Australian pioneers had no time to stop and catch their breath, or to develop the kind of leisure society we did. There’s not a doubt in my mind that Australian pioneers had a tougher time of it than ours did. Because of the vast farm lands, good weather, and rainy seasons, our pioneers seldom went hungry, even if they didn’t have money. It sounds as though yours did. I think a lot of our pioneers knew what to do, as well. As I understand it, a lot of convicts were political prisoners, as well as criminals. Neither knew how to be farmers, did they? I think that probably kept things from starting off with quite as big a bang as they might have. I had a quilting pen pal in Australia about 15-16 years ago. From all that I’m hearing now, things are a lot easier for quilters these days than they were then. Thanks again for posting about Australia’s pioneer times. I enjoyed reading it. Susan in Sunny Phoenix, Arizona, USA —————————— Date: Wed, 1 Jan 97 22:36:02 EST From: “Bob Mills” To: Jan – The DAR has quilts in their museum, which I assume is open normal nuseum type hours. There also are a few quilts in some of their Period Rooms, which are rooms named for a state and set up as a room of a house typical of that state. I don’t know if you must make special arrangements for these rooms or not, but it might be worth a phone call at (202) 879-3241. I think our docent said we would be seeing about 20 – 25 quilts in the museum and period rooms. These quilts were really nice, also, and worth a visit I think. Hope this helps. Barb in southeastern PA —————————— Date: Wed, 1 Jan 1997 23:14:07 -0500 From: Baglady111 aol.com Ann, I have put a mesg on the board at a garden site on the net..they are to email me or QHL..we’ll see if we can find out about the herb repellent..and the boric acid is a fine idea..had forgotten that..Jane ———————————————————— Date: Thu, 2 Jan 1997 06:50:25 -0500 From: Baglady111 aol.com I would like to add to books for fascinating reading from my small collection: [](https://web.archive.org/web/20001122022200/http://www.amazon.com/exec/obidos/ASIN/1558532374/quiltweb/102-0379779-3150460)TREASURES in the TRUNK by Mary Bywater Cross. Quilts of the Oregon Trail Rutledge Hill Pr [](https://web.archive.org/web/20001122022200/http://www.amazon.com/exec/obidos/ASIN/0844226513/quiltweb/102-0379779-3150460)TO LOVE & TO CHERISH, Brides Remembered by Linda Otto Lipsett (she wrote REMEMBER ME, already listed) [](https://web.archive.org/web/20001122022200/http://www.amazon.com/exec/obidos/ASIN/1558532366/quiltweb/102-0379779-3150460)LEGACY The Story of Talula Gilbert Bottoms and Her Quilts by Nancillu B.Burdick (her g.daughter) [](https://web.archive.org/web/20001122022200/http://www.amazon.com/exec/obidos/ASIN/0292746717/quiltweb/102-0379779-3150460)Texas has LONE STARS a legacy of Texas Quilts, 1836-1936, by Karoline Patterson Bresenhan and Nancy O’Bryant Puentes [](https://web.archive.org/web/20001122022200/http://www.amazon.com/exec/obidos/ASIN/0803263465/quiltweb/102-0379779-3150460)also Nebraska has NEBRASKA QUILTS & QUILTMAKERS by Pat Cox Crews & Ronald Naugle —————————— Date: Fri, 3 Jan 1997 00:07:04 +1100 (EST) From: Li Joo Ng Think about this for a moment. Anything that has more than one layer and is rolled, even over a large diameter roller will make the inside layer and outside layer roll up slightly differently yes? so rolling quilts is not my favorite idea. Also rolling is a more difficult task than folding. It takes several people to roll and put paper in layers and is really unweldy if you need to see the quilt quite often. Folding into as large a piece as possible allows easier access with less problems. Storing a quilt flat on a supported tray is the best but none of us can do that with out many dollars. I have done quite a bit of mounting of coverlets and developed mounts for quilts which need to be exhibited. But we all know that I am a radical and wait five minutes and everything will change. —————————— Date: 02 Jan 97 09:36:06 EST From: Rabbit Goody Dont store quilts in the attic is the best and easiest solution. Newspaper is not a great idea even removed from a quilt because of the acidity. Store things where there arent many mice life house closets where things get opened and viewd more often. Mice will nest in anything that appeals to them and a place where things are disturbed on a regular basis is probably also better climate controled Rabbit —————————— Date: 02 Jan 97 09:36:05 EST From: Rabbit Goody <75444.1037 CompuServe.COM> Fiberglass screening of today is completely different from fiberglass drapery fabric of the 1950’s and 1960’s It is interesting that while you accept the technology of the computer some of us are unwilling to look at how the textile industry has made changes over time for the better. Not that every change is but look at Nitrocellulose rayon and todays rayon . the fiberglass screen for vacummin is really ok around textiles it is not spun fiberglass but drawn fiberglass Rabbit —————————— Date: 02 Jan 97 09:36:03 EST From: Rabbit Goody <75444.1037 CompuServe.COM> To: “INTERNET: ” < > Subject: QHL: Re: End and PIck counts Message-ID: <970102143603_75444.1037_FHQ37-3 CompuServe.COM> When we look at cloth we look at the yarns that were used in weaving in the warp and in the filling. We want to know how many plies there are in the yarn ie singles, 2 ply, 3 ply etc. We also want to know how dense the fabric is. how many warp threads are in one inch called ends and how many filling threads are in an inch called picks and then whether that varies throughout the piece or is consistant. You see, when someone says it is hand made or machine made or home spun or what ever we have real definate ways of figuring that out so that we can say yes or no. We also can compare cloth woven at certain times and in certain places. We also look at fiber content with the microscope and surface decoration such as different printing techniques we know when certain technologies are available and certain dyes so when we date things we have a real basis to do it. Rabbit —————————— Date: Thu, 2 Jan 1997 12:09:49 -0500 From: Baglady111 aol.com If there is anyway Merikay can help you, she will. I’d be happy to send you a photo..keep reminding me..I mean well, then I get busy..I’m not sure if my Polaroid will pick up that petal or not..might be better to use 35mm..dont’ hesitate in reminding me..Jane —————————— Date: Thu, 2 Jan 1997 15:39:17 -0500 From: SadieRose aol.com Just received the Spring Program flyer from the DAR Museum. It all sounds wonderful, which is very depressing as I am half way across the country from there! So, if some of you closer by are able to attend these events, please post and share with those of us who can’t!! Date and time as given in brochure, fee noted where given, resv req means you must call ahead and reserve a spot. Current Exhibit: Bound For the West: Women and Their Families on the Western Trails January 2nd (yes, today and we have already missed it….boo hoo) Winter Whites A special quilt study tour of apprx. 25 all white quilts and embroidered bed coverings. 26th 1:30 pm Women’s Triumphs and Travails on the Oregon Trails (free; resv req) Jeanne Watson, scholar of the Westward movement, author and editor of “To The Land of Gold and Wickedness- the 1848-1859 Diary of Lorena L. Hays” will give a lecture on the experiences of women going West. 29th 12 noon Gallery Talk Curator’s tour of the Bound for the West exhibit with q&a 29th 1-2:30 pm Textile ID Clinic ($10 per item, resv req) Bring in a quilt, coverlet or other pre-20th century textile item for identification February 6th 10:30 Quilt Study $15 resv req (no special theme given) 23rd 1:30-3:30pm Inspiration from 19th Century Brides $15, 2nd person $10 resv req Slide lecture and workshop by Alden O’Brien, curator of costumes, on the evolution of 19th century wedding apparel. Also an up-close look at wedding items from the DAR collection. 25th 10:30- 12 noon A DAR Museum Sampler: Schoolgirl Samplers & Silk Embroideries from the Collection $15 resv req View selected 18th and 19th century needleworks with Olive Graffam, curator of collections, preview to an exhibit opening in Dec. 1997 26th Gallery Tour and Textile ID, see Jan 29 listing for info March 2nd 1:30-3:00pm Treasures in the Trunk: Quilts of Westward Bound Women (free, resv req) Lecture by Mary Bywater Cross, discussing quilts from her book (of the amse title) which are included in the DAR exhibit “Bound for the West”. Book signing, following lecture. 16th 2-4pm Quilts of Provence (free, resv req) Kathryn Berenson, author of a new book titled “Quilts of Provende” will discuss French needlework, and how it influenced European and American quilting traditions. Book signing following lecture. 26th Gallery Tour and Textile ID (see Jan 29 for info) There were also some programs listed for children, which I have not described here. To make reservations (or maybe to request your own copy of the brochure) call: 202-879-3241 —————————— Date: Thu, 2 Jan 97 14:09:30 PST From: Sharon Harleman Tandy > ——————— Forwarded message: Subj: Re: Herbal pest repellants Date: 97-01-02 15:07:37 EST From: LMorgan923 To: Baglady111 Thyme is a good basic herbal pest repellant. It contains thymol, which is one of the classic ingredients in repellants. If you can possibly get your hands on back copies of “The Herb Companion” (a great magazine, by the way), they’ve done a couple of articles on herbal repellants over the last three or four years. If you can’t get them, e-mail me, and I’ll go back through my copies and see if I can find something to copy and send to you. Lee —————————— Date: Thu, 02 Jan 1997 18:41:59 EST From: woodnspl rma.edu Li Joo. I have two quilts by same person that I bought at auction. They were both the pattern call Philadelphia Pavement. One was larger and the other somewhat smaller with brighter colors. One was dated 1929 and a name signed. I don’t remember the name at the moment but it is written down. Funny thing happened. I took these quilts to a groups’ quilt retreat when one of the women at the retreat recognized the name. They had been made in West Virginia and I now also have the name of the town. The maker had been a beautician and had taught the woman’s mother to quilt. Sometimes its a small world. I am an antique dealer and I had intended to sell the quilts but because I paid too much I still have them and I really am glad. Funny thing I never did make money on quilts because I bought with my heart instead of my head. Ann in Virginia woodnspl rma.edu —————————— Date: Thu, 2 Jan 1997 18:10:04 -0700 From: ayjones tacoma.nwrain.net (Yvonne Jones)Yes, Yvonne did write: they did not have anything you could purchase in the gift shop with pictures. But the subject was about the Chintz and Calico quilts owned by Patricia S. Smith, and I wanted to have pictures of them. There were no pictures for sale of the quilts shown in this collection. But Yes! the Renwick has a lovely gift shop with many quilt books, and quilt related items. One of my favorite books is The Knopf Collectors’ Guides to American Antiques, QUILTS With Coverlets, Rugs & Samplers.Copywright 1982..I tell you the date because some could consider the price guide to be “off”, but the pictures are great.The price on this paperback book is very reasonable at $13.95  In this book they show a Donkey Quilt (didn’t someone just ask about a donkey quilt?)This is what it says: Although many collcetors consider quils made from kits less interesting or imaginative than those with original desigs, many women created unique pieces by making changes in the pattern or by adding some touch of their own. The donkeys in the example illustrated–possibly made in an election year by a product of a kit, Ect. Ect.Dated 1930 Price range $1500 to 1800. Yvonne —————————— Date: Thu, 2 Jan 1997 23:40:42 -0500 There is an herb repellent that works great for keeping bugs off of quilts. It is called Artemisia. Place it in a cloth sack and keep it with your quilts. However, along with this, the best way to keep rodents, bugs, etc away from your quilts is keep them in an area where they can be inspected frequently. Rodent damage occurs when the little guy wants to make a nest. They tend to make nests in dark areas where there is little to disturb them, like an unused basement or attic. Try keeping the quilts inside a pillowcase, and in an inside cupboard where they can be rotated. Keep your herb sack in there as well. Inspect no less frequently than every other month while you re-fold. (I know that rolling is better, but I don’t have the room.) I have kept quilts this way for years and years, and not had any damage, (yet). It works for me! Also, inspect your quilts well when you buy them. Some of them come in with bugs already. This will pass the little critters on to the others in your collection. Look for small egg sacs or worse yet empty egg sacs along folds and under the binding edge. Be careful where you buy your quilts, they may look like a great deal in the bottom of that old cardboard box at the garage sale, but beware! something could have been sharing the box with that quilt for awhile. Look for signs of bugs before you buy. Again Artemisia (the herb) is a wonderful bug repellent. Debbie —————————— Date: Fri, 3 Jan 1997 08:59:33 -0500 From: SadieRose aol.com To: Subject: QHL: Re: Donkey Quilt A quick scroll through my Incoming Mail file did not identify a message about the donkey quilt blocks….but I know I read someone’s post about them. Found a picture of a Donkey quilt in “Twentieth Century Quilts 1900-1950” by Thomas K. Woodward and Blanch Greenstein, (copyright 1988), pg. 100. Next to it is an elephant quilt, both are pieced with 6 blocks in each quilt. Here is the text below the photos: ” “Donkey” and “Elephant” Leavenworth, KS 1931, 1932. Made by Mrs. Jameson, the Kansas Cirty Star, a popular pattern source for midwestern quilters, published these patterns: Giddap, the Donkey, and Ararat, the Elephant. SInce the maker was a Democrat, it is said that she made Giddap slightly larger than Ararat, which she made for her Republican husband.” On page 101, there is an applique quilt with a donkey motif. The text about this quilt states: “FDR’s Election” 1936. In honor of FDR’s landslide victory against Al Landon, this quilt features the Democrat’s donkey…” (This quilt is from the collection of the FDR Library). “Twentieth Century Quilts” is a very interesting book, focusing on more recent quilt history…but as with much history…it needs to be recorded now, as by the time you realize you need some information…it will be too late to ask those who were living then. “The Great Quilt Revival” of the 20’s and 30’s is one of the chapters, and looking through the photos of quilts, it is easy to see the new directions that quiltmaking took during this time period. (Just as it will probably be said about the quilt revival we are taking part in today). Also, the change in the fabrics, from the sober “mourning prints” of the turn of the century, to the brighter florals we dub “’30’s prints” which now are being reproduced by companies such as Marcus Brothers. “Soft Covers for Hard Times” which was also recently mentioned, is another good book focusing on the century quilts. TTFN, Karan from Iowa where we are having a melt down —————————— Date: Fri, 3 Jan 1997 09:05:00 -0500 Ann in Virginia said: > I am an antique dealer and I had intended to sell the quilts but >because > I paid too much I still have them and I really am glad. Funny thing I never >did make money on quilts because I bought with my heart instead of my head. Funny you should mention that… I’ve often kicked myself after paying too much for a quilt, but then later I almost ALWAYS kick myself for selling it! 🙂 And on the topic of having 2 quilts by the same person (other than family) – several years ago I bought a pair of matching quilts from a dealer, who said they came from Lancaster County. They’re appliqued red & green Tulips on a muslin ground – four large blocks on each quilt. The interesting thing is, the appliques are pretty much identical, but the quilting is very different when you compare the two pieces. One is quilted much more heavily than the other, although the “other” one does copy the medallion-type quilting motif that’s in the empty spaces between blocks on the first one (does this make sense?). My guess is that both TOPS may were probably made by the same person, but the “other” one was quilted later by someone else. The one with the heavier quilting (which I usually refer to as the earlier quilt) has a few stains on it (not major), which to me adds to its “personality.” (Would I look that good if I were over 100 years old? I DON’T THINK SO!!) 🙂 Happy New Year, and happy hunting for that one perfect quilt….at the perfect price! Merry gridgees algorithms.com —————————— Date: Fri, 3 Jan 1997 09:10:14 -0500 From: Baglady111 aol.com DEBBIE, THANK YOU SO VERY MUCH..sound advise when buying and storing.I came across several addresses for herbs for anyone interested in checking to see if they carry anything such as the producet Debbie mentions..or you can go to “fin” and tyupe in GARDEN SPOT..LOADS of avenues to explore..thanx again, Debbie..Jane —————————— Date: Fri, 3 Jan 1997 09:12:38 -0500 From: Baglady111 aol.com I use a mixture of pennyroyal, wormwood and cedar shavings in my boxes of old books. Silverfish LOVE old books. I’m sure the mixture would repel moths also. What I’m NOT sure about is how you would protect the quilts from the repellant. I don’t think you’d want to just sprinkle it among the folds, but I know nothing about storing fine fabrics. Cedar shavings are available in small quantities from pet stores. Pennyroyal is Mentha pulegium, and wormwood can be any of a number of Artemesias with strongly scented foliage. Susan >> ——————— Forwarded message: Subj: herb repellant I use a mixture of pennyroyal, wormwood and cedar shavings in my boxes of old books. Silverfish LOVE old books. I’m sure the mixture would repel moths also. What I’m NOT sure about is how you would protect the quilts from the repellant. I don’t think you’d want to just sprinkle it among the folds, but I know nothing about storing fine fabrics. Cedar shavings are available in small quantities from pet stores. Pennyroyal is Mentha pulegium, and wormwood can be any of a number of Artemesias with strongly scented foliage. Susan —————————— Date: Fri, 3 Jan 1997 11:18:43 -0500 From: JQuilt aol.com Last night, I lay in my bed reading “Legacy, The Story of Talula Gilbert Bottoms and Her Quilts”…I finished it at 2:00 A.M… This morning, after a half hour reverie, about Talula’s life and quilts,… I just couldn’t bear to leave her life and enter mine… I went into the kitchen and turned on the coffee maker… then spent 10 minutes luxuriating under the stream of hot water from the shower head in my bath….I dressed…turned on the computer…went back to the kitchen and drank an aromatic cup of coffee(hazelnut) and thought some more about Talula. What had taken me 20 minutes, would have taken Talula the better part of an hour..Cranking up the fire in the stove…hauling the water from an outside well or pump…ginding coffee beans and then boiling the coffee, never mind cooking cereal of some kind….And as far as a hot luxurious shower…Talula didn’t have electricity or water indoors until the 1930s…She was married in 1883 …and had the first of her twelve children in 1886… This haunting book tells us the life and times of the small cotton farmer in Georgia and Alabama. What it was like to live in the wake of Sherman’s march..the devastation and starvation that occurred in the last days, and then in the aftermath of the Civil War… Talula lived a “God Centered”, patriachial life….Still, she was able to enjoy the separate economics or egg and chicken/duck money… which she used buy the cotton calico fabric..The only fabric that she did not pick, card, spin and weave into cloth. Talula was neither poor neither nor rich. She and her family always owned land (between 100 and 200 acres)..which they all worked together…..Most women of those times buried one or more of their children, alongside many other family members…..Death was not removed from daily living….People lived and died at home….Most women were married young and had children from the time they could until the time they couldn’t… Talula made 100s of quilts,none of them for a competiton or exhibit, some for church raffles ..The blocks sewn by hand ..the binding stitched on by machine….then turned and “sewn down” by hand. Quilting, was what allowed Talula to live through the small joys and great sorrows of her life. All High School students should read one history of any “times” by an historian… and one by a woman who lived through those same times… Borrow, take out on loan, or buy this book, and I think you, too, will find it as difficult as I did, to leave Talula and her families behind. Bye, Bye Talula..I’ll tell my granddaughter about you and pass your story on to her.. Jean Laino Jquilt aol.com P.S. The colored photos of some of her many quilts are both beautiful and inspiring.. —————————— Date: Fri, 3 Jan 1997 11:22:10 -0500 From: RBCochran aol.com Wanted to let everyone know that there is an excellent exhibition of approx 36 quilts from the Newark Museum’s collection. It’s on now through February 23, 1997. The museum hasn’t had an exhibit of their quilts in about 8 years, so it’s a long time between glimpses. In addition, several of the quilts (like the Emmeline Deane quilt, for instance) are in such fragile condition that they can’t be exhibited again. I’ve gone to the museum only once for a quick visit, but since it’s nearby I’m sure I’ll go again. Plus, a friend and fellow Garden State Quilters guild member is the quilt artist in residence for the month of January. If you’re planning a trip to the New York metropolitan area, a side trip to Newark would be worth it. Rachel in NJ —————————— Date: Fri, 3 Jan 1997 11:37:49 -0500 From: RFKerr aol.com In a message dated 97-01-02 21:44:37 EST, you write: << Does anyone own two quilts or more made by the same person? I am not referring to those that you have inherited, but rather, those that you purchased. It would be interesting to find out. >> I have two quilts made by Abelonia Klein in 1924 and 1927. One is a pink and white Hearts and Gizzards with exquisite quilting. The other is a beautiful Grandmother’s Flower Garden —– lots of period scraps with a peach scalloped border and again, perfect stitches. I purchased these in St Mary’s, Kansas a number of years ago from her neice who liked “diamonds on her fingers far better than old quilts” (her words, not mine). Mary Kerr Pieced of Olde —————————— Date: Fri, 3 Jan 1997 13:17:59 -0500 From: RLHlink3 aol.com To: Subject: Re: QHL: Re: QHL-Digest Digest V97 #1 Message-ID: <970103131757_577475861 emout07.mail.aol.com> Good advice! I had never thought of inspecting old quilts etc “brought in” for bugs, etc. The artemisia sounds like a good thing too. I can’t use moth balls because of extreme allergy to them, but also fell that they are not a safe thing to use anyway. Question for anyone: I have always kept by special textiles in a cedar chest, never even considering that contact with the wood might not be a good idea. After the conversations here, I am wondering about it. Should everything be wrapped? I keep a special baby outfit from each of my kiddos, quilts and etc in it. Probably need to be wrapped, huh? Thanks. Linda ———————————————————— Date: Sat, 4 Jan 1997 06:23:06 +0800 From: balfourk echidna.id.au (Kath Balfour) To: QHL cuenet.com Subject: QHL: Aussie Quilt History Message-Id: Content-Type: text/plain; charset=”us-ascii” I heard part of a broadcast by a Sydney social historian specialising in textiles on Radio National a few weeks ago (I wish I’d written down her name!). She was discussing how the development of textile technology can explain quite a lot about the history of any society. She commented, ‘People ask, for example, why are there no Amish quilts in Australia. The answer is simple: there were no Amish.’ She went on to explain that it was all a matter of which skills were imported and by whom. The 17th and 18th century American settlers brought agrarian skills which included weaving and sewing. The people who settled the Australian colonies much later, in the 19th century, were predominantly urban dwellers who did not need these skills. I hadn’t heard that explanation before, but it does fit in with economic & social explanations I have heard, such as 1) By the mid-19th century, America already had a flourishing completely home-grown textile industry complete with slaves, cotton gin, weaving mills, sewing machines, railroads. Australia was just being settled. 2) The US had a free enterprise system with a textile and steel manufacturing base using internal natural resources. Australia’s colonial policy was not to develop local industry, but to sell raw materials to Britain to support british manufacture. It took a long time for anything to get here, and money was scarce. 3) In the US the local church was the social centre — they held communities together and were numerous and diverse. Quilting skills were shared amongst women and passed on to girls through this conduit. Australia was largely secular and this method for socialising was not developed. Was there a textile industry, who made the textiles and what did they make also raises other questions. Were those American and immigrant girls and women ‘sweating’ in the textile mills making quilts? Or was quilt making an agrarian, or homesteaders enterprise? What about the ‘genteel’ Australian settler and her needlework skills? Anyway — the history of women and women’s endeavours has been too long overlooked, and I love discussions like this! Happy new year. Cheers, Kath Balfour Yesteryear Quilts 37 Gibson St Hilton WA 6163 AUSTRALIA phone +619-335-6401; fax +619-336-4230 e-mail: balfourk echidna.id.au —————————— Date: Fri, 3 Jan 1997 17:31:07 -0500 From: Baglady111 aol.com To: Subject: Re: QHL: Fwd: herb repellant Message-ID: <970103172204_1123081898 emout05.mail.aol.com> My guess, Susan is a cloth bag of some kind to house the herbs. If I recall, my friend made one and then put the bag in the storage box she used..I’m sure that NOTHING is safe enough to actually come in contact with the fabric..or even if it was..why take the chance..Thank you so much for your info..Jane ———————————————————— Date: Fri, 3 Jan 1997 18:09:07 -0500 From: Baglady111 aol.comWHAT A MAGNIFICENT REVIEW..As soon as I finish my “treasures in the trunk”, I’m going to re=read Talula’s life again..Would you permit me to re-print your review in my newsletter for THE FEEDSACK CLUB members? They would LOVE IT!! JANE —————————— Date: Fri, 3 Jan 97 18:13:58 EST From: “Bob Mills” To: Subject: QHL: Re: QHL-Digest Digest V97 #1 Message-Id: RABBIT WRITES: look at how the textile industry has made changes over time for the better. Not that every change is but look at Nitrocellulose rayon and todays rayon. I’ll bite. I just read in ‘Clues in the Calico’ that rayon has been around for about 100 years-(which surprised me) but what are the differences? All I know is it still shrinks. How can I identify old rayon from new rayon? And thanks Jane for the book list. I’ll be busy tomorrow at the library’s reserve computer. Jan Drechsler in warm NJ where I just spent two hours outside in the glorious warm 60 degree sun ripping out a caned back and seated rocker to refinish and recane. —————————— Date: Fri, 3 Jan 1997 18:55:59 -0500 (EST) From: Quilting Heritage ListServ To: QHL cuenet.com Subject: Re: QHL: Quilt History book list Message-Id: <2.2.16.19970103185337.1d0f6520 mail.albany.net> Content-Type: text/plain; charset=”us-ascii” This sounds like a wonderful idea! A lending library! I wouldn’t mind lending mine, either, I will put together a list. Perhaps I could post a list a books the owners are willing to lend to the web page, along with a the E-mail address of the owner, and the lendee’s could contact the lendor’s directly. Does that sound good? We should probably come up with some shipping rules, too – reimbursing the lendor, insurance, etc. Kris —————————— Date: Fri, 3 Jan 1997 18:56:01 -0500 (EST) From: “Connie Pollard (614) 593-1920” This is my first post to this list. By way of introduction, my name is Connie Pollard, and I’ve been quilting for about six years. I have a historical background so this list has been quite stimulating for me. I’ve been wondering for some time if there was a more scholarly approach to quilts and quiltmaking than I see in the popular quilt magazines and I’m glad to have finally found it. I prefer traditional quilts but also appreciate modern art quilts. The reason I am posting is because I’m looking for a particular quilt/block design that I’ve not seen anywhere. I’m not sure if it is a block, or a large pieced medallion. It is called “Starkey Star”. Oral tradition has it that a woman in eastern Canada had such a quilt and that it was pieced in blue and white. Starkey is one of our family names (my paternal grandmother was Canadian) and I would love to make a quilt in this pattern for a favorite aunt who has done a great deal of genealogical research into this branch of our family. If this is too vague I can try to get more information from my aunt about this quilt. Thanks in advance for any help. Please post to me privately at cpollard1 ohiou.edu. —————————— Date: Fri, 3 Jan 1997 23:52:43 -0500 From: QuiltLine aol.com Linda, Although cedar is well known for it’s repellant properties, it is wood, and the acids in any type of wood after time will have a reaction with your textiles. What works well is using old pillow cases (100%cotton) as storage bags. You can put your textiles into the pillow case, and then put it into the chest, OR you can make storage bags of any size out of muslin, stitch up the sides and bottom, put a drawstring around the top if you like and voila – a bag. A small bag of this type can hold your herbs as well! The same thing goes for displaying quilts on a qulit rack or shelf. If you are not absolutely sure that the wooden item that the quilt (or other textile) is on, has been thoroughly coated with polyurethane, then protect the quilt from the wood by placing muslin or some safe barrier between the wood and the quilt. Debbie —————————— Date: Fri, 3 Jan 1997 23:44:31 -0500 (EST) From: “Carol L. O’Neill” To: John & Cinda Cawley Since seeing the 1830s quilt at the Renwick exhibit with Baptist Fan quilting, which surprised me, I’ve learned from a friend who docents at the DAR that they believe this quilting design was not used in the Carolinas until the late 1800s. … Neither of us can remember where that quilt came from. Anyone going to the exhibit before it closes next week (I think)? If so, could you get that info and send it to me? Thanks muchly! –Carol in VA (coneill capaccess.org) —————————— Date: Sat, 4 Jan 1997 00:53:08 -0500 (EST) From: Rob Holland (by way of “Kris Driessen, Hickory Hill Antique Quilts” ) To: QHL cuenet.com Subject: QHL: No Two Alike Telecast – Message-Id: <2.2.16.19970104005041.191f7500 mail.albany.net> Content-Type: text/plain; charset=”us-ascii” Watch for a TBS broacast on the “No Two Alike” quilt exhibit. It is on a program called “Interact America,” and will be broadcast tomorrow, January 4. Here in Atlanta it will be at 6:30 a.m., other times in other places, so check your listings. Happy New Year to everybody! Rob —————————— Date: Sat, 4 Jan 1997 01:31:05 -0500 From: RLHlink3 aol.com To: Subject: Re: QHL: storing textiles in cedar chest Message-ID: <970104013105_1123151864 emout03.mail.aol.com> Debbie, thank you for your good advice. I can see that I will be into bag making for awhile. —————————— Date: Sat, 4 Jan 1997 05:45:56 -0500 From: quiltmag mindspring.com (Jean Ann) To: I was recently one of many quilters featured in a National Public Radio interview. The program is called Quilts – Art with Heart. Two of my family intergenerational quilt stories were used on the program and i was one of four quilters who were given credit at the end of the program. If you can get your NPR schedule from the internet you can see when this program will be aired in your area. My two stories are: the family coming together on vacation to make a quilt in NC on vacation for my first grandchild who is now eight. My great-grandmother in Michigan making a quilt from the blue chambray shirts and pink pinafores that was finished for her youngest son to keep him warm over half a century later when he was dying of congestive heart failure. Pat Cox and Helen Kelly are also interviewed on the program. Pat tells a story of when her daughter was sick for two years and she gave up gardening to quilt, and Helen talks about teacher her daughter to quilt again after she lost her sight. There are many other wonderful stories. Jean Ann Eitel —————————— Date: Sat, 4 Jan 1997 23:00:37 +1100 (EST) From: Li Joo Ng LiJoo, you are most welcome.I learn alot to from the others..and now I have a request. I have a friend who told me his wife is the proud owner of two quilts when he saw my acid free quilt box and inquired as to ‘what is it?’ he said they store their quitls in off season in a plastic bag..I was appalled of course..I told him about plastic, etc. and he said, “well, it CAME in plastic!!” he was amazed at the info I offered him but felt he’d never remember all I told him..is there an printed page, leaflet, could anyone post something on our forum we would be able to zerox for people who inquiire about this? hand it to people who are amazed about this..as long as we aren’t mentioning any product by name, I can’;e see where we would be infringing..suggestions? offers?? Jane —————————— Date: Sat, 4 Jan 1997 07:26:52 -0500 From: Baglady111 aol.com To: QHL cuenet.com Subject: QHL: feedsack samples Message-ID: <970104072651_70553117 emout15.mail.aol.com> would all who have requested sample squares of feedsacks please post to me again with your names/addresses..painters came in yesterday and papers got tossed helter skelter.going by memory (ha!) I have DRECHSLER, KASAITIS.going out today..did I miss anyone? Jane —————————— Date: Sat, 4 Jan 1997 08:13:24 -0500 From: AJSNGS aol.com To: Subject: Re: QHL: Quilt History book list Message-ID: <970104081322_577598031 emout19.mail.aol.com> Hi All, Jane is right! She is currently lending me “Soft Covers for Hard Times” and it is wonderful! It’s also a book I would not have known existed if you all had not mentioned it here. So thank you to all of you on this list (and of course thanks to you Jane!). Nancy in Virginia —————————— Rose Marie —————————— Date: Sat, 04 Jan 1997 09:33:14 -0500 From: “James M. Welch” To: Subject: QHL: new email address Message-ID: <32CE6A2A.4833 csionline.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As of this afternoon, I will have a new email address debatqps juno.com Hope I am sending this to the right place! My boys will have the old one so if it still goes there because I am not sending it to the right place, I can still get it tomorrow. Thanks, Debbie —————————— Date: Sat, 4 Jan 1997 08:59:47 -0600 (CST) From: celmore ksu.edu The donkey quilt patttern that several of you have been discussing might be Kansas City Star Pattern no. 148. It’s titled “Giddap”, was first published in 1931, and has a block measuring 19 1/2″ x 22 1/2″. This information is in The Ultimate Illustrated Index to the Kansas City Star Quilt Pattern Collection: Volume V Ilustrations of 1,068 Patterns. This set of patterns was collected by the Central Oklahoma Quilters Guild, Inc., P. O. Box 23916, Oklahoma City OK 73123. The copyright date is 1990. I only have Vol. 5 which is the index. Vol. 1-4 have copies of the actural patterns. It is an excellent source for identifying quilt patterns from states in the middle of the country because this was a readily available pattern source for women in these states especially during the 1920’s – 1940’s+. I have no idea if the set is still in print, but I would assume the address of the Oklahoma guild which produced it is still valid. Carol Elmore Manhattan, Kansas —————————— Date: Sat, 4 Jan 1997 10:58:55 -0500 From: Baglady111 aol.com To: QHL cuenet.com Subject: QHL: samples Message-ID: <970104105854_1324502391 emout08.mail.aol.com> I am so pleased at the interest in feedsacks and it is our pleasure to send you samples so that you can learn how to identify them..there have been private email requests as well. If there are others who would like to receive some sample squares, please send me a sase and they will be on their way. THE FEEDSACK CLUB 25 S STARR AVE #16 PITTSBURGH, PA 15202 DELIGHTED TO SEND THEM. Jane —————————— Date: Sat, 04 Jan 1997 17:52:19 +0100 From: Hougs To: QHL cuenet.com Subject: QHL: Introduction Message-Id: <3.0.32.19970104171259.00728bc0 worldnet.net> Content-Type: text/plain; charset=”us-ascii” Hello everyone, We’re all supposed to introduce ourselves when joining this list, and I guess that it’s time that I get it done. I’m living in France, more precisely in Saint-Germain-en-Laye which is a suburb 16 km (10 miles) west of the Eiffel tower in the heart of Paris – so, for short, I usually refer to Paris as my town. Living in Paris is, however, not synonymous with being French. Actually, I’m a Dane and have been living in France for the last 8 – 9 years. I’ve joined this list in particular for learning more about old quilts and the history of quilts, which I find interesting. At this point in time, I should be considered a greenhorn in these matters;-) I am so fortunate to have a small quilt museum in a small village, Barneville, 1.5 hours drive further to the west. The museum is called “Musee du Patchwork et de la Courtepointe” and is situated next to a quilting shop run by one of the finest quilters in France, Nadine Rogeret. In the early 80’ies I visited family in the US, who were 3rd and 4th generations of immigrants from Denmark, which triggered me to read about the history of emigration in general, and from Denmark (and Europe) in particular. I regrettably do not remember the source of information (book, I guess) which told me that traditionally women were given fabrics as departure gifts to keep them occupied during the long voyages to the New World and/or Australia. Often these women made quilts. I wonder if any of you can confirm this. In a French book on quilting “Le patchwork – ou la desobeissance” from SYROS 1993 I found the following citation, which I’d like to share with you (in my own translation): “In a French poem of the 13th century ‘Les lais del Desire’ (~ Desire’s brief poem’) the heroine, protected by the fairies, lies outstretched on a bed, where the courtepointe (kind of quilt) is made of two pieces of rich silk with a border which shows the new flowers…” I found it nice. If any of you would like to know which kind of quilts I make, you are most welcome to visit our home page. Inge. hougs worldnet.net http://www.worldnet.net/~hougs —————————— Date: Sat, 4 Jan 1997 13:35:17 -0500 From: AJSNGS aol.com I’m currently reading “Soft Covers for Hard Times” and loving it. Next I’d like to read about women going west and the quilts they made enroute. Someone mentioned such a book, but I couldn’t remember if it was the book about the Oregon Trail, or another one. If anyone happens to know a title that is about women going west, please e-mail the list, or you can e-mail me privately. Many thanks, Nancy in Virginia where it is sunny and 75 degrees! AJSNGS aol.com —————————— Date: Sat, 4 Jan 1997 19:03:11 -0500 From: Baglady111 aol.com To: Subject: Re: QHL: Quilt History books Message-ID: <970104190310_944472546 emout13.mail.aol.com> It is TREASURES in the TRUNK and is about quilting on the Oregon Trail..wonderful book..and teh NE book is the state book with history/bios/quilt pictures..the typical state book.both came from my list. --- --- title: "Telltale Textiles: Bias Tape Applique" url: "https://quilthistory.com/telltale-textiles/telltale-textiles-bias-tape-applique/" lang: "en-US" type: "page" description: "Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt's age. This entry: Bias" last_modified: "2026-08-01T17:07:58+00:00" custom_fields: iawp_total_views: 171 --- # Telltale Textiles: Bias Tape Applique _Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: Bias Tape Applique, a 1930’s fad. _ If you’ve ever pulled a quilt out of a closet and found bold, ribbon-like lines of colored tape making a tulip, a butterfly grid, or a swooping vine, you’ve found a bias tape quilt. It’s one of the easiest construction clues to spot, and it points to a pretty specific window of time. Like all our Telltale Textiles clues, treat it as a strong hint rather than a firm date. Pair it with your fabrics, thread, and stitching, and you’ll get a much tighter range than the tape alone can give you. ## What Bias Tape Applique Quilts Actually Are Bias tape is a narrow strip of fabric cut at a 45 degree angle to the weave instead of straight along it. That angled cut gives it stretch, so it can curve smoothly around a petal or a stem without puckering or needing to be clipped. Manufacturers folded the raw edges under and sold it ready to stitch, in every color a quilter could want. It was designed as [bias binding](https://phoebemoon.com/binding-basics/), but it makes a great accent for clothing, quilts, and home dec. Quilters used it two ways, and it’s worth knowing the difference: [![Comparison chart of traditional applique versus bias tape applique, featuring flower and vase designs, method descriptions, and key features in a vintage-style layout with decorative borders and informative text.](https://quilthistory.com/wp-content/uploads/2026/07/1930s_quilt_applique_comparison.webp)](https://quilthistory.com/wp-content/uploads/2026/07/1930s_quilt_applique_comparison.webp)AI generated image **Bias tape as the applique itself.** Instead of cutting a solid tulip shape from fabric and turning under the edges, the maker top-stitched folded tape right onto the background in the outline of the flower. No solid shapes at all, just colored lines on white or cream muslin. This is sometimes called outline applique or taped outline, and it gives that bold, coloring-book, stained-glass look. **Bias tape as sashing or a grid.** Here the tape isn’t the picture, it’s the structure. Instead of piecing sashing strips between blocks, the maker top-stitched a long length of tape right over the seams, or used it to lay out a grid for a set of small applique motifs. Most quilt databases lump anything with bias tape into one bucket, but the two uses come from the same commercial product and the same decorative impulse: a fast, modern-looking line where a traditional quilter would have pieced or hand-appliqued a solid shape. The two images below show bias tape being used as flower stems. I’m not sure I would call that _strictly _bias tape applique as there are other applique shapes not made from bias tape. It is interesting to see the various ways bias tape can be used to accent quilt blocks. [![A quilt section with appliqué roses and rosebuds in shades of pink, green leaves, and teal stems on a white background. Drawing inspiration from quilt history, some floral outlines remain unfinished, adding a touch of timeless charm to the classic design. For more details or inquiries, please visit our About and Contact pages.](https://quilthistory.com/wp-content/uploads/2026/07/bias-tape-stems.webp)](https://quilthistory.com/wp-content/uploads/2026/07/bias-tape-stems.webp)This image is from an unfinished quilt kit [![A quilt with green stems and leaves forming a symmetrical pattern, topped with red flowers that have yellow centers, on a white background.](https://quilthistory.com/wp-content/uploads/2026/08/Bias-tape-flowers-1024x737.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Bias-tape-flowers.webp)This quilt predates the 1930’s fad. It uses a wider piece of bias tape to make the curving stems of this quilt block. ## A Tale of Two Quilts These two quilts from my own collection show both uses side by side. The first is a four-block tulip quilt. Each block holds three faceted tulips in an angular vase, worked entirely in tape: no fabric shapes at all, just red, purple, and gold tape stitched into sharp, geometric petals, with a teal green tape stem and matching sashing between the blocks. That’s the pure form of the technique, and it’s the rarer one to find today, since most surviving quilts mix the tape with solid fabric shapes. [![A cream-colored quilt on a bed features four embroidered shapes, each with a yellow vase and stylized flowers in red and purple, separated by green strips forming a cross.](https://quilthistory.com/wp-content/uploads/2026/07/tulip-quilt-on-bed.webp)](https://quilthistory.com/wp-content/uploads/2026/07/tulip-quilt-on-bed.webp)This would be better called a summer quilt as there is no batting or backing. [![A white quilt with a simple design of three outlined tulip-like flowers, two red and one blue, in a yellow vase with green stems. The background is plain with a slight wrinkle.](https://quilthistory.com/wp-content/uploads/2026/07/tulip-outline.webp)](https://quilthistory.com/wp-content/uploads/2026/07/tulip-outline.webp)Here is a closeup of the bias tape tulip. Note the damage on the right. The second is a butterfly quilt. Here the tape does a different job. Bright yellow bias tape forms a grid of squares across the whole top, and a scrappy feedsack butterfly sits appliqued in each square, blanket-stitched down with hand-embroidered antennae. The mix of small florals, ginghams, and dots in the butterfly wings is its own dating clue, since those prints are classic 1930s feedsack cottons. [![A white quilt with colorful butterfly patterns is draped over a bed in a cozy, softly lit bedroom with wooden furniture and a window in the background.](https://quilthistory.com/wp-content/uploads/2026/07/sideways-butterfly-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/07/sideways-butterfly-quilt.webp)This is sideways on the bed so you can see what was supposed to cover the end of the mattress. The bias tape that would have outlined the edges of the bed is actually raised. This quilt was made for a four-poster. [![A quilt with yellow borders features butterfly patches in various patterns, including stripes, florals, and polka dots, sewn onto white fabric squares.](https://quilthistory.com/wp-content/uploads/2026/07/butterfly-outlines.webp)](https://quilthistory.com/wp-content/uploads/2026/07/butterfly-outlines.webp)Butterfly closeup, showing the bias tape covering the block seams. I believe this is a feedsack quilt. Both the background and the butteflies “feel” like feedsacks in texture and design. Together they’re a good demonstration of the fad from both angles: one where the tape draws the picture, and one where it builds the frame around a picture made of scraps. ## Why the 1930s Bias tape applique quilts sit squarely in the broader quilt revival of the 1920s through the 1950s, but the tape fad itself was tighter, with its biggest years falling in the early to mid 1930s. A few things lined up at once to make that happen. **A ready-made product looking for a market.** Companies including Wm. E. Wright & Sons of Orange, New Jersey had been manufacturing folded, colorfast bias tape since before the First World War, mostly for garment sewing. Wright’s put out seasonal how-to booklets showing new uses for the tape, and a 1929 booklet already included quilt patterns among its projects, right alongside the garment and home decor ideas. So by the very start of the decade, the company was actively pitching bias tape for quiltmaking, not just clothing seams. [![Illustration showing three differently decorated beds with matching curtains and lamps, and two windows with various curtain styles. The beds have patterned quilts, and one bed has a framed picture above the headboard.](https://quilthistory.com/wp-content/uploads/2026/07/wrights-home-dec-book.webp)](https://quilthistory.com/wp-content/uploads/2026/07/wrights-home-dec-book.webp) [![Wrights-book25-quilt A bed with a yellow and brown circular patterned quilt; a close-up inset highlights one circular wheel-like pattern on the quilt.](https://quilthistory.com/wp-content/uploads/2026/07/Wrights-book25-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Wrights-book25-quilt.webp) [![Wrights-book-25-quilt A quilted bed with a wooden frame features a geometric pattern in yellow and orange, matching a large square pillow propped up at the head of the bed.](https://quilthistory.com/wp-content/uploads/2026/07/Wrights-book-25-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Wrights-book-25-quilt.webp) **Newspaper and magazine pattern culture.** The 1920s and 30s were the golden age of the syndicated quilt pattern column. Magazines and newspapers ran a steady stream of block and applique patterns, and companies sold matching kits with the fabric already stamped for stitching. A bold, graphic bias tape design was an easy pattern to print small in a newspaper column and still read clearly. [![Vintage cover of Wrights Bias Fold Tape and Trimmings Sewing Book No 21, priced at 10 cents, featuring a stylized vase with flowers and geometric patterns in yellow, pink, purple, and green.](https://quilthistory.com/wp-content/uploads/2026/07/wrights-booklet-21-390x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/wrights-booklet-21.webp) **Art Deco taste.** The clean, geometric outlines you get from bias tape work fit right in with the Art Deco look that was showing up everywhere in the early 1930s, from architecture to home goods. A tulip made of a few straight tape lines read as modern and fashionable in a way that fussier traditional applique didn’t. **Depression economics.** You didn’t need many yards of fabric. A white sheet or a few yards of muslin plus several packages of colored tape at a few cents each was enough for a whole top. No templates to trace and no small curves to turn under by hand, which made it a fast, forgiving project for a beginner. Batting companies were part of the same wave. Starting in 1929, the Stearns & Foster Company began printing a free quilt pattern inside every wrapper of Mountain Mist batting, a marketing move that helped drive quiltmaking’s revival through the 1930s and 40s. Their pattern library leaned heavily on botanical and floral motifs, which is the same visual world bias tape applique was working in. Here’s an image of a Mountain Mist catalog from [the Batting article](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/). Notice the bias tape project “The Chanticleer” on the right hand side. [OK, I had to look it up. A chanticleer is a proud, clever rooster.] [![A vintage instructional pamphlet shows a woman with a quilt, tips on quilt care, and photos of beds with patterned quilts, plus illustrated quilt block patterns: Homespun, The Chanticler, Turkey Tracks, and The Feathered Star.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-5-1024x313.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-5.webp) ## Dating and Care Notes If you’re looking at a quilt with this construction, here’s what narrows the range: - **Fabric prints.** Small scale florals and novelty feedsack prints point to the 1930s. Reproduction prints from later revivals tend to look cleaner and more uniform. - **Stitching.** Hand applique with small, slightly uneven stitches along the tape edges is typical of the original era. Long, even machine stitching along both edges of the tape is common too, since bias tape was often top-stitched by machine even in the 30s. - **Background fabric.** A heavier, looser weave muslin is more typical of the period than the finer, tighter weave cotton used in later reproductions. You can see that in both of my quilts. - **Color palette.** Turkey red, purple, canary yellow, and jade or teal green tape on a white or cream ground is about as classic 1930s as it gets. For care, treat a tape quilt from this era gently. Cold soak with no agitation and flat drying is the safest route. The tape itself tends to hold up well, but the background muslin is usually the weak point, and small holes or fraying like the ones in my tulip quilt are common. ## The Legacy By the late 1930s, better color printing on cotton meant quilters could get printed floral fabric instead of relying on an outline to suggest the shape, and taste shifted toward pastel favorites like [Grandmother’s Flower Garden](https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/) and Double Wedding Ring. Wartime fabric restrictions in the early 1940s put an end to the kit and pattern market that had driven the fad. The technique itself never really disappeared, though. It came back decades later as the “stained glass quilt,” usually worked in black bias tape or bias strips around bright fabric shapes to mimic leaded glass. If you’ve made or seen a stained glass quilt, you’ve made a direct descendant of what quilters were doing with a spool of five cent tape from the dime store ninety years ago. [![Book cover titled Simple Stained Glass Quilts with an orange and gold quilt design featuring circular and geometric stained-glass patterns. Authors: Daphne Greig & Susan Purney Mark.](https://quilthistory.com/wp-content/uploads/2026/07/Stained-Glass-Quilt-342x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Stained-Glass-Quilt.webp)[Simple Stained Glass Quilts ](https://amzn.to/4fmLPCc) [![art-gallery-image Fabric rainbow and clouds with yellow bias tape sun rays sewn on a blue cloth, text reads “Bias Tape Appliqué Tutorial,” with the AGF logo at the bottom.](https://quilthistory.com/wp-content/uploads/2026/07/art-gallery-image-361x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/art-gallery-image.webp)A tutorial by [Art Gallery Fabrics](https://agfblog.com/2020/04/30/sun-rainbow-bias-tape/) Have a bias tape applique quilt of your own? I’d love to see it. My address is on the[ about page.](https://quilthistory.com/about/) --- --- title: "The Drunkard’s Path That Goes By a Dozen Names" url: "https://quilthistory.com/depression-quilts/the-drunkards-path-that-goes-by-a-dozen-names/" lang: "en-US" type: "page" description: "I have a Drunkard's Path quilt tucked in my collection that I pulled out recently for an entirely different reason: I needed a good example of worn cotton batting for an article on dating quilts by their filling. But once" last_modified: "2026-08-15T14:33:11+00:00" custom_fields: iawp_total_views: 279 --- # The Drunkard’s Path That Goes By a Dozen Names I have a Drunkard’s Path quilt tucked in my collection that I pulled out recently for an entirely different reason: I needed a good example of worn cotton batting for an article on [dating quilts by their filling](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/). But once it was out on the bed, it turned into a case study of its own. Here is how I went about researching it. [![A bed with a quilt featuring a pink and white geometric pattern of squares and interlocking vine shapes, spread out neatly on a white comforter.](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-onbed-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-onbed.webp)The quilt is sideways on the bed. Note the pieced border. ## A block older than its most famous name Drunkard’s Path looks like exactly what it sounds like: a staggering, zigzagging trail made from quarter circles pieced into squares. But the name is much younger than the block. Quilters have been piecing this curved unit since at least the early 1800s, brought over from English patchwork and stitched into American quilts by the 1820s. Long before anyone called it Drunkard’s Path, it was going by names like Solomon’s Puzzle. It’s fun to think of that tracing all the way back to ancient design motifs, but there is no solid documentation tying the block itself to any actual ancient artifact. Rats. Mary sent me a picture of this quilt. A friend of hers spotted the top at a swap meet type event they attended about fifty five years ago.  She always displayed the top on a rack in her home.  Back in 2024 she asked Mary to make it into an actual quilt.  Her friend loved it and used it on her bed.  When she passed away, she bequeathed it to Mary.   Mary said, “I have always been fascinated by the way the one side does not match the other.  Did the quilter run out of fabric, tire of the task or simply not realize???  We had no idea who the maker was as it came with no information, but I hope she approves of the finish.” It was questions like those that started me down the road to collecting antique quilts. I actually prefer the ones with a little damage because you can see inside of them to see how they were made. This one is perfect, and I do love the flange border. [![Mary-DP-showing-quilting A quilt featuring a repeating blue geometric pattern on a white background, with intricate stitching details on the white areas, is laid flat on a beige carpet.](https://quilthistory.com/wp-content/uploads/2026/07/Mary-DP-showing-quilting-1024x768.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mary-DP-showing-quilting.webp) [![Mary-DP-quilt-vintage A large quilt with a white background and an intricate interlocking blue geometric pattern, displayed outdoors on a patio.](https://quilthistory.com/wp-content/uploads/2026/07/Mary-DP-quilt-vintage-1021x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mary-DP-quilt-vintage.webp) [![Mary-corner-DP-quilt A close-up of a quilt corner with a navy blue and white geometric pattern and intricate swirl quilting, displayed on a beige carpet.](https://quilthistory.com/wp-content/uploads/2026/07/Mary-corner-DP-quilt-1024x768.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mary-corner-DP-quilt.webp) ## So many names, so little agreement If you look this block up in [Barbara Brackman’s BlockBase](https://amzn.to/3RfWa9O), the software built from her exhaustive research into printed quilt sources, you will find well over a dozen names attached to this one design. Depending on which decade and which newspaper column you were reading, you might have known it as: - Boston Trail - Trail of Friendship - Drunkard’s Trail - Ghost’s Walk - Old Maid’s Puzzle - Wonder of the World - Indiana Puzzle - Cleopatra’s Puzzle - King Tut’s Crown - Wanderer’s Path in the Wilderness - Solomon’s Puzzle - Rob Peter to Pay Paul Here is the interesting part. Several of these names all trace back to the same handful of syndicated quilt pattern columnists working in 1933 alone. Mae Wilford’s pattern booklets that year called it Trail of Friendship, Cleopatra’s Puzzle, and Drunkard’s Trail, all for the same basic block. Nancy Cabot, the pen name for Chicago Tribune needlework editor Loretta Leitner Rising, called it Boston Trail. Quilt historians who have studied Cabot’s column note she had a habit of recycling older patterns under fresh, catchy names, and occasionally stretching the truth about their origins. So when you see a dozen names for one block, you are not looking at a dozen different histories. You are looking at a handful of newspaper writers all trying to sell the same pattern to their readers under whatever name sounded good that week during the newspaper circulation wars. You will often read that this block was adopted by the Women’s Christian Temperance Union in the late 1800s as a symbol of their fight against alcohol, sometimes with the added detail that blue and white color schemes symbolized the purity of water. This is one of those “it’s a nice story, but…” sentiments. It’s never been documented. [![A newspaper clipping showing a black-and-white quilt pattern called Drunkards Trail, with a description of its history and instructions on how to request more patterns.](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-Trail-1933-402x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-Trail-1933.webp)Found in a 1933 Newspaper ## Dating my own Drunkard’s Path With the block’s tangled naming history in mind, I turned to my own quilt to see what it could tell me. I do not have paperwork on this one, but I have owned it for about 35 years, which means that whatever its age, it predates my ownership. A few things ruled out some easy guesses. I bought it at a feedsack show, so I wondered if the solid fabric might be a plain feed sack. Looking closely, I do not think so. The fabric reads as ordinary commercial yard goods rather than feed sack cotton, and that is common; quiltmakers in this era mixed sack fabric with store-bought cotton all the time, so this does not rule out a period-correct quilt on its own. The construction told me more. The blocks are machine pieced, the binding is machine applied, but the quilting itself is done entirely by hand. That combination is a classic home-sewn utility quilt profile from the 1930s through the mid-1900s: piecing and binding done quickly by machine, with the actual quilting, the part that took real time and skill, done by hand the old way. [![A quilt with a geometric pattern in pink and white, featuring curved shapes and intersecting lines forming a repeating abstract design.](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-patch-border-and-binding-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-patch-border-and-binding.webp)A closeup of the piced border thaat continues the design and the machine applied binding. The batting sealed it for me. It is cotton, and it has clearly been through many wash cycles: thin, flattened, and pieced together in sections rather than one continuous layer. Old-style unbonded cotton batting compresses and thins with repeated washing in exactly this way. This is a quilt that got used on a bed, washed, and used again, for a long time. [![A close-up of a white quilt or fabric with a pink rose floral pattern and subtle green leaves. The fabric appears slightly wrinkled and has a worn, vintage look.](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-separated-batting-1024x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-separated-batting.webp)This is clearly an older quilt that has been washed at least once. You can tell by the way the batting separated in the non quilted areas. [![A close-up of a quilt shows faded, wrinkled white fabric with a pink floral pattern and pink stitching along the seams. A brown patch appears at the top, and the quilted stitches are visible throughout.](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-missing-batting-1024x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-missing-batting.webp)This area of missing batting is helpful to determine construction. Can you see if it was pieced or appliqued? Putting it together: I am comfortable calling this a home-sewn utility quilt from the Depression era through the 1950s, based on construction and wear rather than any one flashy clue. No single detail proved it. The combination did. ## Variations on the Drunkards Path block Mine is not a typical drunkards path quilt. As it happens, I don’t own one. Here are some pictures I found in the public domain, or pictures that wonderful people shared with me. If you would like to share yours, [let me know.](https://quilthistory.com/about/) [![A green quilt with a brown geometric pattern and border hangs on a tree branch outdoors, with grass and trees visible in the background.](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-path-from-library-of-congress.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-path-from-library-of-congress.webp)1940 Quilt from the [Library of Congress](https://www.loc.gov/item/qlt000123/) [![A red and white quilt featuring a repeating geometric floral pattern with red circles and petals on a white background, bordered by red and white stripes.](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-Path-Smithsonian-1018x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-Path-Smithsonian.webp)The [Smithsonian](https://www.si.edu/object/drunkards-path-variation:saam_2017.24.15) dated this 1880 – 1900 [![A colorful quilt with a floral pattern made of red, green, and white fabrics. The quilt has a green and red border and is placed on a tiled floor.](https://quilthistory.com/wp-content/uploads/2026/07/Lana-Fitts-Quilt-2-1024x984.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Lana-Fitts-Quilt-2.webp)Lana F started this Christmas Quilt in 1994. She finished it in 2024 and gave it as a gift. Notice the candy cane binding. [![A gray tabby cat lies on a patterned quilt with green, cream, and floral designs, spread across a wooden bed.](https://quilthistory.com/wp-content/uploads/2026/07/Cindy-W-Drunkards-Path.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Cindy-W-Drunkards-Path.webp)Cindy W tells me that she bought this quilt for her daughter in the mid 90’s from Amish people near New Wilmington, PA. (That was very much what they were doing back then – sewing for the “English”.) Over the years it became tattered, I imagine because her daughter dearly loved it so much. Her daughter asked her to replace it, but Cindy decided to replicate it using her Accuquilt to cut the many pieces. She found fabric very similar to the original. She plans to update the batting with bamboo and might even take the completed top to some Amish ladies to hand quilt. There is no question that her daughter will love it as much as the original. By the way, the cat’s name is [Chessie. ](https://quilthistory.com/depression-quilts/a-brief-history-of-the-feedsack/) [![A close-up of a quilt with a geometric pattern of red and green fabric pieces, each printed with tiny white dots, forming curved shapes that resemble the classic Drunkards Path Quilt Block design.](https://quilthistory.com/wp-content/uploads/2026/07/puzzle-quilt-jenny.webp)](https://quilthistory.com/wp-content/uploads/2026/07/puzzle-quilt-jenny.webp)Jenny calls this a puzzle block. It’s actually two blocks- one with the curve facing in alternating with one that has the curves facing out. About 1890’s. [![A colorful patchwork quilt with red, green, and white floral-like patterns, bordered by red and green fabric, is laid out on a tiled floor.](https://quilthistory.com/wp-content/uploads/2026/07/Lana-Fitts-Quilt-1-998x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Lana-Fitts-Quilt-1.webp)This is the second Christmas quilt that Lana F started in 1994 and finished in 2024. She says she still has blocks left over – what will she make next? [![yellow-and-white-drunkards-path A quilt with a white background and an interlocking gold or yellow chain pattern forming diamond shapes across the surface.](https://quilthistory.com/wp-content/uploads/2026/08/yellow-and-white-drunkards-path-870x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/08/yellow-and-white-drunkards-path-e1786800628572.webp) [![A red and white quilt with a swirling, interlocking pinwheel pattern reminiscent of the Drunkards Path Quilt Block and a border featuring small red triangles. The quilt has a red outer edge and an intricate geometric design.](https://quilthistory.com/wp-content/uploads/2026/08/red-and-white-drunkards-path-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/08/red-and-white-drunkards-path-quilt.webp) [![red-and-yellow-drunkards-path quilt A quilt featuring a red geometric pattern on a pale green background, with interlocking curved shapes and a solid red border around the edges. The design creates a bold, repeating abstract motif.](https://quilthistory.com/wp-content/uploads/2026/08/red-and-yellow-drunkards-path-991x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/08/red-and-yellow-drunkards-path.webp) [![BarbM-son-college-quilt A neatly made single bed with a red, black, and gray camouflage-patterned quilt and a cityscape pillow in a small, white dorm room with a shelf above the bed.](https://quilthistory.com/wp-content/uploads/2026/07/BarbM-son-college-quilt-768x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/BarbM-son-college-quilt.webp)This quilt is from Barb. She made it for her sons dorm room bed in 2013. It was actually designed by her son in EQ3 using 2 sizes of Drunkards Path blocks (7″ & 3.5″).  [![Barb-M-gets-help from cats A tabby cat stands on a colorful quilt with red, black, and pink abstract patterns. Another cat lies near a chair in the background. The room has wooden floors and cozy furnishings.](https://quilthistory.com/wp-content/uploads/2026/07/Barb-M-gets-help-from-cats-766x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Barb-M-gets-help-from-cats.webp)She said, “I was tasked with stitching it together. It is loosely done in his college colors of Red and Gray. We used 5 shades of each, matching the darkest red with the lightest gray creating a gradient in both directions.” [![BarbM-2013-DP quilt An orange cat is lying stretched out on its side on a colorful, patterned quilt next to a floral couch in a sunlit room.](https://quilthistory.com/wp-content/uploads/2026/07/BarbM-2013-DP-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/07/BarbM-2013-DP-quilt.webp)“It fits a twin XL bed and is quilted ‘in the ditch’ because that is what the kid wanted (I’d have been more adventurous). And of course the cats had to help.” The orange tabby is Thomas and the dark tabby is Willow. [![modern-drunkards-path A gray cat looks at a large quilt with a circular geometric pattern in neutral tones, displayed indoors against a wooden mantel and wall.](https://quilthistory.com/wp-content/uploads/2026/07/modern-drunkards-path.webp)](https://quilthistory.com/wp-content/uploads/2026/07/modern-drunkards-path.webp)Kay made this from neutrals – very light to very dark. The pattern is Pattern is [Circle Dance from Elisa’s Backporch](https://backporchdesign.com/7-crazy-curves-quilt-template/), using 3 1/2″ & 7″ template sets, but she calls it The Neutral path. The cat is a “blue” Burmese – Ella Bella Blue. She and her brother Gus (brown sable Burmese) are her production and QA supervisors. [![Kay-Granddaughters-wedding A quilt featuring various intersecting circles and squares in beige, cream, tan, and brown tones, with floral and geometric patterns quilted into the fabric.](https://quilthistory.com/wp-content/uploads/2026/07/Kay-Granddaughters-wedding-768x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Kay-Granddaughters-wedding.webp)She collected the fabric from many stores, in several states and, a couple of foreign countries. She said it took her several years but the “hunt” was a lot of fun! Each fabric combination had a reverse block – both sizes of blocks.  [![Kay-Circle-Dance A close-up of a quilt with curved and geometric patterns in beige, brown, and cream tones. The quilt features intricate stitching and various textured fabric panels.](https://quilthistory.com/wp-content/uploads/2026/07/Kay-Circle-Dance-768x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Kay-Circle-Dance.webp)The quilting patterns on the blocks were from a book of [Japanese manhole covers](https://amzn.to/3Tccfhp) – towns have different designs.  Kay said she made this for herself but …. gave it to her granddaughter for a wedding present. Lucky Bride! ## Learn More **Books** - Barbara Brackman, _[Encyclopedia of Pieced Quilt Patterns](https://amzn.to/4fLgVT5)_ (American Quilter’s Society). The reference for pattern names and print sources going back to 1830. - Carrie A. Hall and Rose G. Kretsinger, _[The Romance of the Patchwork Quilt in America](https://amzn.to/4ppzWP4)_ (1935). An early classic on pieced quilt history. **Articles and blogs** - Barbara Brackman, [“Temperance Quilts 1: T Blocks”](http://barbarabrackman.blogspot.com/2016/03/temperance-quilts-1-t-blocks.html), Material Culture blog. Her direct research into the WCTU claim. - Barbara Brackman, [“Nancy Cabot/Loretta Leitner: A Short History”](http://barbarabrackman.blogspot.com/2022/10/nancy-cabotloretta-leitner-short-history.html), Material Culture blog. Background on the columnist behind “Boston Trail” and many other renamed patterns. - [“Drunkard’s Path Quilts, T Quilts, and the WCTU”](https://quiltindex.org/view/?kid=34-136-2&type=essays), The Quilt Index. A call for documented WCTU quilts, still open, still unanswered. - [“Nancy Cabot and Her ‘Exotic’ Quilt Patterns”](https://quiltindex.org/view/?type=essays&kid=36-107-3), The Quilt Index. More on Cabot’s habit of renaming and embellishing older patterns. - [“The McKee-Boyles & Drunkard’s Path Quilts”](http://quakerquiltsandhistory.blogspot.com/2018/12/the-mckee-boyles-drunkards-path-quilts.html), Quaker Quilts and History blog. A specific quilt with a family-documented Temperance connection, a good example of provenance versus pattern symbolism. Includes a picture of a typical Drunkards Path Quilt. - [Nancy Cabot Blocks index](https://www.earlywomenmasters.net/quilts/cabot_blocks/index.html), Early Women Masters. --- --- title: "Telltale Textiles: Quilt Batting" url: "https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/" lang: "en-US" type: "page" description: "Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry examines" last_modified: "2026-08-13T17:30:53+00:00" custom_fields: iawp_total_views: 56 --- # Telltale Textiles: Quilt Batting _Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry examines the batting, stuffing, or wadding a quilt may or may not have. _ ## What’s Hiding Inside Tells a Story Here’s the golden rule for this whole article: batting is supporting evidence, never the sole deciding factor. Fiber type, how it was prepared, loft, how closely it’s quilted, where it was likely made, how it’s been washed, whether it’s been repaired or replaced entirely. All of that has to be weighed together. The batting might suggest a date, but the fabrics, stitching, backing, and style all have to agree with it before you commit to anything. Batting won’t hand you an exact date. But it can rule things out, back up other clues, and sometimes give you a firm “this quilt wasn’t finished before such-and-such a year.” That’s genuinely useful, even if it’s less satisfying than a neat little date stamped on the back. [![A worn quilt with a blue and white geometric pattern and a frayed edge, showing visible signs of age and use. The quilt rests on a metal surface.](https://quilthistory.com/wp-content/uploads/2026/07/Washed-Batting-444x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Washed-Batting.webp)This tied quilt was washed. The cotton batting migrated to the borders and eventually escaped. [![A quilt block with a green checkered diamond center, brown-and-white marbled triangles, and a green floral background. The quilt is covered with a clear protective layer.](https://quilthistory.com/wp-content/uploads/2026/07/batting-SNS-in-green-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/batting-SNS-in-green.webp)This is likely a roller print, madder brown style, with the red and white discharge. That pattern family is classic 1850s-1860s. The batting is a thin, clean cotton, over a muslin backing. [![A close-up of a white quilt or fabric with a pink rose floral pattern and subtle green leaves. The fabric appears slightly wrinkled and has a worn, vintage look.](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-separated-batting-1024x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/07/drunkards-path-separated-batting.webp)Another washed quilt showing the batting pulling apart where it wasn’t quilted. I researched this quilt for the [Drunkards Path article.](https://quilthistory.com/the-drunkards-path-that-goes-by-a-dozen-names/) ## Cotton: The Long-Timer Cotton batting covers such a long stretch of quilt history that, on its own, it’s one of the least precise clues you’ll find. Most early batting was prepared at home from raw cotton that was cleaned, carded, and spread by hand. If you find seed fragments or bits of plant debris caught in the batting, that can hint at less-processed cotton, but it’s a hint, not a date. A common myth worth busting: finding a smooth, commercially even cotton batt does not automatically mean you’re looking at a twentieth century quilt. Commercial cotton batting has been around longer than you think. Stearns & Foster started manufacturing cotton batting in Cincinnati back in 1846. Their Mountain Mist wrappers got a lot more colorful and recognizable in the late 1920s, and starting in 1929, they printed free quilt patterns right on the wrapper. So if you ever find a Mountain Mist wrapper (or a pattern that clearly came from one) tucked inside or alongside a quilt, that’s a genuinely useful anchor point for anything from about 1929 onward. You can click on the pictures below to see them up close. [![Blue quilted cover with white stitched flower designs. Text reads: The Mountain Mist Blue Book of Famous Quilt Designs.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Blue-Book-of-Famous-Designs-1024x640.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Blue-Book-of-Famous-Designs.webp)Mountain-Mist-Blue-Book-of-Famous-Designs 1935 [![A vintage magazine page displays quilt patterns, fabric images, and descriptions, including designs like Heirloom Quilts, Dogwood, Water Lilies, The Iris, and Old Fashioned Rose.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-1-1024x313.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-1.webp)Mountain-Mist-Page-1 and 2 [![A brochure features black-and-white and color photos of quilt patterns, including close-ups of stitched details and sections describing quilt names and features like Mountain Mist, New York Beauty, Mariner’s Compass, and Sunflower.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-3-1024x311.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-3.webp)Mountain-Mist-Page-3 and 4 [![A vintage instructional pamphlet shows a woman with a quilt, tips on quilt care, and photos of beds with patterned quilts, plus illustrated quilt block patterns: Homespun, The Chanticler, Turkey Tracks, and The Feathered Star.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-5-1024x313.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-5.webp)Mountain-Mist-Page-5 and 6. Notice that they renamed [Burgoyne Surrounded](https://quilthistory.com/people-stories/myths-misconceptions/jane-mccrea-burgoyne-surrounded-myth/) to Homespun. [![A quilting pattern booklet is open, showing text, diagrams, and patterns for “Martha’s Vineyard.” The pages include instructions, black-and-white quilt block illustrations, and a floral quilt border design on the right.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-7-1024x314.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-7.webp)Mountain-Mist-Page-7 and 8 [![A pamphlet displays six different quilt patterns, each with a small colorful illustration and a black-and-white photo of a quilt on a bed. Descriptions for each pattern are printed beside the images.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-9-1024x318.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-9.webp)Mountain-Mist-Page-9 and 10 [![Vintage advertisement for Mountain Mist quilt batting, featuring a black-and-white photo of Mrs. George Lizzy, a product image, testimonials, and highlights of the product’s features and benefits for quilters.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-13-1024x322.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Page-13.webp)Mountain-Mist-Page-13 and 14 [![A colorful sheet features assorted quilt patterns, including flowers, stars, geometric designs, and a label reading “Mountain Mist.” The border has a red, white, and blue geometric print.](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Blue-Book-of-Famous-Designs-Back-Cover-1024x634.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Mountain-Mist-Blue-Book-of-Famous-Designs-Back-Cover.webp)Mountain-Mist-Blue-Book-of-Famous-Designs-Back-Cover One more wrinkle with cotton: it flattens. Use, washing, and age all compress a once-plump batt, and cotton can also bunch or migrate if the quilting lines are spaced too far apart. So whatever thickness you’re looking at today is not necessarily the original thickness. Don’t let a thin, tired batt convince you the quilt was always thin. Early batts, by the way, weren’t even a manufactured sheet. They were loose handfuls of fiber, laid in by hand. While we’re busting myths, here’s one worth setting straight: the United States rationed a lot of things during World War Two, gasoline, tires, meat, nylon stockings, shoes, sugar, but cotton itself wasn’t one of them. So the old claim that “cotton was scarce, so women used flannel sheets instead” isn’t quite accurate as a blanket statement (pun very much intended). What actually happened was more specific. A 1942 law gave cotton prints intended for feedsack manufacturing priority over civilian dress goods production. That’s why [feedsack fabric](https://quilthistory.com/the-feedsack-story/) use spiked in the 1940s. It wasn’t a raw cotton shortage. It was a redirection of printed cotton toward sacking. [![A patchwork quilt with faded, worn fabric pieces in various pastel and blue patterns, including florals, paisleys, and geometric prints. The center area is a plain, light-colored fabric.](https://quilthistory.com/wp-content/uploads/2026/07/flannel-sheet-in-feedsack-quilt-1-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/flannel-sheet-in-feedsack-quilt-1.webp)Flannel sheet being used as batting in a feedsack quilt. ## Wool: A Regional Clue Dressed Up as a Date Wool shows up in quilts because it delivers real warmth without piling on the weight the way cotton does. It can look lofty, springy, or a little irregular, but age, felting, moth damage, and repeated washing all take their toll and change its appearance over time. One indication of a wool batting is the fact it tends to “beard”. That is, the fibers migrate through the cloth making the quilt look vaguely furry. The [International Quilt Museum](https://internationalquiltmuseum.org/exhibition/whole-story) has an 18th-century whole-cloth quilt where the woolen batting was dyed blue before quilting specifically to hide “bearding” showing through dark wool fabric. What wool actually tells you is more about geography and household priorities than a specific year. It likely belonged to a household in a colder climate, with local access to sheep. It might have been used for economy, or it might have been used because it was a prefered fabric. It’s lightweight, holds heat, and does not transmit cold when it is wet. A wool-filled quilt from New England, Pennsylvania, or another sheep-raising region wouldn’t be surprising at all, but wool was traded and used well beyond those areas too. As a regional indicator, it does suggest a northern quilt, but people do move and take their preferences with them. You may come across the claim that whole-cloth wool quilts fell out of fashion before the Civil War. That’s true, but it’s a statement about style and outer fabric, not proof that wool disappeared as a filling. Wool-filled quilts kept being made well after whole-cloth wool went out of vogue as a look. [![A worn, patterned brown quilt with visible creases and small holes is spread neatly over a wooden bed in a bedroom with wooden furniture and a blue wall.](https://quilthistory.com/wp-content/uploads/2026/07/chintz-quilt-on-bed-450x338.webp)](https://quilthistory.com/wp-content/uploads/2026/07/chintz-quilt-on-bed.webp) ## Polyester: Your Strongest “Not Before” Indication If cotton is the fiber that resists dating, polyester is the fiber that helps you the most. DuPont introduced Dacron polyester to American consumers in 1951, though it took time before quilters widely adopted it as batting. A clearly synthetic polyester filling makes an original pre-1950 construction extremely unlikely. Interestingly, I once appraised a quilt that had a shredded polyester batting like fiberglass in it. It didn’t seem to beard through, though. Family history dated it just after WWII, which fits the timeline. Puffy, high-loft polyester batting is especially associated with the quiltmaking revival of the 1960s through 1980s. It should be noted that a quilt top can still be older than its filling. Plenty of old tops sat unfinished for decades before someone finally layered and quilted them with whatever batting was available at the time. A quick physical tell: polyester has higher loft than cotton, so cotton-batted quilts tend to look and lay flatter. Because polyester batting is bonded, quilters could space their quilting lines three to four inches apart. Cotton needs much closer quilting, or it shifts and bunches over time. If you’re staring at a quilt with widely spaced quilting and a noticeably puffy feel, polyester is a good first guess. [![A colorful handmade quilt with various geometric patterns and multicolored fabric pieces lays neatly on a bed with a white comforter in a cozy, sunlit bedroom.](https://quilthistory.com/wp-content/uploads/2026/05/Rail-Fence-Quilt.jpg)](https://quilthistory.com/wp-content/uploads/2026/05/Rail-Fence-Quilt.jpg)This is a “two-generation” quilt. The 1940 blocks are earlier than the 1980 border, polyester batting, and backing. [![A torn patchwork quilt with green, purple, and red fabric pieces, some floral and polka-dotted, revealing white batting beneath the damage.](https://quilthistory.com/wp-content/uploads/2026/08/batting-arch-quilt-338x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/batting-arch-quilt.webp)Andrew B shared this image of batting peeking through an [Arch quilt.](https://quilthistory.com/todays-quilts/arch-quilts-what-they-are-and-how-to-spot-them/) ## Blends Are the Tricky Middle Ground Cotton-poly blends are harder to pin down visually. After years of wear, some blends look nearly identical to straight cotton. In these cases, bonding, scrim, resin, and needle-punching construction details can tell you more than the fiber ratio itself. As a rule of thumb, a blend generally points toward the later twentieth century, but you shouldn’t lock in an exact range unless you can tie it to a specific manufacturer, product name, wrapper, or lab identification. One more quick test if you have access to a [black light](https://amzn.to/3R3TCeR): synthetic thread often fluoresces bright white, while cotton thread doesn’t. Cross-checking the thread alongside the batting can help confirm what you’re dealing with. Black Light Trivia: LOTS of things fluoresce under a black light. Laundry detergent with “whitners and brighteners” added for example. That’s why you can’t date a quilt solely by shining a black light on it. If it doesn’t fluoresce, it was probably made before 1940 when laundry detergents first began incorporating optical brighteners. But if it does fluoresce, it may just mean that it was washed. ## When the Batting Isn’t Batting At All Old blankets and quilts, worn-out quilts, sheets, and flannel have all served as a quilt’s middle layer at one point or another. Reusing household textiles this way tells you more about the frugality of the household than the date. Waste not, quilt not, as the saying nearly goes. But reuse wasn’t limited to any one period. People have always hated throwing away good cloth. If you find a printed sheet inside a quilt, the sheet itself is the real clue. Its weave, print, seams, hems, or any label can be dated on its own, quite apart from the quilt surrounding it. ## What If There’s No Batting At All? Sometimes a quilt seems to have no filling whatsoever. That could mean it’s a summer quilt, a spread, or a coverlet-style piece meant for looks rather than warmth. But cotton can also compress so thoroughly over time that it looks like it’s vanished entirely. I thought this lovely quilt had no batting until I examined the corners. The quilt must have been washed and the batting migrated to the edges and left town. [![A wooden bed with a colorful quilt featuring blue fern-like leaves and pink and green floral patterns in a bright bedroom with light blue walls and wooden furniture.](https://quilthistory.com/wp-content/uploads/2026/07/Applique-Quilt-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Applique-Quilt.webp)1870’s Princess Feather Applique Quilt The woman I bought this quilt from told me it was on her bed when she was a child. She used to love jumping up and down on her bed, aiming for the different motifs. You can tell. But it gave me a chance to peek under a blue fern. It was always blue, so that helps date it. The white is a soft muslin, the applique is all hand needle-turned, and the pink/orange/green layered flowers with those little heart-shaped notches are classic for that post-Civil War period when applique got really bold and graphic. Before you declare a quilt battingless, check the areas near the binding, any tears or open seams, and if you can see any batting when you hold it up to strong light. A batt that’s migrated, disintegrated, or simply flattened can fool you into thinking it was never there. ## Thick, Fat, and Puffy Isn’t a Clue By Itself A thick quilt might contain wool, several layers of cotton, a folded blanket, an old quilt, polyester, loose local fiber, unevenly hand-laid batting, or even old repairs and added stuffing. Thickness alone is a genuinely risky thing to date by. Construction tells you far more than puffiness does. Closely quilted thick filling, widely tied filling, and thick filling confined to trapunto areas each tell a different story about how and why the quilt was made. One more quick story: Hubby and I were vending at an antique show. He wandered around and found another vendor who had quilts in his van that he was happy to sell. He brought them back and started taking the lumpiest one apart as he thought there might be a quilt in the center. He soon gathered a crowd who were quite amazed at what he was pulling out it. There were blouses without buttons, underwear, stockings and garter belts, a bra, a girdle – all in rough shape. And the quilt STUNK. You knew why the vendor was so happy to sell that quilt if you stood downwind. I suggested to him that he might want to take a break and go wash up but he said, “No, there is a naked quilter in here somewhere!” Much to the crowds delight. ## How to Actually Look at the Batting For anything historically important, start with non-destructive examination: - Check naturally exposed fibers at a tear, open binding, or worn seam. The late Camille Cognac called these spots an “area of deficit,” and they’re often your best window into what’s inside without taking anything apart. - Use magnification to study fiber length, crimp, sheen, and surface texture. An inexpensive [handheld microscope](https://amzn.to/3R3GC94) will do the job. - Photograph the fibers against both dark and light backgrounds so texture and color show up clearly. - Bring in a textile conservator if identification will materially affect how the quilt is attributed or valued. [![Close-up black and white microscopic image showing the textures of fibers: coarse wool, fine wool, alpaca, cashmere, silk, linen, cotton, and polyester, each labeled at the bottom of the image.](https://quilthistory.com/wp-content/uploads/2026/07/fibers-under-magnification.webp)](https://quilthistory.com/wp-content/uploads/2026/07/fibers-under-magnification.webp)Batting fibers-under magnification. Notice that the first four on the left are technically hair. I’d steer clear of a household burn test. Beyond the obvious fire risk, it requires removing material, and blends, finishes, dirt, and general degradation can all muddy the results. That kind of test belongs in a controlled lab. ## The Big Warnings, All in One Place **Batting gives you a “not before” date more reliably than a finishing date.** Polyester can tell you a quilt probably wasn’t completed in 1890. Cotton can’t tell you whether it was completed in 1890, 1930, or 1980. **An old top may have new filling.** Tops sometimes waited decades to be quilted, or were taken apart and requilted later. The batting may date the quilting itself, not the piecing. **Requilting happens.** Restorers, family members, or owners sometimes remove deteriorated filling and replace it. Look for opened bindings, altered quilting, machine restitching, mismatched thread, or a replaced backing as signs this may have happened. **Loft isn’t permanent.** Washing, compression, felting, migration, and years of use can turn a once-plump batt into something closer to a tired pancake. **Geography matters.** Wool, cotton, blankets, flannel, and commercial batting weren’t equally available everywhere. Local agriculture, transportation, stores, and household income all shaped what a quilter had on hand. Plus people do travel. They went west in the 1850’s, and south in the 1950’s. **Intended use matters too.** A show quilt, summer quilt, crib quilt, tied comforter, and everyday bed quilt might all use different fillings even if they came out of the very same household in the very same year. Batting is one thread in the story, not the whole plot. Look at it alongside everything else the quilt is telling you, and you’ll end up with a date range you can actually defend, rather than a guess dressed up as a fact. ## Learn More [Quilt Restoration: A Practical Guide by Camille Cognac](https://amzn.to/4fq0pHS) [American Quilt Study Group, Mountain Mist research summary](https://www.americanquiltstudygroup.org/quilt-history-snippets-for-january-2026) [Barbara Brackman, Clues in the Calico](https://ctpub.com/products/clues-in-the-calico-digital-download), digital download [Fiber identification under a microscope](https://fiberseal.com/wp-content/uploads/2022/07/Fiber-Indentification...-The-Doings-in-Our-Dallas-Lab.pdf) [International Quilt Museum, Inside the Wrapper: The True Tales of the Mountain Mist Quilt Patterns ](https://www.internationalquiltmuseum.org/exhibition/inside-wrapper) [Kimberly Wulfert, New England’s Early Whole-Cloth Wool Quilts](https://www.antiquequiltdating.com/Wool_Whole_Cloth_Quilts.html) [Library of Congress, Glossary of Quilt Terms](https://www.loc.gov/static/collections/quilts-and-quilt-making-in-america-from-1978-to-1996/about-this-collection/related-resources.html) [Linda Pumphrey, “Stearns & Foster Company, 1846–1900: The Inside Story,” Uncoverings 2009](https://amzn.to/4bunoQK) [Merikay Waldvogel, “The Origins of Mountain Mist Patterns,” Uncoverings 1995](https://amzn.to/44ABZGE) [The Quilt Index: Guide to Documenting Quilts](https://kora.quiltindex.org/files/51-150-1/Quilt_Index_Guide_To_Documenting_Quilts.pdf) This is especially useful because it discusses how to examine and record batting in an actual quilt. It recognizes cotton, wool, polyester, blends, blankets or flannel, sheets, another quilt, and no filling. It also records batting loft as thin, medium, or thick. [Hobbs Heirloom Batting Information](https://www.hobbsbatting.com/products/hobbs-heirloom-batting/) This page compares cotton, cotton-polyester blend, and wool batting. It describes differences in warmth, weight, loft, quilting distance, resin bonding, needle punching, and fiber migration. Those manufacturing characteristics may be useful when discussing whether batting appears loose, bonded, needle-punched, or supported by scrim. --- --- title: "Telltale Textiles: Feedsack Fabrics" url: "https://quilthistory.com/telltale-textiles/telltale-textiles-feedsack-fabrics/" lang: "en-US" type: "page" description: "Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt's age. This entry: feedsack" last_modified: "2026-07-17T19:47:06+00:00" custom_fields: iawp_total_views: 20 --- # Telltale Textiles: Feedsack Fabrics _Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: feedsack fabric, one of the most beloved and most misidentified fabrics in quilt history._ ## What feedsack fabric actually is Feedsack fabric started life as cotton bags used to package flour, sugar, feed, seed, and other household staples. Plain white sacks gave way to solid colors, then to printed dress-quality fabric as manufacturers realized farm wives were choosing their brand of flour based on which print they wanted for a dress. By the late 1930s, companies were hiring artists and competing hard for the prettiest prints, and feedsack fabric became a genuine source of dress and quilt fabric for millions of women. ![Two women wearing floral dresses sit and stand among large patterned feed sacks. One holds fabric and the other holds an open magazine as they talk, both surrounded by stacks of printed sacks.](https://quilthistory.com/wp-content/uploads/2026/04/feedsack-dresses-national-geographic-1947.jpg)From a 1947 National Geographic Magazine ## Why it’s a tricky clue Here’s the part that trips people up: “feedsack” gets used loosely to mean any charming 1930s-looking print, but a lot of what’s labeled that way was never actually a sack. Coarse weave alone doesn’t prove anything, since that same rougher cotton was also sold by the bolt off the shelf. The one truly reliable physical sign is a line of small holes along one edge, left behind from the chain-stitching that once held the sack closed. If you’re lucky enough to find a piece with the original stitching or string still intact, that’s about as certain as it gets. ![A colorful patchwork quilt with flower-like hexagon patterns in various bright colors is spread on a table. Several people stand around the table, with only their lower bodies visible.](https://quilthistory.com/wp-content/uploads/2026/07/feedsack.webp)Here is an intact feedsack laid on top of matching fabric. The other trap is timing. Bright, colorful printed sacks are often called “1930s feedsack” as a catch-all, but the truly widespread dress-print bags didn’t take off until Percy Kent Bag Company pushed them hard starting around 1937, and their real heyday was during and just after World War II, not the early Depression years most people assume. ## The dating window - **Before 1925:** Feedsacks are mostly plain white or solid colored, useful for household purposes but not yet a fashion fabric. - **Mid-1920s:** The first printed sacks begin appearing, though not yet in wide use. - **Late 1930s:** Dress-print bags become a genuine industry, with companies competing over artist-designed prints, coordinated floral lines, and novelty themes. - **World War II era:** Peak popularity. Feedsack fabric was considered patriotic since it was classified as industrial packaging rather than restricted yard goods. - **Early 1950s onward:** Demand drops sharply as paper and plastic packaging take over, and cotton struggles to compete with new synthetics. Production is largely finished by the mid-1960s. ## What to look for Check the edge of any suspected feedsack piece for a row of small, evenly spaced holes, the ghost of the original stitching. Look for coordinated floral or novelty prints designed to be sold as a set, since manufacturers often released matching lines so a quilter could mix pieces from different bags. Novelty and themed prints (nursery rhyme characters, wartime and patriotic motifs, licensed characters) are especially useful, since many of those were tied to specific, datable marketing campaigns. And keep the golden rule of scrap quilts in mind: a quilt is only as old as its newest fabric, so a few genuine 1940s feedsack pieces don’t necessarily mean the whole quilt was made in the 1940s, especially if it also contains later fabrics. [![Ink drawing of a girl sitting cross-legged on the floor with paper dolls and a “Rag Darlings” kit in front of her; books and a dresser are in the background. Drawn on lined notebook paper, the scene captures a nostalgic moment—perhaps she’s confirming a Feedsack Quilt design to match her playful creations.](https://quilthistory.com/wp-content/uploads/2026/07/Abby-Feedsacks-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Abby-Feedsacks.webp)This is my granddaughter who discovered a feedsack matching the cover of the book by [Gloria Nixon](https://amzn.to/4ysQeLa). She is a little annoyed with me because I wouldn’t cut up the feedsack and make her a doll. ## Putting it together Feedsack fabric rewards a close look rather than a quick guess. A coarse weave and a cheerful floral print might just be an off-the-bolt fabric that happens to look the part. Stitching holes, coordinated print lines, and dateable novelty themes are what actually build a real case, especially when paired with other clues already in this series, like the block pattern or the surrounding fabrics in the same quilt. For the fuller story behind feedsacks, from flour bags to fashion statement, see the complete article: [The Feedsack Story](https://quilthistory.com/the-feedsack-story/). ## Learn More [Spoiler Alert: Your Feed Sack Quilt Was Probably Not Made in the 1930s](https://www.makingandmusings.com/blog/1930s-quilts-where-to-learn-about-feed-sack-fabrics) — a genuinely useful myth-busting piece on feedsack dating, with good detail on when printed dress bags actually became widespread. [A Short Feed Sack History](https://heritagehousequilts.com/blogs/hhq-patches-pieces/a-short-feed-sack-history) — includes a clear caution about a quilt being only as old as its newest fabric, directly relevant to dating scrap quilts. [Feed Sack Fabric Identification](https://nancysnotions.com/feed-sack-fabric-of-the-1930s/) — a practical look at spotting genuine feedsack fabric, including the stitching-hole clue. [A Feed Sack Fabric Collecting Guide](https://adirondackgirlatheart.com/feed-sack-fabric/) — geared toward collectors and identification, with real-world examples. Linzee Kull McCray, _[Feed Sacks: The Colourful History of a Frugal Fabric](https://amzn.to/4vSGDM2)_ — widely considered the reference book for identifying and dating specific feedsack prints. Marian Ann J. Montgomery, _[Cotton & Thrift: Feed Sacks and the Fabric of the American Household](https://amzn.to/4wHRokv)_ — another strong reference with detailed print documentation. --- --- title: "Telltale Textiles: Turkey Red" url: "https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/" lang: "en-US" type: "page" description: "Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt's age. This entry: Turkey" last_modified: "2026-08-13T21:08:57+00:00" custom_fields: iawp_total_views: 9 --- # Telltale Textiles: Turkey Red _Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: Turkey Red, one of the most recognizable and reliable reds in antique quilts._ ## **What Turkey Red actually is** Turkey Red is a bright, durable red dye made from madder root, using a long and complicated process that originated in Asia and the Middle East before European dyers picked it up in the 1700s. The name came from the route by which Europeans associated the process with Turkey and the eastern Mediterranean. Unlike ordinary madder dyeing, which tends to give a duller, browner red, the full Turkey Red process produced a color that held up to light, washing, and bleaching far better than most other reds available at the time. It became a major British industry by the mid-1800s. Factories exported cloth and yarn around the world, especially to India and Southeast Asia. ![](https://scrapdash.com/wp-content/uploads/2023/01/Cake-stand-quilt.jpg) ## **Why it’s a reliable dye** The process behind Turkey Red was almost absurdly involved. Cloth was cleaned by boiling it with alkali, treated with oil, soda, and animal dung, mordanted with alum and sumac, dyed with madder, then washed and finished to brighten the color. In the early 1800s, the whole process could take three weeks or more, and it was famously foul-smelling, between the rancid oil, the dung, and the boiling dye vats. But it worked. That painstaking process is exactly why Turkey Red shows up in old quilts still looking bright and true, decades after everything around it has faded. Around 1810, dyers figured out how to make patterned Turkey Red fabric, usually by dyeing the whole cloth red first, then removing the red in selected areas with acid and bleach to create a design, sometimes adding other colors like chrome yellow or Prussian blue into the mix. These discharge-printed Turkey Reds could be strikingly graphic, with pale or colored patterns standing out against a solid red ground. Turkey Red’s reliability is the opposite dating problem from a fugitive dye like [double purple](https://quilthistory.com/telltale-textiles/telltale-textiles-double-purple/). Instead of watching for fading, you’re watching for how well the red survived. In the early 1870s, synthetic alizarin began replacing madder as the source of red dye, lowering the cost but keeping much of the brightness and durability, so a vivid, long-wearing red in a quilt could be true Turkey Red or one of these early synthetic versions. Cheaper substitutes followed. Congo red arrived in the 1880s, a “direct” dye that skipped the long mordanting process but didn’t always hold up as well. Paranitraniline reds showed up in the early 1900s, inexpensive but prone to fading into a dull brick color, which is itself a useful tell. In 1914, Naphthol AS finally matched much of Turkey Red’s brightness and colorfastness through synthetic means, and by the 1920s it had made the old process largely obsolete. ## **Common quilt blocks from this era** Turkey Red shows up constantly in quilts from the mid to late 1800s, often paired with white or green in classic combinations that were considered the height of fashion. If you find Turkey Red alongside one of these patterns, you’re looking at solid company for a mid-19th to early 20th century date: Turkey Red and White or Turkey Red and Green: Not blocks so much as color schemes, but among the most iconic combinations in American quilt history, especially popular from the 1840s through the early 1900s. Wild Goose Chase and Flying Geese: Classic pieced patterns that made good use of a strong, solid red. [![Quilt,_Flying_Geese_pattern_1840-Met A quilt with a floral patterned background and rows of flying geese quilt blocks in various colors including red, blue, brown, and cream.](https://quilthistory.com/wp-content/uploads/2026/08/Quilt_Flying_Geese_pattern_1840-Met-450x338.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Quilt_Flying_Geese_pattern_1840-Met.webp)1840’s. Image courtesy of The Met [![A quilt with a brown border features vertical stripes of geometric red, black, and brown triangle patterns, resembling flying geese shapes, arranged in rows on a square background.](https://quilthistory.com/wp-content/uploads/2026/08/wild-goose-chase-quilt-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/wild-goose-chase-quilt.webp) [![A quilt with a grid of red flowers and green leaves on white squares, bordered by a vine pattern with red flowers and green leaves around the edges.](https://quilthistory.com/wp-content/uploads/2026/08/red-and-green-quilt-from-book-1.webp)](https://quilthistory.com/wp-content/uploads/2026/08/red-and-green-quilt-from-book-1.webp)[Red and Green Quilts](https://amzn.to/45mTVoy) from That Patchwork Place Nine Patch and Album blocks: Simple, scrap-friendly patterns often set off beautifully by a single bold red. Oak Leaf and Rose of Sharon appliqué: Popular appliqué patterns from the mid-1800s that leaned heavily on Turkey Red for their stems, leaves, and flowers. [![Quilt,_Oak_Leaf_pattern_1860-MET A section of a white quilt with navy blue stitched flower and leaf patterns along the border and inside squares, displayed on a plain gray surface.](https://quilthistory.com/wp-content/uploads/2026/08/Quilt_Oak_Leaf_pattern_1860-MET-450x338.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Quilt_Oak_Leaf_pattern_1860-MET.webp)Oak Leaf in Indigo. Image courtesy of The Met Turkey Tracks and Democrat Rose: Mid-century pieced and appliqué patterns strongly associated with the Turkey Red era. ## **20th Century Turkey Red** Traditional Turkey Red production declined through the 1920s and finally ceased in the 1930s, pushed out by Naphthol AS and other synthetic reds that were cheaper and nearly as good. By then, American quilters were moving toward a completely different palette anyway. The same postwar shift in dye chemistry that finally gave purple a stable, colorfast future on cotton also opened the door to the soft, clear pastels that define 1930s quilts. Turkey Red’s long reign as the reliable red of choice gave way to a whole new set of colors becoming trustworthy for the first time. But that’s a story for another Telltale Textile. [![A handmade quilt with a pink and white pattern featuring geometric triangle designs and a pink border, shown on top of a bed.](https://quilthistory.com/wp-content/uploads/2026/08/substitute-red-338x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/substitute-red.webp)Probably the maker didn’t realize she had used a different red than the rest of the fabrics **Learn More** [Friendship Quilts](http://barbarabrackman.blogspot.com/2012/02/turkey-red-friendship.html) (blog post) by Barabara Brackman [Material Culture](https://barbarabrackman.blogspot.com/2010/09/turkey-red.html) (blog post) by Barbara Brackman [Metropolitan Museum of Art](https://www.metmuseum.org/art/collection/search?q=turkey+red+quilt&showOnly=withImage) (images) [More on Turkey Red](http://barbarabrackman.blogspot.com/2010/09/more-on-turkey-red.html) (blog post) by Barbara Brackman [_Dating Fabrics: A Color Guide, 1800–1960_ ](https://amzn.to/4wjKt04)— the standard reference many appraisers use for pinning down a fabric’s era by color and dye type, including Turkey Red and its synthetic successors. [The Quilt Index](https://quiltindex.org) — searchable database of documented quilts, useful for comparing your own Turkey Red fabric against dated, catalogued examples. --- --- title: "Telltale Textiles" url: "https://quilthistory.com/telltale-textiles/" lang: "en-US" type: "page" description: "A series on the clues hiding in every old quilt. Every quilt carries evidence of when and how it was made, if you know where to look. A faded purple print. A block pattern that only shows up in a" last_modified: "2026-08-15T14:31:07+00:00" custom_fields: iawp_total_views: 8 --- # Telltale Textiles ## **A series on the clues hiding in every old quilt.** Every quilt carries evidence of when and how it was made, if you know where to look. A faded purple print. A block pattern that only shows up in a certain decade. A dye that browns in a very specific way. Telltale Textiles digs into these details one at a time, the kind of clues an average person can actually spot on their own quilt, no lab equipment required. This series covers a lot of ground on purpose. Some entries are about color and dye chemistry. Others are about prints and fabric styles, block patterns and naming trends, or how quilting fashions shifted decade by decade. All of it points back to the same goal: helping you look at an old quilt and read its history. ## **What you’ll find here** _Color and Dye Clues_ How different dyes behaved, why some colors faded and others didn’t, and what that tells you about when a fabric was made. _Prints and Fabric Style_ The specific calico prints, styles, and fabric trends that come and go with fashion, and what era they tend to point to. _Blocks, Patterns, and Naming Trends_ Classic pieced and appliqué blocks, how pattern names changed over time, and what cultural or historical influences shaped them. _Trends by Decade_ A closer look at how color, print, and pattern choices shifted from one decade to the next, and how those shifts show up in real quilts. ## **Latest Entries** - [Telltale Textiles: Bias Tape Applique](https://quilthistory.com/telltale-textiles-bias-tape-applique/) - [Telltale Textiles: Centennial Prints](https://quilthistory.com/centennial-prints/) - [Telltale Textiles: The Crazy Quilt](https://quilthistory.com/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) — the signature style of the Victorian era, and what it reveals about the quilts made in it. - [Telltale Textiles: Double Purple](https://quilthistory.com/telltale-textiles-double-purple/) — a fashionable calico print with a reputation for fading in a very particular way. - [Telltale Textiles: Feedsack Fabric](https://quilthistory.com/telltale-textiles-feedsack-fabrics/) - [Telltale Textiles: The Grandmothers Flower Garden Quilt](https://quilthistory.com/grandmothers-flower-garden-quilt-history/) - [Telltale Textiles: A Nation in Outline Stitch](https://quilthistory.com/telltale-textiles-a-nation-in-outline-stitch/) – Birds and Flowers solve a mystery - [Telltale Textiles: Quilt Batting](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/) – what’s hiding inside tells a story. - [Telltale Textiles: Turkey Red](https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/) — one of the most recognizable and reliable reds in antique quilts. - [Telltale Textiles: Yo-Yo Quilts](https://quilthistory.com/telltale-textiles-yo-yo-quilts/) More entries are added regularly. If you’re trying to date a quilt and don’t see the clue you’re looking for yet, check back soon, or [reach out and let me know](https://quilthistory.com/about/) what you’re curious about. [![A close-up of Telltale Textiles: Double Purple fabric reveals a small, intricate wavy pattern covering the entire surface. The purple textured fabric appears to have a subtle sheen and a slightly uneven texture.](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-repro.webp)](https://quilthistory.com/telltale-textiles/telltale-textiles-double-purple/) ## [Telltale Textiles: Double Purple](https://quilthistory.com/telltale-textiles/telltale-textiles-double-purple/) Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: double purple, a fashionable calico print with a reputation for fading in a very particular way….[Read More Telltale Textiles: Double Purple](https://quilthistory.com/telltale-textiles/telltale-textiles-double-purple/) [![Grandmothers Flower Garden Quilt A handmade quilt with a white background featuring rows of multicolored hexagon flower patterns in various fabrics, displayed indoors.](https://quilthistory.com/wp-content/uploads/2026/06/GFG2-768x756.jpg)](https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/) ## [The Grandmothers Flower Garden Quilt](https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/) Grandmother’s Flower Garden is one of the most beloved quilt patterns in American history. Made of hexagons stitched into flower shapes, it has charmed quilters for almost 250 years. While many people think of this pattern as a product of the 1930s, its roots actually reach back much further, to 18th century England. Where the…[Read More The Grandmothers Flower Garden Quilt](https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/) [![A patchwork quilt section features various fabric patterns. The central red patch shows a vintage-style illustration of a child in old-fashioned clothes and a bonnet, surrounded by other patterned fabric pieces.](https://quilthistory.com/wp-content/uploads/2026/05/Fake-crazy.jpg)](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) ## [Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) Victorian Crazy Quilts A crazy quilt is a mix of irregular fabric pieces stitched together with decorative embroidery, ribbons, lace, beads, and tiny personal treasures. Nearly every seam is embellished and every patch has a purpose or a story. It was a way for a Victorian woman to express herself and share her opinions in…[Read More Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) [![A vintage advertisement from the National Cotton Council explains where to find cotton bags and lists uses, such as bakery bags, flour sacks, and department store bags. Contact info and Simplicity Patterns details are included below.](https://quilthistory.com/wp-content/uploads/2026/07/feedsack-booklet-back-768x1201.webp)](https://quilthistory.com/telltale-textiles/telltale-textiles-feedsack-fabrics/) ## [Telltale Textiles: Feedsack Fabrics](https://quilthistory.com/telltale-textiles/telltale-textiles-feedsack-fabrics/) Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: feedsack fabric, one of the most beloved and most misidentified fabrics in quilt history. What feedsack…[Read More Telltale Textiles: Feedsack Fabrics](https://quilthistory.com/telltale-textiles/telltale-textiles-feedsack-fabrics/) [![A quarter lies on wrinkled, floral-patterned fabric with a burn hole in the center, showing white stuffing beneath. The fabric has beige roses, green leaves, and a blue ribbon design.](https://quilthistory.com/wp-content/uploads/2026/07/chintz-quilt-showing-damage-768x576.webp)](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/) ## [Telltale Textiles: Quilt Batting](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/) Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry examines the batting, stuffing, or wadding a quilt may or may not have. What’s Hiding Inside…[Read More Telltale Textiles: Quilt Batting](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/) [![A close-up of a red textured fabric, showing visible weave lines and slight creases throughout the surface.](https://quilthistory.com/wp-content/uploads/2026/07/Fabric-Scrap-solid-turkey-red.webp)](https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/) ## [Telltale Textiles: Turkey Red](https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/) Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: Turkey Red, one of the most recognizable and reliable reds in antique quilts. What Turkey Red…[Read More Telltale Textiles: Turkey Red](https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/) [![wrights-booklet-16 Vintage advertisement with two children in hats and coats, one placing a hat on the others head. Text reads: Wrights Bias Fold Tape and Trimmings. The Sewing-Room Labor Savers. Price 10 cents.](https://quilthistory.com/wp-content/uploads/2026/07/wrights-booklet-16-768x1148.webp)](https://quilthistory.com/telltale-textiles/telltale-textiles-bias-tape-applique/) ## [Telltale Textiles: Bias Tape Applique](https://quilthistory.com/telltale-textiles/telltale-textiles-bias-tape-applique/) Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: Bias Tape Applique, a 1930’s fad. If you’ve ever pulled a quilt out of a closet…[Read More Telltale Textiles: Bias Tape Applique](https://quilthistory.com/telltale-textiles/telltale-textiles-bias-tape-applique/) --- --- title: "Telltale Textiles: Double Purple" url: "https://quilthistory.com/telltale-textiles/telltale-textiles-double-purple/" lang: "en-US" type: "page" description: "Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt's age. This entry: double" last_modified: "2026-07-17T13:34:40+00:00" custom_fields: iawp_total_views: 3 --- # Telltale Textiles: Double Purple _Every quilt carries clues about when it was made, if you know where to look. Telltale Textiles is an ongoing series digging into the fabrics, dyes, prints, and construction details that help pin down a quilt’s age. This entry: double purple, a fashionable calico print with a reputation for fading in a very particular way._ ## **What double purple actually is** Double purple is not one specific shade. It is a print style featuring two or three tones of purple printed together in the same design, as opposed to “single purple,” which used just one. The term is old. Newspaper ads from the 1760s and 1770s already advertised “double and single purple” calicoes as imported goods, so this naming convention predates the fabrics most quilters think of when they hear it. The prints collectors usually mean by double purple, those spotted or mottled two-tone calicoes, became especially common and fashionable in the last decades of the 19th century. ## **Why it’s a fugitive dye** Before the mid-1800s, purple came from [natural dye methods.](https://quilthistory.com/early-use-of-natural-dyes-in-textiles/), mainly madder or logwood, fixed with mordants like tin or iron. These dyes were hard to stabilize and prone to fading into a dull brown or gray, sometimes within just a few years of use. Purple double prints were rare and unstable. The first synthetic dye came about almost by accident. In 1856, an 18-year-old chemistry student named William Perkin was trying to synthesize quinine, the malaria treatment, from coal tar. He failed, but noticed the leftover residue turned silk a brilliant purple. He named it mauveine, patented it, and set off a real excitement over brighter, more stable purples. That excitement mostly played out in silk and wool first. Cotton purples, the kind you find in quilts, continued to lean on the older natural dyes well after synthetic purple appeared elsewhere, so a fugitive double purple calico kept showing up in quilts right through the late 1800s. The peak window for double purple calico in quilts, including its use in [mourning prints worn after a death in the family](https://quilthistory.com/victorian-mourning-customs/) is 1880 to 1900. Fading and browning from this period is common and expected. ### These images are from a circa 1860 quilt top [![](https://quilthistory.com/wp-content/uploads/2026/07/spotty-double-purple-fabric.webp)](https://quilthistory.com/wp-content/uploads/2026/07/spotty-double-purple-fabric.webp)That light seaweed on brown/madder is “seaweed and coral” — very common 1855-1870. The browns were likely natural madder + new aniline dyes. The “double purple” is likely from logwood + madder, again 1850-1875. Fades to brown, which you can see here. [![](https://quilthistory.com/wp-content/uploads/2026/07/Purple-plaid-and-butterscotch-fabrics.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Purple-plaid-and-butterscotch-fabrics.webp)Typical 1850-1880. “Butterscotch” checks were huge for shirtings. Plaids likethis one were pieced into quilts constantly during that time period. [![](https://quilthistory.com/wp-content/uploads/2026/07/faded-double-purple-fabrics.webp)](https://quilthistory.com/wp-content/uploads/2026/07/faded-double-purple-fabrics.webp)The dense black seaweed/coral on tan is often called “sea moss” or “coral” print. That specific black-on-madder colorway is 1850-1865.That fine, branching design is textbook book 1840s-1880s. It took off with Victorian naturalism after the 1851 Great Exhibition. Before ∼1840 you don’t see it, and after ∼1890 it got replaced by larger Art Nouveau florals. That grayed medium blue also indicates 1840-1875. Civil War uniform blue was based on it. [![](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-seaweed-fabrics.webp)](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-seaweed-fabrics.webp)That fine, branching “seaweed,” coral, or “sea foam” design is again textbook 1840s-1880s. The “double purple” is likely from logwood + madder, 1850-1875. That tan grid is classic 1850-1870 palette. The clearest sign of an authentic 19th-century double purple is uneven fading toward brown or tan, often with a slightly darker overprinted pattern still visible where the original design was laid down in a second layer of dye. If the purple looks perfectly vibrant with no hint of browning, you are either looking at an exceptionally well-preserved piece that spent most of its life away from light, or a modern reproduction. Companies like Andover and Moda do reproduce these 1880s double-purple designs for today’s historical quilters, so vivid color alone is not a reliable sign of age. [![A close-up of Telltale Textiles: Double Purple fabric reveals a small, intricate wavy pattern covering the entire surface. The purple textured fabric appears to have a subtle sheen and a slightly uneven texture.](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-repro-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-repro.webp)Moda Reproduction ## **Common quilt blocks from this era** Double purple calico shows up most often in scrap and everyday quilts from this period, frequently as sashing or as the plain alternate block in a block-to-block layout. If you find double purple alongside one of these patterns, you have a stronger case for an 1880 to 1900 date: - **Ohio Star (also called Variable Star):** Often set alternating with a plain or printed square, a favorite way to stretch a prized calico across a whole quilt. - **Nine Patch and Double Irish Chain:** Simple grid patterns that stayed popular across the whole second half of the century and made good use of scraps. - **Log Cabin:** A Victorian favorite, especially in the 1870s and 1880s. - **Crazy Quilt:** The signature style of the era, especially in silk and velvet with heavy embroidery, though double purple cotton scraps show up in cotton crazy quilts too. - **Bear’s Paw, Drunkard’s Path, and Flying Geese:** All well documented in quilts from this window. - **Fan (sometimes called New York Beauty or Broken Circle when sashed with pieced strips):** A pattern strongly associated with the 1880 to 1900 period. - **Split Nine Patch:** Another pattern documented in quilts made from roughly 1890 into the following decades. [![A large patchwork quilt from Telltale Textiles: Double Purple, featuring purple, white, and multicolored pinwheel star patterns, hangs outdoors against a brick house and railing.](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-top-768x827.webp)](https://quilthistory.com/wp-content/uploads/2026/07/double-purple-top.webp)Click on the picture to see the beautiful star fabrics up close. ## 20th Century Purple Purple did not become reliably colorfast on cotton until the 20th century, when quilters saw it come roaring back as a popular, stable color in the 1930s. Purple’s real turning point on cotton came after the First World War. Germany had dominated the world’s synthetic dye industry for decades, holding tightly guarded patents and formulas. When the US entered the war in 1917, the government seized German-owned dye patents and factories operating on American soil, and later sold thousands of those patents to American manufacturers. The Treaty of Versailles added to this by requiring Germany to hand dye technology and shipments over to the Allied powers as part of reparations. Between the two, American and other Allied manufacturers finally gained real access to the chemistry behind Germany’s superior dyes. That access, combined with ongoing improvements through the 1920s, is a big part of why purple, along with several other colors, came back reliably colorfast on cotton by the 1930s. In fact, green, yellow, black, blue, pink, peach, aqua, and lavender all became achievable in stable, washable form for the first time. This is really the origin of the whole “1930s pastel” look people associate with Depression-era quilts. But that’s a story for another Telltale Textile. ## Learn More ### _Websites_: [Barbara Brackman: Purples, lilacs, and Mauve](https://barbarabrackman.blogspot.com/2012/05/purples-lilacs-and-mauve.html) Brackman’s own blog is where the term “double purple” is traced back to 1760s newspaper ads, along with detailed posts on other fugitive and dating-friendly dyes like chrome orange and double blue [The Quilt Index](https://quiltindex.org) — a searchable database of documented quilts with fabric dating references, useful for comparing real double purple examples. [Smithsonian: Dyes in World War I](https://americanhistory.si.edu/spotlight/bolling-crest-silks/dyes-in-world-war-i) — a concise, well-sourced account of the Trading with the Enemy Act and how seized German dye patents reshaped American textile color. [The Materials and Techniques of American Quilts and Coverlets, Metropolitan Museum of Art](https://metmuseum.org/toah/hd/mtqc/hd_mtqc.htm) — good general background on dye and printing processes referenced throughout this piece. [Antique Quilt History](https://www.antiquequilthistory.com) – many pictures of antique quilts with explanations. ### _Books_ - Barbara Brackman, _Clues in the Calico: A Guide to Identifying and Dating Antique Quilts_ - Barbara Brackman, _America’s Printed Fabrics, 1770–1890_ - Barbara Brackman, _Making History: Quilts and Fabric from 1890–1970_ - Eileen Jahnke Trestain, _Dating Fabrics: A Color Guide, 1800–1960_ - Simon Garfield, _Mauve: How One Man Invented a Color That Changed the World_ --- --- title: "Turkey Red: The Brilliant Dye That Traveled the World" url: "https://quilthistory.com/turkey-red-the-brilliant-dye-that-traveled-the-world/" lang: "en-US" type: "page" description: "Turkey Red dyeing was a method of producing a bright red on cotton that was highly resistant to fading from light, washing, and bleaching. That made it highly prized in the nineteenth century, especially for cotton cloth and yarn. Eastern" last_modified: "2026-07-11T13:00:47+00:00" custom_fields: iawp_total_views: 41 --- # Turkey Red: The Brilliant Dye That Traveled the World Turkey Red dyeing was a method of producing a bright red on cotton that was highly resistant to fading from light, washing, and bleaching. That made it highly prized in the nineteenth century, especially for cotton cloth and yarn. ![A wooden bed is covered with a red quilt featuring a pattern of circular, star-like designs in shades of beige, green, and brown. White bedding is visible underneath. The bed is in a warmly lit room with wood floors.](https://quilthistory.com/wp-content/uploads/2026/07/Turkey-Red-Quilt.webp) ## Eastern Origins The Turkey Red process had eastern origins and was known in parts of Asia and the Middle East long before it became an important European industry. Its exact path is not always told the same way, but by the eighteenth century the process had reached Europe, where dyers worked to copy and improve it. The name “Turkey Red” came from the route by which Europeans associated the process with Turkey and the eastern Mediterranean. ## The British Turkey Red Industry The British Turkey Red industry began around 1785, when David Dale and George Mackintosh worked with Pierre Jacques Papillon, a French dyer, to establish the process in Scotland. In the early nineteenth century, the industry became concentrated in the Vale of Leven in Dumbartonshire. By the mid-nineteenth century, the Vale of Leven had become one of the great centers of Turkey Red dyeing and printing. Its factories exported cloth and yarn around the world, especially to India and Southeast Asia. British manufacturers were able to produce large quantities of bright, fashionable, and relatively affordable cotton textiles, helped by industrial machinery and highly organized factory production. ## The Turkey Red Process The dye used for Turkey Red was originally made from madder root. Ordinary madder dyeing could produce red, but it often had a duller or browner cast. Turkey Red was different because it used a long and complicated process to create a brilliant, colorfast red on cotton. Turkey Red dyeing was long and complex, requiring specialized knowledge and skill. The process varied from factory to factory, but it commonly included: - Cleaning the yarn or cloth by boiling it with alkali. - Treating it with oil, soda, and animal dung. - Mordanting it with alum and sumac. - Dyeing it with madder, often with other ingredients such as chalk. - Washing and finishing the cloth to brighten the final color. In the early nineteenth century, the full process could take three weeks or more. It has often been described as one of the most complicated dyeing methods ever invented. It was also famously foul-smelling. Between rancid oil, dung, steam, and boiling dye vats, this was not a delicate little teacup operation. Over time, improvements made the process faster and cheaper. New machinery, heated drying stoves, and changes in ingredients reduced both labor and cost. Rancid olive or castor oil was eventually replaced by “Turkey Red oil,” made by treating oil with sulphuric acid. In the early 1870s, synthetic alizarin began to replace madder as the source of red dye, lowering costs even further. ## Factory Work Working conditions in Turkey Red factories were harsh. Twelve-hour days were common, often in hot, steamy rooms near open vessels of boiling liquid. Women and children made up a large part of the workforce. Some children were as young as ten. Workers tended machinery, moved cloth, stirred dyes, and helped with many stages of production. Dyeing required constant attention, and workers had to follow instructions closely to keep each batch consistent. The work was skilled, tiring, and often poorly paid. ## Patterned Turkey Red Fabric At first, Turkey Red was used mainly for plain red cloth or yarn. Around 1810, methods were developed for making patterned Turkey Red fabrics. Instead of printing red onto white cloth, manufacturers usually dyed the entire cloth red first, then removed the red in selected areas to create a design. Other colors could then be added. Two main methods were used. ### Discharge Printing Cloth was printed with a paste containing citric or tartaric acid, then passed through a bleach bath. The acid and bleach combined to destroy the red colour wherever the pattern lay. Other colours could be added into the discharge paste or overprinted afterward. The available palette was limited: yellow (chrome yellow or Persian berries), blue (Prussian blue), black (logwood), and green (created by printing blue over yellow). Discharge-printed Turkey Red fabrics could be very striking, with the designs standing out against the red ground. The process required skill, careful timing, and workers who understood how each chemical and dye would behave. A dyer could have a dozen dyes on at one time. Each dyer would have young assistants because the dyes had to be continuously stirred by hand. ![A close-up of a red textured fabric, showing visible weave lines and slight creases throughout the surface.](https://quilthistory.com/wp-content/uploads/2026/07/Fabric-Scrap-solid-turkey-red.webp)Solid Turkey Red. This yardage is very thin. ![Black fabric with a repeating pattern of stylized, fan-shaped motifs in white, gold, and red, scattered evenly across the surface. Some motifs have dotted accents. The texture of the fabric is visible.](https://quilthistory.com/wp-content/uploads/2026/07/Fabric-Scrap-Simitars.webp)This is a classic example of an 1880’s Victorian “conversation print” or “eccentric print.” ![Gray fabric with a repeating pattern of small, colorful, stylized fans in red, pink, white, and blue—shades reminiscent of Turkey Red Dye history—each paired with three brown circles, evenly spaced across the surface.](https://quilthistory.com/wp-content/uploads/2026/07/Fabric-Scrap-Fans.webp)These small-scale dress and quilting fabrics often featured whimsical, unexpected everyday objects. ![Navy blue fabric with a repeating floral pattern featuring red, yellow, and white flowers connected by thin, winding brown stems and small orange buds. The overall design is vibrant and intricate.](https://quilthistory.com/wp-content/uploads/2026/07/Fabric-Scrap-purple-red.webp)This fabric scrap might be a bit earlier, perhaps 1870’s, judging from the purple background. ### The Lead-Plate Process Another method used lead plates with designs cut into them. Several layers of cloth were clamped tightly between the plates, and a bleaching liquid was forced through the cut-out areas. This removed the red where the pattern was wanted. The lead-plate process was best suited to simple designs, such as spotted handkerchiefs. These were sometimes overprinted with black. ## Major Manufacturers Three Vale of Leven companies became especially important in the Turkey Red trade: John Orr Ewing and Company, Archibald Orr Ewing and Company, and William Stirling and Sons. These firms grew into large industrial operations. By 1859, one of William Stirling’s factories was reportedly producing millions of yards of Turkey Red fabric and hundreds of thousands of pounds of Turkey Red yarn each year. In 1898, after trade problems caused in part by tariffs on exports to India, the three major firms merged to form the United Turkey Red Company. The Turkey Red factories were among the largest employers in Dumbartonshire and shaped local life. They provided work, but labor relations were often strained. Low wages, long hours, and difficult conditions led to bitter disputes and strikes. ## Markets Around the World Turkey Red cloth and yarn were sold in Britain and abroad. In Britain, Turkey Red yarn was often used to mark household and personal linens. Printed cloth was used for items such as shawls and handkerchiefs. Most Turkey Red goods, however, were exported. Important markets included India, Malaysia, Java, China, and South America. The cloth was made into saris, sarongs, shawls, shirts, and handkerchiefs. Shipments often carried colorful labels showing the maker’s or merchant’s name. These labels might include buildings, plants, animals, mythological scenes, or other decorative images. They acted as trademarks, and buyers often developed loyalty to particular brands. Manufacturers also tailored their designs to different markets. They considered local taste, traditional patterns, and religious customs. In some places, for example, fabrics showing human figures could not be sold successfully. ![Turkey Red Quilt Baskets](https://quilthistory.com/wp-content/uploads/2024/04/turkey-red-1024x671.jpg) ## Decline of the Turkey Red Industry By the early twentieth century, the traditional Turkey Red industry was still active, but its future was uncertain. Synthetic dyes were changing the textile world. In 1869, chemists succeeded in synthesizing alizarin, the main coloring agent in madder, which made red dyeing cheaper and helped weaken the old madder trade. For quilt dating, this matters because a brilliant, long-lasting red may suggest true Turkey Red or synthetic alizarin, while a faded or unstable red may point to one of the cheaper synthetic substitutes that followed. Congo red, developed in the 1880s, was one of the important new “direct” dyes, meaning it could dye cotton without the long mordanting process required by older methods. That was a great convenience for manufacturers, but convenience did not always mean durability. Synthetic dyes like paranitraniline were less expensive to use, but far less durable — fabric dyed with it faded to a dull brick colour. In 1914, a new synthetic dye called Naphthol AS became available. It could match much of the brightness and colorfastness of true Turkey Red. The First World War slowed its adoption, but by the 1920s it had made the old Turkey Red process largely obsolete. Traditional Turkey Red production declined through the 1920s and finally ceased in the 1930s. Turkey Red’s importance lasted far longer than the factories that made it. Its brilliant color, complicated process, and worldwide trade left their mark on textile history. For quilt historians and collectors, it remains one of the most recognizable reds found in antique quilts and fabrics. ## Learn More [America’s Printed Fabrics](https://amzn.to/4eWRz48) [Civil War Quilts](https://civilwarquilts.blogspot.com/2015/01/stars-in-time-warp-1-multi-colored.html) (blog post) by Barbara Brackman [Colouring the Nation: The Turkey Red Printed Cotton Industry in Scotland c.1840-1940](https://www.euppublishing.com/doi/10.3366/jshs.2014.0126) [Friendship Quilts](http://barbarabrackman.blogspot.com/2012/02/turkey-red-friendship.html) (blog post) by Barabara Brackman The [Society of Dyers and Colourists](http://www.sdc.org.uk/) [Material Culture](https://barbarabrackman.blogspot.com/2010/09/turkey-red.html) (blog post) by Barbara Brackman [Metropolitan Museum of Art](https://www.metmuseum.org/art/collection/search?q=turkey+red+quilt&showOnly=withImage) (images) [More on Turkey Red](http://barbarabrackman.blogspot.com/2010/09/more-on-turkey-red.html) (blog post) by Barbara Brackman [Turkey Red Dye](https://quilthistory.com/wp-content/uploads/2026/07/Turkey-Red-Nine-Patch-Magazine.pdf) from Nine-Patch Magazine --- --- title: "The T Block and Temperance Quilts: Separating Fact from Folklore" url: "https://quilthistory.com/people-stories/myths-misconceptions/t-is-for-temperance/" lang: "en-US" type: "page" description: "Was every old T quilt a temperance quilt? No, but the question opens the door to one of the most interesting intersections of quilt history, women’s reform work, and 19th-century politics including the WTCU. I went looking through my own" last_modified: "2026-07-17T20:57:32+00:00" custom_fields: iawp_total_views: 37 --- # The T Block and Temperance Quilts: Separating Fact from Folklore Was every old T quilt a temperance quilt? No, but the question opens the door to one of the most interesting intersections of quilt history, women’s reform work, and 19th-century politics including the WTCU. I went looking through my own antique quilt blocks for a good example. I haven’t found the perfect one yet, but give me time. Quilts are patient. Historians have to be, too. ![Uncle Sam Saying "I want you to stay sober!" ](https://scrapdash.com/wp-content/uploads/2022/04/Uncle-Sam-Sober.jpg)Uncle Sam temperance movement poster parody Before I tell you about the Temperance Movement, I have to give you a very generalized view of the life and times of the women who started it. In the early 19th century, women were seen more like servants than companions to their husbands. They had a clearly defined role in their family. They were the caregivers, their husbands were the providers. So it makes sense that women would not be involved in politics. In the early 19th century, women’s lives were legally and socially restricted, especially after marriage. Many women were [educated enough to read and write](https://research.colonialwilliamsburg.org/Foundation/journal/Winter11/literacy.cfm), but they had few public rights, limited control over property or wages, and little formal voice in politics. Long before they had the vote, women found ways to influence public life through churches, reform societies, fundraising fairs, petitions, lectures, and printed material. The Civil War widened those roles, but it did not create them. Married women’s property laws changed gradually during the 19th century, but rights varied by state and were often limited. This became a necessity as the war dragged on and the men who were providing for their families didn’t come back. Widows and abandoned wives could face harsh choices, especially if they had children and little property. That hardship helped make temperance more than a private moral issue. For many women, it was tied directly to food, shelter, safety, and survival. ## Marry in Haste, Repent at Leisure – Women’s Lives Before the Temperance Movement The women who married in haste discovered their new husband addicted to drink, and why not? It was socially acceptable and cleaner than the water of the time. But it also led to inconsistent home life, and sometimes to the [poorhouse.](https://www.history.com/news/in-the-19th-century-the-last-place-you-wanted-to-go-was-the-poorhouse) After the Civil War, the abolitionist movement was slowing down just as the women’s rights movement was picking up. Suffragists were demanding not only the vote but also equal access to education and employment, a married woman’s right to her own property and wages, custody over her children, and control over her own body. At that time, children were owned by the father – he could do as he pleased with them. Birth control was a taboo topic. Any discussion on the topic was illegal and could (and did) result in the imprisonment of the women involved. The temperance movement began prior to the civil war with requests by both men and women that people sign pledges renouncing hard liquor—- promises to drink only beer and wine. Anti-drinking activity reached a peak during the Woman’s Crusade of 1873-74 with women taking direct action to close down saloons. The [Women’s Christian Temperance Union](https://www.wctu.org/) was founded in 1874 and began making signature quilts for fundraising, called Crusader Quilts. The symbol of the WCTU and the temperance/woman’s suffrage movement is a white ribbon on a pin. [The white ribbon was selected to symbolize purity,](https://socialwelfare.library.vcu.edu/religious/the-temperance-movement/) and the WCTU’s watchwords were “Agitate – Educate – Legislate.” WCTU supporters and temperance workers also used quilts for commemoration, fundraising, and community-building. Some were signature quilts, including quilts associated with the Woman’s Crusade. With so much energy behind the movement, it is natural to assume that temperance women left their mark on their quilts in obvious ways. A T for Temperance. A Drunkard’s Path for the road they hoped to close. It is a tidy story. It just may not be entirely true. ![A quilt featuring a repeating pattern of navy blue and white geometric shapes on a pink background, forming a grid design with diamond-shaped blocks. The quilt appears slightly wrinkled.](https://quilthistory.com/wp-content/uploads/2026/07/T-quilt-double-pink-768x975.webp)Double Pink and Indigo. Found on Facebook Marketplace ## However…Did Temperance Quilts Actually Use the T Block? There is no indication that these fundraising quilts used the letter T or were drunkards’ path quilts, as commonly supposed. The first “T” block wasn’t [documented until 1883.](https://web.archive.org/web/20190201181036/http://quilthistorytidbits--oldnewlydiscovered.yolasite.com/drunkards-path-and-t-quilts.php) Although the WCTU adopted blue and white as their colors, these fundraising quilts may or may not have been blue and white and likely didn’t use the “T” block. Historians now recognize that temperance supporters made quilts in many styles, including fashionable styles of their own time. A true WCTU quilt usually needs firmer evidence, such as an inscription, a documented maker, signatures, or the letters W.C.T.U. The Eighteenth Amendment to the US Constitution was passed in 1919 with the belief that banning alcohol would improve virtually all of society’s ills. It was repealed with the 21st Amendment in 1933, leaving the banning of illicit substances in the hands of the individual states. ## What Would A “T” Quilt Look Like? ![Tall Tees Quilt](https://scrapdash.com/wp-content/uploads/2022/04/T-quilt-1.jpg)Here is a Talls Tees quilt. This probably wasn’t originally tan and red. It could have been green and red, or, more likely, the red that faded to tan was not a true [turkey red.](https://quilthistory.com/turkey-red-the-brilliant-dye-that-traveled-the-world/) ![](https://scrapdash.com/wp-content/uploads/2022/04/double-T-quilt.jpg)The pattern for this Double T quilt looks like it came from the Farmers Journal below right. Not every T quilt was a political statement. But in an era when women had almost no public voice, even a quilt block could carry a message. These women stitched their opinions into every seam, and a few of those opinions have lasted longer than Prohibition did. ## More Original “T” Blocks | Notice how this block tesselates – the design makes a T in the center. | This is called a Double T block in the magazine | | --- | --- | [![Vintage magazine spread showing colorful patchwork quilt designs at the top and illustrations of women sewing and using quilts. Text in columns describes prize-winning patchwork and quilting tips from subscribers.](https://quilthistory.com/wp-content/uploads/2026/07/Womans-World-August-1929-1024x695.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Womans-World-August-1929.webp)Womans-World-August-1929. Notice that block “B” is called the Double T. ## Learn More [A Temperance Pledge](https://www.teachushistory.org/second-great-awakening-age-reform/resources/temperance-pledge-amherst-college) (image) [American Quilts of Patriotism and Political Commentary](https://quiltindex.org/view/?type=essays&kid=1-112-2) —The Quilt Index  _[Crusading Quilts: Social Reform and the Woman’s Christian Temperance Union](http://crusadingquilts.wordpress.com/)_ [Drunkard’s Path Quilts, T Quilts, and the W. C. T. U.](https://quiltindex.org/view/view/?type=publications&kid=34-136-2)   —The Quilt Index  _[For Purpose and Pleasure:  Quilting Together in Nineteenth-Century America](https://amzn.to/4oQMSx7)_ [_Hearts and Hands: The Influence of Women & Quilts on American Society_ ](https://amzn.to/4eSOli4) [Roots of Prohibition](http://www.pbs.org/kenburns/prohibition/roots-of-prohibition/) _[Shared Threads:  Quilting Together–Past and Present](https://amzn.to/442omzM)_ [Social Welfare History Project](https://socialwelfare.library.vcu.edu/religious/the-temperance-movement/), Virginia Commonwealth University [The Temperance Block by Barbara Brackman](https://barbarabrackman.blogspot.com/2016/03/temperance-quilts-1-t-blocks.html) [_The Fabric of Persuasion: Two Hundred Years of Political Quilts_ ](https://amzn.to/4wk8J2L) [Woman’s Christian Temperance Union,](https://www.wctu.org/history) [World Quilts: The American Story](https://worldquilts.quiltstudy.org/americanstory/engagement/temperance) --- --- title: "Grandmother Clark’s Booklets and Designs" url: "https://quilthistory.com/depression-quilts/grandmother-clarks-quilt-booklets/" lang: "en-US" type: "page" description: "A Time Machine on Paper I found a small quilting booklet dated 1931 called Grandmother Clark’s Oldfashioned Quilt Designs, Book No. 21. It is only 16 pages, but it is the kind of little paper treasure that can send me" last_modified: "2026-08-15T18:53:07+00:00" custom_fields: iawp_total_views: 16 --- # Grandmother Clark’s Booklets and Designs ## A Time Machine on Paper I found a small quilting booklet dated 1931 called _Grandmother Clark’s Oldfashioned Quilt Designs, Book No. 21_. It is only 16 pages, but it is the kind of little paper treasure that can send me down a research rabbit hole. It was easy to find out that the booklet was published by W.L.M. Clark, Inc. of St. Louis, Missouri, a company that sold needlework booklets, quilt patterns, templates, and pre-cut fabric pieces during the early 20th century. [Antique Pattern Library](https://www.antiquepatternlibrary.org/html/warm/L-HW002.htm) describes the four related Grandmother Clark quilt booklets (Books #19 – #23) as stapled booklets with traditional patchwork patterns and pattern pieces shown at what appear to be full size. The one I found fits right into that world. It was meant to help a homemaker make something useful and pretty without buying a modern quilt pattern as we know it today. _Grandmother Clark’s Patchwork Quilt Designs_.  Book No. 20.  ©1931. _Grandmother Clark’s Oldfashioned Quilt Designs_.  Book No. 21.  ©1931. _Grandmother Clark’s Quilting Designs_.  Book No. 22.  ©1932. _Grandmother Clark’s Authentic Early American Patchwork Quilts_.  Book No. 23.  ©1932. _Grandmother Clark’s Patchwork Quilts_.  Book No. 19.  ©1932. ## Who Was Grandmother Clark? Grandmother Clark was probably not a real grandmother. She was a trade name like Grandma Dexter or Betty Crocker, a friendly marketing character used by W.L.M. Clark, Inc. Companies in the 1920s and 1930s understood the power of a trustworthy name. “Grandmother” sounded thrifty, wise, old-fashioned, and safe. During the Depression years, that mattered. A grandmotherly voice could sell quilt booklets, fabric scraps, stamped embroidery kits, and household needlework supplies without sounding too fancy or too expensive. [Barbara Brackman](https://barbarabrackman.blogspot.com/2023/06/boxes-of-cotton-scraps.html) notes that the W.L.M. Clark Company used the Grandmother Clark name to sell boxes of cotton factory cutaways, stamped needlework kits, templates, and quilting and patchwork pattern booklets. Who was the author? It’s believed that most of the patterns were written by Winnifred (Worth) Clark. She was the lead designer for W.L.M Clark so she would have been in charge of the actual needlework designs and technical layoutss. ## A Booklet from the Depression Era The 1930s were a fascinating time for American quilting. Money was tight, but that did not mean quilts were dull. Many Depression-era quilts were cheerful, colorful, and full of movement. Quilters used scraps, [feed sacks](https://quilthistory.com/the-feedsack-story/), leftovers, and carefully purchased bits of fabric. At the same time, companies sold affordable pattern booklets and pre-cut fabric pieces to make the process easier. W.L.M Clark put out over 30 needlework booklets under the name Grandmother Clark (later just Grandmother’s from 1938 – 1950) covering such topics as crochet, tatting, and rugmaking. This little booklet offered traditional blocks with diagrams and templates, but it also sold the idea that anyone could make a good quilt with a little guidance. The copy I found includes blocks, cutting diagrams, and notes that tell quilters to add seam allowance. That is a very important detail. Modern quilt patterns usually include the 1/4″ seam allowance in the cutting directions. Older templates often did not. If you traced the shape exactly and forgot to add the seam allowance, your block would come up short. ![Sunbonnet-Sue-Grandmother-Clark A vintage instruction sheet featuring text about Grandmother Clark’s Old-Fashioned Quilt Designs on the left, with black-and-white outline patterns of two bonneted girls for quilting from the Grandmother Clark Quilt Booklets on the right.](https://quilthistory.com/wp-content/uploads/2026/06/Sunbonnet-Sue-Grandmother-Clark.webp) ## What’s Inside Booklet # 21? The booklet includes a wide range of traditional patchwork and applique designs. Some are still familiar today. Others have names that feel very much of their time. What I love about these pages is how much information is packed into it. There are tiny block drawings, numbered templates, and a reminder to allow for seams. It is not fancy, but it is efficient. The blocks listed in this booklet include: _Sun Bonnet Babies, Irish Chain Applique, Swastika, Jewel, Strawberry Basket, Pineapple, Rare Old Tulip, Pinwheel, Zigzag, Arbor Window, Egyptian Butterfly, Crazy Patch, Poinsettia, Chinese Puzzle, Pilot Wheel, Criss-Cross, Watermill, Star Flower, Cart Wheel, Flower Garden, Window Squares, Star of the East, Broken Squares, Star and Planets, Block Puzzle, Diamonds, Plain Butterfly, Pussy in the Corner, Aunt Mary’s Squares, Fancy Butterfly, Flower Tree, Pot of Flowers, Royal Star, Sunburst, Log Cabin, and Crazy Patch Star._ ![Grandmother-Clark-AppliqueTwo pages from a Grandmother Clark Quilt Booklets pattern. The left page shows large outlined floral pattern pieces. The right page features nine black-and-white quilt block designs, each with labels and brief descriptions.](https://quilthistory.com/wp-content/uploads/2026/06/Grandmother-Clark-Applique.webp) ## Let’s talk about some of those blocks Book No. 21 is not just a quilt booklet. It is also a snapshot of how quilting was marketed during the Depression. The blocks themselves lean heavily on tradition: _Log Cabin, Irish Chain Applique, Pineapple, Star of the East, Crazy Patch, Pinwheel, Sunburst,_ and flower designs such as _Poinsettia, Rare Old Tulip, Flower Garden, Flower Tree_, and _Pot of Flowers._ These names promised continuity. They suggested that the patterns came from the past, even when they were being sold through a very modern mail-order and commercial system. That combination was powerful. A woman could buy a booklet from a company, possibly use pre-cut patches or factory scraps, and still feel connected to the quilts of mothers and grandmothers. It was nostalgia with a price tag, but a small one. ### Blocks Reflecting the Time Period #### The Swastika TIn 1931, this was still a traditional, highly positive Native American and global symbol for good luck, long life, and prosperity. It was a incredibly common quilt motif. However, as the Nazi party rose to power in Europe during the 1930s, American quilters completely abandoned this pattern. By WWII, many women went so far as to burn, destroy, or cut up old family quilts that contained this block. #### The Egyptian Butterfly In 1922, King Tutankhamun’s tomb was discovered, sparking a decade-long global obsession with Egyptian revival design (“Egyptomania”). Fabric companies and pattern designers scrambled to label anything with angular lines or insect motifs as “Egyptian.” Grandmother Clark capitalized on this trend by offering three distinct variations including the Plain Butterfly and the Fancy Butterfly. ### Crazy Patch varieties Originally, Victorian “[Crazy Quilts](https://quilthistory.com/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/)” were made of luxury silks and velvet with heavy embroidery. In the 1930s, Grandmother Clark stripped away the luxury and repurposed the technique for practical survival. These blocks allowed women to sew completely random, irregular scraps of cheap cotton together so absolutely no fabric went to waste. We do that now, with the [Stack ‘n Slash technique](https://scrapdash.com/stack-slash-shuffle-and-stitch/). #### Log Cabin A universal 19th-century favorite that remained a staple in the 1930s. It was beloved during the Depression because it could be made entirely from thin, narrow strips of leftover fabric. These might be cut offs from dress making, salesmens samples, or even used-up clothes. There were a number of [variations of the Log Cabin design](https://scrapdash.com/black-and-white-with-a-red-binding/). #### Pussy in the Corner A classic, simple geometric block dating back to the early 1800s. It was highly popular for beginners and used small, square scraps. The name eventually became “Puss in the Corner.” ![Pussy-in-the-Corner-Grandmother-Clarke A black-and-white image from Grandmother Clark Quilt Booklets. The left page shows outlines of butterfly parts and rectangles labeled with numbers, while the right page displays six finished quilt block and butterfly designs with pattern names and numbers.](https://quilthistory.com/wp-content/uploads/2026/06/Pussy-in-the-Corner-Grandmother-Clarke.webp) ### Names that Changed over Time Another example of a name that changed is what W.L.M. Clark marketed as “Arbor Window”. We now call it the Chimney Sweep Block and it is used extensively for signature quilts. Giving traditional blocks romantic, nature-inspired names (like “Arbor Window”) was a deliberate marketing tactic to make the patterns feel fresh and exclusive to her brand. Sun Bonnet Babies: Today, the quilting world almost exclusively refers to this iconic motif as [Sunbonnet Sue](https://scrapdash.com/here-comes-the-sun/). Originally created by illustrator Bertha Corbett in the early 1900s, the applique design became an absolute phenomenon in 1930s quilts, representing an idealized, innocent rural childhood. Flower Garden: Today, this is universally known as the [Grandmother’s Flower Garden](https://quilthistory.com/grandmothers-flower-garden-quilt-history/). It is made of hand-pieced hexagons and is probably the single most recognizable quilt pattern of the 1930s. Irish Chain Applique: Typically, an Irish Chain is a pieced geometric grid. Offering an appliqued version was a way to market a more sophisticated, artistic, and time-consuming project. Applique quilts were generally reserved for “best” beds rather than everyday utility use. ![Irish-Chain-Applique A sewing pattern sheet showing black-outlined templates on the left page and nine quilt block designs, each with a number and name, arranged in a grid on the right page. Quilt blocks feature geometric and appliqué styles.](https://quilthistory.com/wp-content/uploads/2026/06/Irish-Chain-Applique-1024x709.webp) ### Botanical & Whimsical Motifs Pineapple, Strawberry Basket, Pot of Flowers, Flower Tree, Rare Old Tulip, Poinsettia: Floral and fruit appliques exploded in the 1930s. This was largely due to the introduction of new, highly reliable “fast-color” chemical dyes (especially solids). For the first time, housewives could applique a bright red strawberry or a green leaf onto a white background and trust that the colors wouldn’t bleed and ruin the quilt when washed. ### Optical Illusions & Geometry Chinese Puzzle / Watermill / Pilot Wheel / Pinwheel / Cart Wheel: These geometric blocks all use contrasting triangles to create a sense of spinning motion across the bed. They look complex but are built on simple grids, allowing quilters to showcase their technical sewing skills using alternating light and dark fabrics. Star of the East / Royal Star / Sunburst: These star patterns required precision cutting and perfect seam allowances. Because the points meet at a single center, they are notoriously difficult to piece without puckering. W.L.M. Clark heavily pushed these blocks because they were incredibly difficult to draft by hand—which drove women to purchase their pre-cut cardboard templates and pre-cut fabric packs to ensure the points matched perfectly. Broken Squares / Window Squares / Criss-Cross / Zigzag / Diamonds / Block Puzzle / Aunt Mary’s Squares / Jewel / Star and Planets: These are all strict template-based geometric designs. They relied on high contrast (often pairing a loud 1930s calico print with a solid pastel or solid white) to create a striking mosaic effect. ## A Little Book with a Long Memory What makes this booklet special is not just its age. It is the way it sits at the meeting point of tradition and creativity. Today we might look at a 16-page booklet and think it is slight. But in 1931, it could have been a very useful tool. It gave quilters access to many designs in one place. It helped standardize block names and layouts. It made quiltmaking feel possible for someone who wanted to use scraps, but did not want to draft every pattern from scratch. The designs were old-fashioned on purpose. The “Grandmother Clark” name was old-fashioned on purpose. At the same time, this was a commercial product from a company that understood its market. W.L.M. Clark, Inc. sold not only ideas, but also supplies. The booklet helped quilters imagine what they could make, and the company was ready to sell them the pieces to make it easier. These booklets also helped spread quilt designs across the country. A quilter in Missouri and a quilter in New York could make the same _Star of the East _or [_Sun Bonnet Babies_](https://scrapdash.com/here-comes-the-sun/) block from the same printed source. Patterns began to be printed in newspapers under the names [Nancy Page](https://barbarabrackman.blogspot.com/2025/09/nancy-page-quilt-column-ghost-artist.html) or [Laura Wheeler](https://barbarabrackman.blogspot.com/2009/08/laura-wheeler-patterns.html) as part of the newspaper circulation wars of the depression. Before blogs, Pinterest, YouTube, and printable PDF quilt patterns, these small booklets were part of the network that carried quilt ideas from one sewing basket to another. ## Patchwork Designs Book #36 ![A vintage quilt pattern book page with illustrated patchwork designs, cutting diagrams, and detailed labels for each shape and pattern; black text on a white background; small portrait of a man in the top right corner.](https://quilthistory.com/wp-content/uploads/2026/07/Patchwork-Designs-from-Grandma-Dexter-768x1011.webp)I found this in a stash of patterns a quilter kept. I wonder if she ever made this quilt? Judging from the other patterns, I am going to date this 1940. [![A quilt pattern sheet with sketched feather designs, labeled CENTER, BORDER, and FOR STRIPS. Text at the bottom reads FEATHER DESIGN GRANDMOTHER CLARKS. The background features a blue cutting mat—an inspiring example of vintage motifs found in Grandmother Clark Quilt Booklets.](https://quilthistory.com/wp-content/uploads/2026/08/Feather-Motif-450x390.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Feather-Motif.webp)Quilting Feather Motif on the back ## Grandma Clark’s Cardboard Diagrams Click on the thumbnails below to see them up close. [![Grandmother-Clarks-cardboard-template-cover A vintage quilt pattern instruction sheet, reminiscent of the Grandmother Clark Quilt Booklets, shows various quilt block designs, cutting instructions, diagrams, and text directions for making quilt patches with seam allowances. Each block requires a specific number of fabric pieces.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-cover-320x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-cover.webp) [![Grandmother-Clarks-cardboard-templates Assorted vintage quilt pattern templates, including paper instructions and illustrated pattern cards, arranged neatly on a white background.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-templates-450x300.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-templates.webp) [![A rectangular pink paper strip labeled Cutting Diagram for Log Cabin Quilt, showing five marked sections with measurements and a small black square quilt pattern on the right end.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-log-cabin-450x150.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-log-cabin.webp)The color is a little off on these images. These templates are made of regular colored coardboard. [![Grandmother-Clarks-cardboard-template-dresden-plate Pink paper template labeled Grandmother Clarks Cutting Diagram A for Dresden Plate quilt, with flower pattern illustration and instructions for cutting twelve-inch quilt blocks.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-dresden-plate-370x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-dresden-plate.webp) [![Grandmother-Clarks-cardboard-template-dresden-plate-center Pink circular diagram labeled Cutting Diagram B for Dresden Plate quilt center patch, also for yo-yo, puff, or bed of roses quilts, with patterns and instructions for fabric cutting and seam allowances.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-dresden-plate-center-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-dresden-plate-center.webp) [![Grandmother-Clarks-cardboard-template-basket Two pink paper quilt templates labeled Cutting Diagram A and Cutting Diagram B for a Basket quilt, each with seam allowance instructions and a small quilt block diagram.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-basket-450x401.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-basket.webp) [![Grandmother-Clarks-cardboard-template-DWR Two pink fabric templates labeled Cutting Diagram A and Cutting Diagram B for Grandmother Clarks Double Wedding Ring quilt, each with diagram, instructions, and seam allowance details for making quilt patches.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-DWR-450x209.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-DWR.webp) [![Pink diamond-shaped paper with text showing a cutting diagram for Eight-Pointed Star quilt patches, including seam allowance info and a small star illustration at the bottom.](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-star-263x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Grandmother-Clarks-cardboard-template-star.webp) Some things change. Some things do not. We still save scraps “just in case,” still argue with templates, and still believe one more quilt book will not hurt. Clearly, Grandmother Clark knew us all along. --- --- title: "Victorian Mourning Customs" url: "https://quilthistory.com/victorian-quilts/victorian-mourning-customs/" lang: "en-US" type: "page" description: "American mourning dress, ca. 1903. Public domain image courtesy of The Metropolitan Museum of Art. What to Wear, How Long to Wear It, and Why It Mattered Mourning clothes may seem like a small detail when a family is grieving," last_modified: "2026-08-01T18:50:24+00:00" custom_fields: iawp_total_views: 24 --- # Victorian Mourning Customs ![Mourning-Dress-with-black-silk-crepe A mannequin wears a long, black, high-necked Victorian-style dress with lace details, long sleeves, and a fitted waist, standing in a dramatic pose against a plain, gradient background.](https://quilthistory.com/wp-content/uploads/2026/06/Mourning-Dress-with-black-silk-crepe-339x450.jpg)American mourning dress, ca. 1903. Public domain image courtesy of The Metropolitan Museum of Art. ## What to Wear, How Long to Wear It, and Why It Mattered Mourning clothes may seem like a small detail when a family is grieving, but in the Victorian era, what a person wore after a death carried a great deal of meaning. Black clothing, crape veils, widow’s caps, black-edged handkerchiefs, and even the timing of social calls all helped signal grief, respect, and social standing. Crape, now more commonly spelled crepe, was a crinkled black fabric strongly associated with Victorian mourning clothes. This article is based on a period description of mourning etiquette commonly circulated as “Victorian Mourning Customs from Collier’s Cyclopedia, published in 1901.” A very similar version also appears in _[The Manners of the Aristocracy](https://amzn.to/4w5N3ay)_, in the chapter “The Etiquette of Mourning.” The wording and advice reflect the customs, class assumptions, and social expectations of the late Victorian and Edwardian period. ## Mourning as a Public Sign of Respect In Victorian society, mourning was not considered only a private feeling. It was also expected to be shown outwardly through clothing and behavior. Black clothing served as a visible sign that the wearer had suffered a loss and was observing the customs of grief. The original article is very firm on this point. It criticizes those who wore only a black armband after the death of a close relative, explaining that such a small sign was more appropriate for men in uniform than for ordinary social life. A new bright dress with a crape band around the arm was seen as especially improper because it suggested that the wearer could afford mourning clothes but chose not to follow the custom. This may sound harsh to us today, but it shows how strongly clothing was tied to duty and respectability. Mourning dress was a kind of social language. Everyone was expected to know what it meant. ## The Deepest Mourning: Widows A widow’s mourning was considered the deepest and most formal. The first stage lasted a year and a day. During that time, her clothing was expected to be plain black and heavily trimmed with crape. Older mourning fabrics such as [bombazine ](https://www.metmuseum.org/art/collection/search/392524)were becoming less common by the time this article was written. Melrose and Henrietta cloth were recommended for widows’ dresses, with the skirt, bodice, and sleeves trimmed so heavily with crape that the dress almost appeared to be made entirely of it. The article also mentions rainproof crape, which was considered more practical and economical than ordinary crape. Since first mourning lasted so long, a widow was advised to have at least two dresses, so one could be spared while the other was worn. A widow’s outdoor clothing followed the same rules. Mantles, jackets, capes, and summer wraps were trimmed with crape. Her bonnet was made of crape, with a long veil hanging down the back and a shorter veil worn over the face. Hats were not considered proper for widows during the deepest stage of mourning, even for younger women. ## A Widow’s Mourning Outfit The original article gives a surprisingly detailed list of what was considered a suitable widow’s outfit. A complete wardrobe might include: - One best dress of Henrietta trimmed entirely with crape. - One second dress, either made of Cyprus crape or an older black dress covered with rainproof crape. - One Henrietta mantle lined with silk and deeply trimmed with crape. - One warmer cloth jacket, also trimmed with crape. - One best silk crape bonnet with a long veil. - One rainproof crape bonnet with a crape veil. - Muslin or lawn collars and cuffs. - Black petticoats, black stockings, black gloves, and black-bordered handkerchiefs. - Widow’s caps, made of lisse, tulle, lawn, or tarlatan, with long streamers. The article notes that widows’ caps were difficult to make well at home. If a woman tried, she was advised to use a purchased cap as a model and shape the new one on a wooden head form. This is one of those historical details that makes you realize how many small skills were once part of everyday domestic life. ![Black silk Victorian mourning dress with long sleeves, elaborate button details, and decorative tassels embodies the style of Victorian Mourning Costumes in the United States; fitted bodice features lace accents at the cuffs and collar. Displayed on a white mannequin.](https://quilthistory.com/wp-content/uploads/2026/06/victorian-mourning-1880-529x1024.jpg)French mourning dress, ca. 1880. Public domain image courtesy of The Metropolitan Museum of Art. ## Second Mourning and Half-Mourning After the first year and a day, a widow moved into second mourning. The widow’s cap was usually left off, and the heavy crape was reduced. Instead of covering the dress, crape might be used in tucks or smaller trimmings. Second mourning could last another nine to twelve months. After that, plain black without crape was worn, followed by half-mourning. Half-mourning allowed softer colors such as gray, pale lavender, black-and-white combinations, and sometimes muted violet. Jewelry was still restrained, though jet ornaments were allowed earlier than gold or silver. Some widows eventually returned to ordinary dress. Others, especially older widows, remained in mourning or semi-mourning for the rest of their lives. A widow might set aside black only for a special family occasion, such as the wedding of a child. ![An oval brooch featuring a center of braided light brown hair, surrounded by a ring of small pearls and an outer border of dark gemstones set in gold, reflects Victorian Mourning Customs in the United States.](https://quilthistory.com/wp-content/uploads/2026/06/jet-jewelry-with-hair-450x360.jpg)Jet Jewelry with hair center. Memorial inscription for Chas. T. Evans, who died at sea in 1852. Public domain image courtesy of The Metropolitan Museum of Art. ## Mourning for Parents and Children Mourning for parents by children, or for children by parents, ranked next after widow’s mourning. The usual period was twelve months. The first six months were worn in black with crape trimmings. The next three months were plain black. The final three months were half-mourning, though the article suggests that many people considered it better taste to remain in plain black for the full year and wear half-mourning afterward. The clothing for this stage was still formal, but not quite as severe as widow’s mourning. Dresses might be made of Henrietta, Melrose, cashmere, or black corded fabrics such as Janus cord or Victoria cord. Collars and cuffs were usually muslin or lawn with small tucks, rather than the wide hems associated with widows. Black stockings, black gloves, crape bonnets or hats, and black-bordered handkerchiefs were recommended. Jet jewelry was acceptable while crape was worn, but gold and silver jewelry were discouraged during the earlier stages. ## Mourning for Other Relatives The article also lays out [shorter mourning periods](https://victorianweb.org/history/mourning/6.html) for other family members. These rules varied by region, and social class, but the general guidelines were: - For parents-in-law, one month of black was considered suitable, followed by black and white with lilac. - For grandparents, simple black without crape was worn for three months. - For brothers and sisters, mourning lasted about six months: three months with crape, two months in plain black, and one month in half-mourning. - For uncles, aunts, nephews, and nieces, plain black with jet was worn for three months, without crape. - For great-uncles and great-aunts, mourning lasted about two months. - For first cousins, six weeks was considered enough, with part of that time in half-mourning. - More distant cousins were usually not mourned with special clothing unless they had lived in the same household. These rules may feel oddly specific now, but they helped people know what was expected. In Victorian mourning, black carried the heavy lifting. Gray came in later, during half-mourning, when the rules began to loosen and the mourner could slowly step back toward everyday life. ## Mourning and Social Life Mourning affected more than clothing. It also changed a person’s social calendar. Invitations were not accepted before the funeral of a relative close enough to require mourning. For parents, grandparents, brothers, and sisters, society was often given up for at least three months. Widows were not expected to enter society for at least a year, during the period of deepest mourning. The article also warns against attending balls or large festive gatherings while wearing [crape](https://www.metmuseum.org/art/collection/search/159185). In the social rules of the time, mourning clothing and festive entertainment did not belong together. Calls after a bereavement were handled carefully. Cards were left, and the grieving family might later send cards thanking friends for their kind inquiries. Letters of condolence were written on slightly black-edged paper. The article suggests telling the recipient that no answer is expected, since even a kind letter could create another burden for someone newly grieving. ## Mourning for Servants One revealing section discusses servants’ mourning. Servants were usually put into mourning only for members of the household in which they worked, not for the wider relatives of their employers. Often this applied only to the heads of the household. A servant’s mourning might include a best black dress of Victoria cord or alpaca, two black cotton dresses for work, a cloth jacket with slight crape trimming, a silk and crape bonnet, black kid gloves, and black cap ribbon. This mourning might be worn for six months or even a year. This section shows the class structure behind mourning customs. Mourning dress was not just about grief. It also displayed household status, respectability, and the relationship between employers and servants. ## Mourning Fabrics and Materials The original article names many fabrics that were considered suitable for mourning. These included silk crape, Henrietta, Albert crape, Melrose, rainproof crape, Cyprus crape, Janus cord, Victoria cord, Balmoral cloth, Cashmere Francais, Kashgar cashmere, drap d’ete, barege, nun’s veiling, satine, and foulardine. For summer mourning, lighter fabrics were recommended. For children, black washable cottons were preferred over heavier fabrics. Black with tiny white spots or sprigs could be used for lighter mourning. Strict mourning did not include velvet, satin, or plush because these were not considered proper mourning materials. Gray and pale lavender were acceptable for half-mourning, along with gray gloves, gray-and-black ribbons, gray feathers, and black flowers mixed with gray. Children under fifteen were not generally expected to wear mourning, and girls under seventeen were not expected to wear crape. ## The Cost of Mourning The article ends with practical advice about expense. Mourning often had to be purchased quickly, which made families vulnerable to buying more than they needed or paying too much. The writer advised purchasing from reputable mourning establishments and choosing durable materials instead of cheap fabrics that would not wear well. At the same time, the article admits that mourning should fit the family’s means. A household was not expected to spend beyond its purse. Still, the writer strongly hoped that the custom of wearing “decent mourning” would continue in America, calling it a visible sign of family affection and respect. Today, we may not agree with every rule, judgment, or expectation in this old advice. Grief is personal, and clothing customs have changed dramatically. But as a historical source, this article gives us a vivid look at a time when mourning was stitched into daily life, from veils and collars to calling cards and handkerchiefs. ## Learn More [Myras Journal of Dress and Fashion 1875- 1912](https://archive.org/stream/myras-journal-of-dress-and-fashion-1875-1912/1891/Myra%27s%20Journal%20of%20Dress%20and%20Fashion%20v17n09%20%281891-09-01%29%20%28BNA%29_djvu.txt) Useful as a period fashion source because it mentions mourning fabrics including Henrietta cloth, Melrose cloth, crêpe cloth, veiling, and other black dress materials. [The Dictionary of Textiles](https://archive.org/stream/dictionaryoftext00harmrich/dictionaryoftext00harmrich_djvu.txt) (1915) Helpful for old fabric terms such as crape, crape cloth, Albert crape, and other textiles from a Victorian sewing basket. [Mid-Late Victorian Mouning Dress from Lancaster History](https://www.lancasterhistory.org/victorian-mourning-dress/) A clear article explaining Victorian mourning dress, including the influence of Queen Victoria’s long mourning after Prince Albert’s death. [Hudson River Museum: “Mourning in the Victorian Era and Glenview”](https://www.hrm.org/mourning-in-the-victorian-era-and-glenview/) A good museum source on mourning customs, including how expectations differed for men and women. --- --- title: "Nine Years Old and 1,233 Pieces: The Little Alabama Quilter Who Deserved a World’s Fair" url: "https://quilthistory.com/people-stories/nine-years-old-and-1233-pieces-the-little-alabama-quilter-who-deserved-a-worlds-fair/" lang: "en-US" type: "page" description: "Every now and then, a tiny newspaper clipping opens a door into a much larger story. This one begins with a proud little notice about a nine-year-old girl from Butler County, Alabama, and ends with a question that sounds almost" last_modified: "2026-07-18T21:22:30+00:00" custom_fields: iawp_total_views: 205 --- # Nine Years Old and 1,233 Pieces: The Little Alabama Quilter Who Deserved a World’s Fair Every now and then, a tiny newspaper clipping opens a door into a much larger story. This one begins with a proud little notice about a nine-year-old girl from Butler County, Alabama, and ends with a question that sounds almost like a challenge: “Is she not worth telling of in the Woman’s Department in the World’s Exposition?” Well, yes. Yes, she was. ![Newspaper clipping highlighting A.E. Dees, a 9-year-old girl from Butler County, known for making seven quilts, including intricate patterns. It praises her sewing skills and industriousness.](https://quilthistory.com/wp-content/uploads/2026/06/little-girl-quilter.jpg) The clipping from The Greenville Advocate, a prominent historic newspaper in Butler County, Alabama, praised a child named A. E. Dees as “the smartest child in the world.” That may have been just a proud mama bragging but I am inclined to agree. By the age of nine, she had made seven quilts. Her most intricate one contained 1,233 pieces. Her first quilt had been finished when she was only five years old. ## World Cotton Centennial The World’s Exposition in the article probably refers to the World’s Industrial and Cotton Centennial Exposition, also called the World Cotton Centennial, held in New Orleans from December 1884 into June 1885. The fair opened on December 16, 1884, and ran into the summer of 1885. New Orleans was a natural setting for a cotton exposition. Cotton was still one of the region’s most important crops, and New Orleans was a major cotton trading city. The fair was intended to show off industry, agriculture, invention, education, and the progress of the South after the Civil War. Like many world’s fairs, it was part celebration, part advertising campaign, and part “look what we can do now.” And tucked into all that machinery, commerce, and civic pride was something very important to quilters: the Woman’s Department. ## The Woman’s Department Was a Big Deal The Woman’s Department at the New Orleans exposition was not just a corner where ladies were allowed to put doilies while the men handled the “important” exhibits. It was organized and managed by women, with [Julia Ward Howe](https://www.nps.gov/people/julia-ward-howe.htm) serving as one of its leading figures. Howe was already famous as the author of “The Battle Hymn of the Republic,” and she was also active in women’s rights and reform movements. Here was a public, national stage where women’s work could be displayed. Needlework, embroidery, household management, education, writing, and decorative arts were all part of the story. The department brought women from different regions into the same public conversation, even in a time when the country was still carrying the heavy bruises of the Civil War and Reconstruction. Unlike previous fairs, the 1884 New Orleans Exposition featured [deliberate space for African American women](https://thisbeautifulsisterhood.org/the-new-orleans-worlds-fair-of-1884-constructs-of-progress/). Despite underfunding and segregation, Black women were actively encouraged to submit their own high-quality needlework and craft displays. It’s impressive that an event that took place less than 20 years after the civil war ended made it a point to value the needlework of Black women. ## A Child Quilter, But Not a Toy Skill The clipping lists the quilts A. E. Dees had made: Brick and Block, Nine Block, Casket, Chestnut Burr, Irish Chain, Triangle, and Scrap Tulip. That is not a beginner list. Some of these patterns, like the Nine Block (probably a Nine-Patch) were simple enough to teach a young girl the basics of cutting, piecing, and straight seams. Others required planning, patience, and a steady hand. A quilt with 1,233 pieces would have been impressive for an adult. My guess is that those pieces made a Chestnut Burr quilt, which is made by folding small pieces on top of each other and sewing them in a circular arrangement. It made for a very heavy quilt that needed no batting or backing. The article also says she could make “any ordinary garment on the sewing machine.” That sentence tells us that A. E. Dees was not just making pretty things. She was being trained in the full range of domestic work expected of girls and women in the 19th century. I do wish we knew her full name. Just a bit of trivia: I checked the 1880 census. A possible candidate is [Martha Elizabeth Dees](https://ancestors.familysearch.org/en/LV3K-XPT/martha-elizabeth-dees-1874-1893), born 1874 and buried at Antioch East Cemetery in Greenville, Butler County, Alabama in 1893. Maybe A or Annie was a nickname? ## The Patterns She Made The names in the clipping are a little window into 19th-century quiltmaking. Pattern names were not always fixed. One family might call a block by one name, while another community used a different one. Textile history often survives unevenly. Some makers were named. Many were not. Some quilts were saved with family stories. Others were used up, worn out, sold, inherited without labels, or separated from the women who made them. Still, the list gives us a good idea of the kind of work this child was doing. Brick and Block was probably a simple geometric design based on rectangles and squares, much like masonry. This would have been a good teaching pattern because it rewarded careful measuring and straight seams. Nine Block, assuming it was what we call a Nine-Patch now, is one of the oldest and most common beginner blocks. A well-made Nine Patch teaches accuracy, seam allowance, pressing, and the joy of points that actually meet. Irish Chain is a classic design where small squares create diagonal chains across the quilt. It can look simple at first glance, but it requires careful placement. The open spaces also gave quilters room to show off their hand quilting. Triangle may have referred to any number of triangle-based designs. Triangles were common in 19th-century quilts, from simple half-square triangle arrangements to more complex patterns such as Thousand Pyramids or Birds in the Air style designs. ![Th ousand-Pyramid-QuiltA handmade quilt displayed on a bed features rows of triangle patches in various colors and patterns, including blue, red, brown, and beige, set against a light patterned background.](https://quilthistory.com/wp-content/uploads/2026/06/Thousand-Pyramid-Quilt-768x866.jpg)A Thousand Pyramid quilt top, probably 1880’s ![Irish-Chain-red A handmade quilt featuring a repeating diamond pattern made of small red and white squares, bordered by a red and white striped edge, hangs on a wall.](https://quilthistory.com/wp-content/uploads/2026/06/Irish-Chain-red-768x770.jpg)An Irish Chain quilt, with a turkey red that could be 1880’s Scrap Tulip suggests a floral design, possibly appliquéd or pieced, made from leftover fabrics. Scrap quilts were practical, but they were also a point of pride. Using up every bit of cloth showed thrift, skill, and good household management. **UPDATE**. While I was working on the [Grandmothers Flower Garden](https://quilthistory.com/grandmothers-flower-garden-quilt-history/) article, I came across this page in a [1931 booklet by Grandmother Clarke](https://quilthistory.com/grandmother-clarks-1931-quilt-booklets/). Notice that the block called “Irish Chain” is actually an applique block? I wonder which one she made? Could the Nine-Block in the article actually be what we call “Irish Chain” now? [![Irish-Chain-Applique A sewing pattern sheet showing black-outlined templates on the left page and nine quilt block designs, each with a number and name, arranged in a grid on the right page. Quilt blocks feature geometric and appliqué styles.](https://quilthistory.com/wp-content/uploads/2026/06/Irish-Chain-Applique-768x532.webp)](https://quilthistory.com/wp-content/uploads/2026/06/Irish-Chain-Applique.webp)Click on the picture to see it up close. ## Casket, Coffin, and the Language of Mourning The clipping says A. E. Dees made a Casket quilt. This may have been related to what some quilters later called Coffin or Casket patterns, using long, narrow shapes that resemble a coffin form. Again, we have to be careful here. Quilt pattern names traveled by family, region, magazine, newspaper, and memory. A name used in Alabama in the 1880s may not match exactly what a published pattern company meant decades later. Still, the name “Casket” would have been meaningful in a culture deeply familiar with mourning. Many Southern families had lost fathers, brothers, husbands, children, neighbors, and friends in the Civil War. [Mourning customs](https://quilthistory.com/victorian-mourning-customs/) were part of daily life, especially in the Victorian era. Dark fabrics, memorial objects, hairwork, mourning jewelry, and sentimental textiles all belonged to that world. ![An oval brooch featuring a center of braided light brown hair, surrounded by a ring of small pearls and an outer border of dark gemstones set in gold, reflects Victorian Mourning Customs in the United States.](https://quilthistory.com/wp-content/uploads/2026/06/jet-jewelry-with-hair.jpg)A mourning brooch. Jet Jewelry with hair center. One of the most famous examples of a coffin or graveyard quilt is Elizabeth Roseberry Mitchell’s Graveyard Quilt. Family tradition says she placed coffin shapes for family members around the border and moved each one into the central graveyard as that person died. The story was later told in Linda Otto Lipsett’s book, [_Elizabeth Roseberry Mitchell’s Graveyard Quilt: An American Pioneer Saga_.](https://amzn.to/4aXWQXK) ## Chestnut Burr and Alabama Quiltmaking Chestnut Burr may be the most impressive pattern in the list. The name suggests a textured, pointed design inspired by the prickly husk of a chestnut. It is closely related in spirit to Pine Burr or Pine Cone quilts, which are made with folded fabric pieces layered into dense, three-dimensional forms. The [Pine Burr style](https://quilthistory.com/wp-content/uploads/2026/06/GeesBend_TreasurePineBurrQuilt.pdf) became especially associated with Alabama quiltmaking. In fact, Alabama designated the Pine Burr quilt as its official state quilt in 1997. The official state quilt was made by Loretta Pettway Bennett of Gee’s Bend, and Alabama Public Television notes that Bennett learned the method from her mother, Qunnie Pettway. ![A circular mosaic pattern made of small, square tiles in shades of green, yellow, and orange, arranged in a spiral formation, creating a three-dimensional optical illusion.](https://quilthistory.com/wp-content/uploads/2026/06/Pine-Burr-Quilt.jpg)Courtesy of the Alabama Department of Archives and History. That later history does not mean A. E. Dees was making the exact same kind of Pine Burr quilt in the 1880s. But it does show that burr-style quilts have deep roots in Alabama’s quilt tradition. If Chestnut Burr was anything like the dimensional burr quilts we know today, then this little girl was doing very demanding work. ## Crazy Quilts and the World’s Fair Moment The timing of this clipping also places it right in the middle of the [Victorian crazy quilt craze](https://quilthistory.com/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/). Crazy quilts became wildly popular in the late 19th century, especially after Americans were exposed to Japanese design influences at the 1876 Centennial Exposition in Philadelphia. Their asymmetry, rich fabrics, embroidery, ribbons, and painted details appealed to Victorian taste. By 1884 and 1885, crazy quilts were everywhere. They were not usually made as warm bedcovers. They were showpieces. They displayed a woman’s needlework skills, taste, social connections, and access to fashionable scraps of silk, velvet, ribbon, and brocade. The Woman’s Department in New Orleans would have been a perfect place for those quilts. It was a public stage for the kind of work women had long done privately. ![A vintage black-and-white advertisement features a woman arranging a large patchwork quilt. The text promotes silk pieces for patchwork quilts or hooked rugs, detailing a subscription offer from Everyday Life magazine.](https://quilthistory.com/wp-content/uploads/2026/06/silk-pieces-768x576.jpg) A. E. Dees’ quilts, however, sound more traditional than crazy. Her list includes geometric patterns, scrap work, and named blocks rooted in household quiltmaking. That contrast makes the clipping even more interesting. While fashionable crazy quilts may have been grabbing attention, this child’s work represented another kind of excellence: piecing accuracy. ## What This Clipping Tells Us At first glance, this is just a cute human-interest item: a smart little girl makes quilts. But there is more tucked into those few lines. It tells us that quiltmaking was considered a skill worthy of public praise. It tells us that children were taught serious sewing at young ages. It tells us that pattern names were already circulating through families and communities. It tells us that women’s domestic work could be connected to national exhibitions, civic pride, and public recognition. I don’t know whether her quilts were ever sent to New Orleans. I hope they were. I looked through the [Catalog of Exhibits](https://catalog.hathitrust.org/Record/008890627) and didn’t see her name, but since she was a child, and we don’t really know her full name, that doesn’t mean her quilts weren’t there. ## Learn More [The Quilt Index](https://quiltindex.org/) A wonderful place to browse documented antique quilts, quilt blocks, makers, dates, regions, and quilt stories. It is an open-access digital repository with thousands of quilt images and records from museums, documentation projects, and private collections. [Barbara Brackman, _Encyclopedia of Pieced Quilt Patterns_](https://amzn.to/4aazLkv) The go-to reference for identifying pieced quilt blocks and their published names. Especially useful for old newspaper clippings where pattern names may vary by region or family tradition. The current edition includes more than 4,000 illustrated blocks. [Roderick Kiracofe, _The American Quilt: A History of Cloth and Comfort 1750–1950_](https://amzn.to/4ems64Y) A broad, readable history of American quilting, including early quilts, block-style quilts, mourning quilts, Amish quilts, Baltimore Album quilts, and African American quilts. [Cuesta Benberry, _Always There: The African-American Presence in American Quilts_](https://amzn.to/4vgQU4h) An important book for understanding how Black quiltmakers have always been part of American quilt history, even when the written record failed to name them. The Quilters Hall of Fame describes Benberry as one of the first Black quilt historians. [The World’s Industrial and Cotton Centennial Exposition, 1884–1885](https://onlinebooks.library.upenn.edu/) For period background, the University of Pennsylvania’s Online Books Page links to digitized publications from the New Orleans exposition, including catalogs and reports. [Southern Ladies and Suffragists: Julia Ward Howe and Women’s Rights at the 1884 New Orleans World’s Fair](https://academic.oup.com/mississippi-scholarship-online/book/19121?login=false) [Visitors’ guide to the World’s Industrial and Cotton Centennial Exposition, and New Orleans, commencing Dec. 16, 1884, and ending May 31, l885.](https://nolalibrary.org/2024/05/14/worlds-fairs-in-new-orleans/) [Louisiana State Museum Textiles Collection](https://louisianastatemuseum.org/bedding-furnishings-household-textiles-permanent-collection) --- --- title: "Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth" url: "https://quilthistory.com/people-stories/myths-misconceptions/jane-mccrea-burgoyne-surrounded-myth/" lang: "en-US" type: "page" description: "Some American myths begin with pure invention. Others begin with something painfully real. The story of Jane McCrea belongs in the second group. Jane McCrea was a real woman. She really did die near Fort Edward, New York, during the" last_modified: "2026-07-17T13:39:48+00:00" custom_fields: iawp_total_views: 301 --- # Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth Some American myths begin with pure invention. Others begin with something painfully real. The story of Jane McCrea belongs in the second group. Jane McCrea was a real woman. She really did die near Fort Edward, New York, during the summer of 1777, while General John Burgoyne’s army was moving south from Canada toward Albany. Her death was tragic but very useful to the Patriot cause. ![Jane-McCreaA blue and y ellow historical marker sign describes Jane McCrea, killed on July 27, 1777, noting her death helped defeat General Burgoyne at Saratoga. The sign is on a sidewalk near a street, house, and parked cars.](https://quilthistory.com/wp-content/uploads/2026/06/Jane-McCrea.jpg) That last part is where the story begins to change. Like the [Underground Railroad quilt block story](https://quilthistory.com/underground-railroad-quilts/), this is not a case where someone sat down and said, “Let’s fool people for the next 200 years.” It is more complicated than that. A real event was dramatized and retold until the version most people remembered was not quite the version historians could prove. The story started as news. Then it became propaganda. ## Who Was Jane McCrea? Jane McCrea was born in New Jersey around 1752 and later moved to New York, where she lived with her older brother and his family. Her family, like many families during the American Revolution, was divided by the war. One brother served in the Continental Army. Other family connections leaned Loyalist. That matters, because the popular version of Jane’s story often presents her as a beautiful young woman waiting for her Loyalist fiancé, David Jones, an officer serving with Burgoyne’s British army. In that version, Jane stayed behind while others fled, believing she would be protected because of her fiancé’s position. But historians are not completely certain that Jane was engaged to David Jones. She may have had a romantic connection to him, and she certainly knew Loyalists in the area, but the pretty story of the Loyalist bride waiting for her groom is harder to prove than it is to remember. What we do know is that Jane was at the home of Sarah McNeil near Fort Edward on July 27, 1777. Sarah was preparing to leave as Burgoyne’s forces advanced. Also in the house was Eve, a Black woman enslaved by Sarah McNeil, who hid with her infant son. A bit of trivia: New York State did not abolish slavery completely until 1827. This law made New York the first state to pass a piece of legislation mandating the total abolition of legal slavery. ## What Happened at Fort Edward? In the summer of 1777, the area around Fort Edward, NY, was not a tidy battlefield with clear lines and polite turns. It was a dangerous borderland of scouting parties, militia, civilians, retreating soldiers, Loyalists, Patriots, British troops, Native allies, and families trying to get out of the way. Burgoyne’s campaign depended in part on Native allies, including warriors from nations with their own politics. On July 27, Native warriors allied with the British came to Sarah McNeil’s house. Jane McCrea and Sarah McNeil were taken prisoner. Eve, hidden inside the house, survived. [Jane was killed soon afterward](https://www.smithsonianmag.com/history/a-native-soldier-allied-with-the-british-killed-a-young-white-woman-in-1777-propaganda-transformed-her-into-a-martyr-of-the-american-revolution-180988313/). Sarah McNeil survived and was taken to the British camp. Some accounts say Jane was killed by her captors after a quarrel over who would receive a reward for delivering her. Other accounts suggest she may have been struck by gunfire during a clash with pursuing Patriot soldiers. There were claims that she was scalped. There were later claims that physical evidence did not support that story. Her body was exhumed more than once, and even that became part of the legend. The third time she was exhumed, they couldn’t find her head so the manner of her death could never be confirmed. Jane McCrea’s final resting place is [Union Cemetery](https://washingtoncounty.fun/jane-mccrea-fort-edward-ny/), between Fort Edward and Hudson Falls, New York. ## How a Tragedy Became Propaganda Jane McCrea’s death came at a perfect moment for the Patriot cause. General Burgoyne was moving south, and many local settlers were frightened, or reluctant to join the fight. The killing of a young woman near Fort Edward gave Patriot leaders a story they could use. [General Horatio Gates accused Burgoyne of unleashing violence on innocent civilians](https://teachingamericanhistory.org/document/generals-gates-and-burgoyne-on-the-murder-of-jane-mccrea/). Newspapers repeated the story. The image of a helpless woman murdered by Britain’s Native allies spread quickly. Burgoyne argued that the story was false or at least exaggerated. He said Jane’s death was an accident and objected to the accusations against his army and its allies. But once a story has been printed and used to stir outrage, it is very hard to gather it back up again. That is especially true when the story confirms what people already want to believe. Patriot writers did not simply report Jane’s death. They used it to show British cruelty and Native “savagery,” a word that says more about colonial attitudes than it does about the people being described. Burgoyne’s campaign ended in disaster for the British. In October 1777, after the Battles of Saratoga, Burgoyne surrendered with nearly 6,000 men. That surrender became one of the turning points of the American Revolution. ## The Burgoyne Surrounded Quilt Block – A Myth? The quilt block known as [Burgoyne Surrounded or Burgoyne Surrenders](https://amzn.to/43zd2ed) is said to commemorate that moment. The usual explanation is wonderfully visual: the center squares represent Burgoyne and his army, while the surrounding squares represent American forces closing in from every side. It is a perfect quilt story. It may even be partly true. ![Burgoyne-Surrounded A quilt with a red and white geometric pattern, featuring circular and square motifs inspired by the Burgoyne Surrounded quilt block myth. The border has red vines and leaves. “Martha A. Page 1852” is stitched at the top center.](https://quilthistory.com/wp-content/uploads/2026/06/Burgoyne-Surrounded.jpg)Made by Martha Page in 1852. Image courtesy of [The Met](https://www.metmuseum.org/art/collection/search/739503) Although the Burgoyne Surrounded design is often connected to the surrender at Saratoga, museum notes and quilt historians have also pointed out that the design may have developed from the grid-like patterns found in early nineteenth-century woven coverlets. In that case, the name and the story may have been attached to a design that already existed or was evolving from other textile traditions. A block can carry more than one story. It can be a design, a memory, a marketing name, a patriotic reference, and a good excuse to cut a mountain of little squares. This is where the Jane McCrea story and the Burgoyne Surrounded block fit into a larger pattern of American folklore. A well-intentioned writer wants to make history interesting. A speaker wants to make a point. A teacher wants students to remember the lesson. A museum label has limited space. A quilt pattern needs a good story. Each person may only add a tiny bit of certainty to something that began as uncertain. Over time, a legend is born. ![A black-and-white page from a quilting book displays patchwork pattern diagrams, including a Triple Irish Chain block and Burgoyne’s Quilt layout, along with instructions and text descriptions. Page number 27 appears in the bottom corner.](https://quilthistory.com/wp-content/uploads/2026/07/101-Patchwork-Patterns-1931-Burgoyne-773x1024.webp)This is a page from the 1931 book “[101 Patchwork Patterns by Ruby Short McKim](https://amzn.to/3SVEW1V)“, original edition. Notice that it names the block “Burgoyne”. ## Why These Stories Last The legend of Jane McCrea lasted because it was useful. During the Revolution, it was useful to the Patriot cause. In the nineteenth century, it was useful to writers and historians building a dramatic national story. Later, it was useful in justifying harsh attitudes and policies toward Native people. That does not mean every person who repeated the story had bad motives. Many were simply repeating the version they had inherited. Jane McCrea’s death does not need exaggeration to matter. The real story is already powerful. A young woman died in a violent and confusing war. Her family and friends lived in a world divided by loyalty. Native people were turned into symbols instead of being treated as nations and individuals with their own stakes in the war. Patriot leaders used Jane’s death to stir anger, and that anger helped shape how generations remembered the Revolution. The Burgoyne Surrounded block also deserves that same careful treatment. It may commemorate Saratoga. It may have grown from woven coverlet designs. It may be both a patriotic name and a practical pattern. It is a design with a story attached, and like many traditional quilt blocks, the story may have been pieced together over time. ![A folded woven textile featuring a red and beige geometric pattern with squares and lines, reminiscent of the Burgoyne Surrounded Quilt Block Myth, displayed against a white background.](https://quilthistory.com/wp-content/uploads/2026/06/woven-coverlet.jpg)Woven Coverlet (reproduction) Jane McCrea was real. Her death was real. The grief and fear that followed were real. The myth came later. And like many myths, it tells us as much about the people who repeated it as it does about the event itself. ## Learn More - [_The Killing of Jane McCrea: An American Tragedy on the Revolutionary Frontier_](https://amzn.to/3QpX3Mj) by Paul Staiti - [Smithsonian Magazine – Jane McCrea, from Victim to Martyr](https://www.smithsonianmag.com/history/a-native-soldier-allied-with-the-british-killed-a-young-white-woman-in-1777-propaganda-transformed-her-into-a-martyr-of-the-american-revolution-180988313/) - [What Can Jane McCrea Tell Us about the American Revolution Today?](https://brooksidemuseum.org/grindon-mcrea/) Brookside Museum - [America’s Heritage Quilts](https://amzn.to/43zd2ed) (edited by Patricia Wilens / Better Homes and Gardens) - the [Old Fort House Museum](https://washingtoncounty.fun/see-old-fort-house-museum/) in Fort Edward, NY - [Quilters Newsletter Magazine, Issue # 70](https://amzn.to/3QvlEPQ) (August 1975) --- --- title: "The Grandmothers Flower Garden Quilt" url: "https://quilthistory.com/telltale-textiles/grandmothers-flower-garden-quilt-history/" lang: "en-US" type: "page" description: "Grandmother's Flower Garden is one of the most beloved quilt patterns in American history. Made of hexagons stitched into flower shapes, it has charmed quilters for almost 250 years. While many people think of this pattern as a product of" last_modified: "2026-07-26T01:56:07+00:00" custom_fields: iawp_total_views: 60 --- # The Grandmothers Flower Garden Quilt Grandmother’s Flower Garden is one of the most beloved quilt patterns in American history. Made of hexagons stitched into flower shapes, it has charmed quilters for almost 250 years. While many people think of this pattern as a product of the 1930s, its roots actually reach back much further, to 18th century England. ![Grandmas-Flower-Garden A handmade quilt featuring a pattern of colorful hexagon flower shapes on a white background, each flower made of concentric rings of fabric in various pastel and bright colors. The edges have a scalloped appearance.](https://quilthistory.com/wp-content/uploads/2026/06/Grandmas-Flower-Garden-450x397.jpg) ## Where the Pattern Came From The hexagon shape has a long history in patchwork. According to the [Illinois State Museum](https://www.illinoisstatemuseum.org/), the oldest known hexagon template dates all the way back to 1770 and was found in England. By the late 1700s, hexagon quilts were already popular there. The first American version of this style is believed to have been made around 1800. The first publication in the U.S. that mentioned it is believed to be in 1831 when [The American Girl’s Book ](https://www.google.com/books/edition/American_Girl_s_Book/WO0XAAAAYAAJ?hl=en&gbpv=1&bsq=hexagon)called it a hexagon, six-sided or honey-comb patch worked English paper piecing. In 1835, Godey’s Lady’s Book magazine published the first printed pattern in the United States. This pattern gave full instructions for this method. ## What’s in a Name? The pattern we now call Grandmother’s Flower Garden has gone by several names over the years. Early on, it was often called “Honeycomb” or “Mosaic,” names that describe the way the hexagons fit together. During the Colonial Revival period from 1880 to 1940, it was sometimes known as “Martha Washington’s Flower Garden.” The name “Grandmother’s Flower Garden” didn’t become common until the 1920s and 1930s, even though the design itself was already over a century old by then. ## How the Quilt Is Made This pattern uses a technique called English paper piecing. Here’s how it works: A small hexagon, usually one to three inches across, is cut from paper or thin cardboard. Fabric is wrapped around the paper and basted in place with loose stitches. Once a group of fabric-wrapped hexagons is ready, they are whipstitched together by hand. Afterward, the paper templates are removed, though sometimes makers left them inside the finished quilt. To form a “flower,” six hexagons are stitched around one center hexagon. More rings of hexagons can be added around that flower if the maker wants a bigger design. By choosing different fabric colors, quilters can turn the same hexagon shapes into flowers, diamonds, or other patterns. The edges of the quilt are sometimes left jagged, following the shape of the flowers, or they can be trimmed straight using half-hexagons. ## The 1800s: A Quilt for the Wealthy In the early 1800s, paper was expensive and not easy for working families to get. Because of this, most Grandmother’s Flower Garden quilts from this era were made by upper-class women. Templates were often cut from reused newspapers, catalogs, or old letters. According to [an article by quilt historian, Barbara Brackman](https://barbarabrackman.blogspot.com/2021/09/hexagon-quilts-miscellaneous-info.html), a publication of the Huguenot Society of South Carolina tells of a young girl who accidentally used her grandfather’s deed to a French vineyard as quilt templates. Wealthier quilters of this time often used roller-printed, mordant-dyed chintz fabrics. These were originally meant for curtains and upholstery, not clothing. One museum quilt from this era is made up of more than 200 different fabric prints, all from the same textile mill, making it a valuable piece for studying fabric history. ## The 1930s Revival Hexagon quilts reached their height of popularity again in the 1920s and 1930s. This is when the name “Grandmother’s Flower Garden” became widely used. Quilts from this period often have a recognizable look: yellow centers, pink petals, and green hexagons forming the “path” between flowers. ![A handmade Grandmothers Flower Garden Quilt featuring colorful hexagonal flowers on a white background, each flower made of six petals around a center, bordered by a vibrant pink and orange floral design.](https://quilthistory.com/wp-content/uploads/2026/06/GFG-from-IQM.jpg)Photo courtesy of the [International Quilt Museum](https://www.internationalquiltmuseum.org/about/quilt-month/grandmother%E2%80%99s-flower-garden) Many people assume this scrappy, mix-and-match style came only from the hardships of the Great Depression. But quilt historian Barbara Brackman points out that it was also a popular trend among wealthier women during the Colonial Revival, a time when Americans took new interest in old-fashioned crafts and traditions. Companies like Sears, Roebuck and Company even sold precut fabric kits for making Grandmother’s Flower Garden quilts. ## Quilts as Gifts and Keepsakes Throughout its history, this pattern has often been used to create meaningful gifts. The[ McMinn County Living Heritage Museum](https://www.livingheritagemuseum.org/2024/07/13/13382/grandmothers-flower-garden-quilts) has several Grandmother’s Flower Garden quilts on display, ranging from 84 to 144 years old, in shades of pink, blue, green, purple, and yellow. The oldest of these, a diamond-pattern variation from around 1880, is made of red, green, and brown fabric, much darker than the others. One especially touching example was made in 1935 by a group of women from the Coghill and Goodsprings Baptist Churches near Etowah, Tennessee. They embroidered nearly fifty names into the centers of the flowers and gave the finished quilt to a young man named Shields Webb. According to his wife, who later donated the quilt to the museum, it was meant as a gift of “encouragement and appreciation for a struggling country boy during the Great Depression.” A different example, made by Carrie Stelzer in Geneva, Nebraska between 1931 and 1934, was sewn for her daughter using scraps from old bonnets, aprons, and clothing, a perfect example of the resourcefulness many quilters showed during the Depression. ## A Pattern That Changes Over Time Because Grandmother’s Flower Garden quilts are made of small, separate pieces, they tend to get repaired and altered over the years. Owners might replace worn flowers, add new borders, sew on sashing strips, or straighten out scalloped edges with half-hexagons. The hexagon design is also easy to expand or change. A quilter can add more rings to make the quilt bigger, switch up the color placement to create a different “flower” effect, or use the same hexagon shapes to form diamonds instead of flowers. On older quilts, mismatched fabrics or replaced sections often tell a story about how the quilt was used and repaired over time. ## Tips for Dating an Old Quilt If you have an old Grandmother’s Flower Garden quilt and want to learn more about its age, here are some clues to look for: **Fabric type:** Darker prints, homespun cloth, and chintz fabrics often point to the mid-1800s. Pastel calicos and feedsack prints usually point to the 1920s through 1940s. **Construction:** Whipstitching combined with small basting pinholes is a sign of English paper piecing, often done before 1900. **Path color:** Green hexagons between flowers were especially common in the 1930s. Peach or white paths are less common and may suggest a different time period. **Backing:** Quilts with no backing fabric were sometimes made as decorative spreads rather than everyday bedding, especially in the 1800s. **Papers inside:** If the original paper templates were left inside the quilt, they can sometimes be dated by their printed material, such as old newspapers or letters. A good rule of thumb is that the fabric often tells a more accurate story than the pattern name. Even though we call it “Grandmother’s Flower Garden,” the design itself is much older than that name suggests. ![A close-up of a handmade quilt with a scalloped edge, featuring pastel colors and floral patterns arranged in a geometric, zigzag design. The quilt is laid on a wooden surface.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-GFG-Edge-450x338.jpg)This is actually an[ Arch Quilt](https://quilthistory.com/arch-quilts-what-they-are-and-how-to-spot-them/), made in China in the 1990’s. ## Hexagon Quilting Today Grandmother’s Flower Garden quilts are still being made today, and English paper piecing remains a popular technique. Because each hexagon is finished before it’s joined to the next, this method is fairly easy for beginners and gives accurate, professional-looking results. Whether simple or complex, hexagon quilting remains a favorite for many sewists. It’s portable, easy to pick up and put down, and many quilters find the slow, repetitive stitching to be relaxing and even meditative. From English drawing rooms in the 1700s to Depression-era farmhouses to quilt shows today, Grandmother’s Flower Garden has remained a favorite for nearly 250 years. It has been a status symbol, a friendship gift, a memorial, and a creative outlet for countless quilters. Its simple hexagon shape continues to offer endless possibilities, proving that good design truly never goes out of style. --- --- title: "Top Ten Titles for the Study of Antique Quilts – The Sequel" url: "https://quilthistory.com/top-ten-titles-for-the-study-of-antique-quilts/" lang: "en-US" type: "page" description: "Ask ten quilt historians to recommend the most important books on quilt history, and you'll probably get ten different answers. That is exactly what happened when the original survey was conducted on the Quilt History List in 2001. The participants" last_modified: "2026-06-02T21:16:24+00:00" custom_fields: iawp_total_views: 3 --- # Top Ten Titles for the Study of Antique Quilts – The Sequel Ask ten quilt historians to recommend the most important books on quilt history, and you’ll probably get ten different answers. That is exactly what happened when the original survey was conducted on the Quilt History List in 2001. The participants included some of the most respected quilt scholars of their day, and while a handful of classic titles appeared on nearly every list, each historian brought a different perspective to the study of quilts. More than twenty years later, many of those recommendations remain essential reading. Books by Barbara Brackman, Patsy and Myron Orlofsky, Ruth Finley, and other pioneering researchers still deserve a place on every quilt history bookshelf. However, today’s researchers have access to something many of those scholars could only dream about in 2001: vast digital collections containing thousands of quilts, historic newspapers, family records, museum collections, photographs, and primary source documents. This updated list is a companion to the original [Top Ten Titles from 2001](https://quilthistory.com/bibliography/). Most of the classic books still belong on the list, but some of the most important additions aren’t books at all. They are digital archives and research tools that have transformed the way we study, document, identify, and preserve quilt history. These resources belong in every modern quilt historian’s toolbox. If you know of any that I have missed, please [get in touch!](https://quilthistory.com/about/) I will add them. ## If I Had to Pick The Top Ten Books Now - Always There – Benberry - American Quilts and Folk Art - American Cotton – Brackman - Clues in the Calico – Brackman - Dating Fabrics: A Color Guide - Hidden in Plain View - Printed Textiles in America – Montgomery - The American Quilt by Roderick Kiracofe (2004) - Uncoverings (complete set from AQSG) - Your [State Documentation Book](https://quilthistory.com/state-quilt-books/) ## Digital Resources That Didn’t Exist in 2001 These aren’t books, but they belong in a modern researcher’s toolkit: - The Quilt Index contains tens of thousands of documented quilts from state quilt projects, museums, private collections, and research organizations. - American Quilt Study Group. If a topic has been seriously researched in the last 40 years, AQSG probably published something about it. - International Quilt Museum. Many quilts are photographed in far greater detail than older books ever allowed. You might also find provenance and research notes about each quilt. - The Smithsonian. Again, many historic quilts can now be examined online in far greater detail than was possible when many classic quilt books were written. - Library of Congress digital collections. Here you will find historic newspapers; family photographs; diaries; letters; WPA interviews; early pattern publications and textile photographs. - The Winterthur Museum. Very helpful for fabric identification, textile history, and decorative arts context. - Ebay and Etsy. For identification purposes, not values. You can often find examples of rare pattern names, regional styles, kit quilts, and depression-era textiles. Antique dealers often provide photographs of details that are hard to find elsewhere. ### Historic Newspaper Databases Pattern names often appeared in newspapers decades before they appeared in quilt books. I’ve used old newspaper databases many times to track down when a pattern name first appeared. Consider: - Newspapers.com - Chronicling America (free) - Google Books has 19th-century ladies’ magazines; agricultural journals; needlework publications; and household manuals. I’ve found original references to quilting terms there that were nearly impossible to locate twenty years ago. ### Census Records If you are researching a signature quilt, or just a family story about a quilt, these sites can help. Many “Grandma made this quilt in 1840” stories collapse quickly when Grandma wasn’t born until 1868. These sources can help you verify quiltmaker identities, confirm dates, and connect signatures on friendship quilts. I used all of these when researching the quilt below. - Ancestry - FamilySearch - Find A Grave - Military Records ![A handmade quilt with a repeating geometric pinwheel pattern in shades of pink, green, tan, cream, and touches of blue—this colorful, intricate design beautifully celebrates quilt history and our quilting heritage.](https://quilthistory.com/wp-content/uploads/2026/04/callscrossingcover.jpg)Call’s Crossing. Purchased from the estate of Anna H. Call, 85, who passed away Oct. 26, 2005. She was born Oct. 18, 1920, in the town of Westford, NY. Since this quilt appears to be pre Civil War, I’d like to believe she inherited it from her parents Frederick W. and Elmina Clapper Hinkleman. It might also have come from her husbands family. She was married Oct. 18, 1942, to Bion F. Call, (9/16/13 – 1/6/04, parents James Call and Evalyn Green. Or she could have purchased it at auction, like I did. There are no signatures on this quilt. --- --- title: "International Quilt Books" url: "https://quilthistory.com/international-quilt-books/" lang: "en-US" type: "page" description: "Australia Australia Quiltmakers of Australia: Celebrating the Traditions by Karen Fail Canada Ontario Heritage Quilts by Marilyn I. Walker Quiltworks Across Canada by Gail P. Hunt Old Nova Scotian Quilts by Scott Robson & Sharon MacDonald France Quilts of Provence:" last_modified: "2026-05-28T18:56:39+00:00" custom_fields: iawp_total_views: 6 --- # International Quilt Books ## Australia Australia Quiltmakers of Australia: Celebrating the Traditions by Karen Fail ## Canada Ontario Heritage Quilts by Marilyn I. Walker Quiltworks Across Canada by Gail P. Hunt Old Nova Scotian Quilts by Scott Robson & Sharon MacDonald ## France Quilts of Provence: The Art and Craft of French Quiltmaking by Kathryn Berenson ## Great Britain Quilt Treasures of Great Britain: The Heritage Search of the Quilters’ Guild ## Sweden Old Swedish Quilts by Asa Wettre ## United Kingdom Quilt Treasures: The Quilters’ Guild Heritage Search Quilts of the British Isles by Janet Rae --- --- title: "Quilt Books by State" url: "https://quilthistory.com/state-quilt-books/" lang: "en-US" type: "page" description: "Explore quilt history one state at a time with books about regional quilts, antique quilt traditions, and local quilting styles across America. Quilts in other countries are listed on the International Quilt Books Page. Alabama Alabama -- Alabama Quilts: Black" last_modified: "2026-06-30T21:16:11+00:00" custom_fields: iawp_total_views: 31 --- # Quilt Books by State Explore quilt history one state at a time with books about regional quilts, antique quilt traditions, and local quilting styles across America. Quilts in other countries are listed on the [International Quilt Books Page.](https://quilthistory.com/international-quilt-books/) ## Alabama Alabama — _[Alabama Quilts: Black Belt to Hill Country](https://amzn.to/4oTOPsF)_ — Gail C. Andrews et al. Alabama — _[Just How I Picture It in My Mind: Contemporary African American Quilts From the Montgomery Museum of Fine Arts](https://amzn.to/4wkEzw9)_ — Mary Elizabeth Huff Alabama — _[Quilts of Gee’s Bend](https://amzn.to/4vQrDhy)_ Alabama — _[Freedom Quilting Bee](https://amzn.to/4xTioyV)_ — Nancy Callahan ## Arizona Arizona – [Grand Endeavors,](http://www.amazon.com/exec/obidos/ASIN/087358547X/quiltweb/) Vintage Arizona Quilts and Their Makers by Helen Young Frost and Pam Knight Stevenson, 1992, Northland Publishing ## Arkansas Arkansas/Texas — _Needle, Cloth, and Time: A Celebration of Traditional Quiltmakers_ — Laurel Horton Arkansas — _Stitches in Time, A Legacy of Ozark Quilts_ — Marianne Woods Arkansas — _Arkansas Quilts: Arkansas Warmth_ — Arkansas Quilter’s Guild, Inc. [A Piece of My Soul : Quilts by Black Arkansans ](http://www.amazon.com/exec/obidos/ASIN/1557286205/quiltweb/)showcases more than seventy-five individual pieces of patchwork quilt art in full-color photography. Each is accompanied by Cuesta Benberry’s informative commentary as she details the importance of quilting to black Arkansas and the extensive holdings of African American quilts in the Old State House Museum in Little Rock, Arkansas. ## California California — _Ho for California!: Pioneer Women and Their Quilts_ — Jean Ray Laury and the California Heritage Quilt Project California — _The California Art Quilt Revolution_ — Nancy Curry Bavor California — _The California Quilt and the California Quiltmaker: 1850-1945_ — Linda Susan Schneider California — _From Dust Bowl to Salad Bowl: The Quilts and the Quiltmakers of the Depression Era Migration to the Salinas Valley_ — Alice V. Kinsler ## Colorado Colorado — _Rooted in Tradition: Art Quilts From the Rocky Mountain Quilt Museum_ — Judith Tomlinson Trager and Heidi Krakauer Colorado — _The Quilt That Walked to Golden: Women and Quilts in the Mountain West from the Overland Trail to Contemporary Colorado_ — Sandra Dallas ## Connecticut Connecticut –[ Quilts and Quiltmakers Covering Connecticut](https://amzn.to/4e8XOlX) from the Connecticut Quilt Search Project, 2001. ## Delaware Delaware — _Of the Best Sort but Plain: Quaker Quilts From the Delaware Valley, 1760-1890_ — Patricia J. Keller Delaware — _A Mirror to Show Thy Friends to Thee: Delaware Valley Signature Quilts, 1840-1855_ — Jessica Fleming Nicoll Delaware – [Quilted for Friends](http://www.amazon.com/exec/obidos/ASIN/0912724153/quiltweb/) – Delaware Valley Signature Quilts 1840 – 1855 — Jessica F. Nicoll ## Florida Florida — _Florida Quilts_ — Charlotte Williams Florida — _Art of the Florida Seminole and Miccosukee Indians_ — Dorothy Downs Florida — _An Examination of Three African American Quilters in Florida_ — Qadira Davison Florida — _Patchwork & Palmettos: Seminole/Miccosukee Folk Art Since 1820_ — David M. Blackard ## Georgia Georgia — _Georgia Quilts: Piecing Together a History_ — Anita Zaleski Weinraub Georgia — _Southern Comfort: Quilts From the Atlanta Historical Society Collection_ — Atlanta Historical Society Georgia — _Patterns: A Celebration of Georgia’s Quilting Traditions_ — Madison-Morgan Cultural Center Georgia — _Legacy: The Story of Talula Gilbert Bottoms and Her Quilts_ — Nancilu B. Burdick Georgia — _Georgia Quilts: Stitches and Stories_ — Carol Fisk, Porter Versfeld, and Melissa Gray Georgia — _This I Accomplish: Harriet Powers’ Bible Quilt and Other Pieces_ — Kyra Hicks Georgia — _African-American Female Identity in the 19th Century: The Individual and Cultural Empowerment of Harriet Powers’ Bible Quilts_ — Yaalieth Adrienne Simpson ## Hawaii Hawaii — _Hawaiian Quilting on Kauai_ — Margaret Faye and Juliet Rice Wichman Hawaii — _Hawaiian Quilting on Kauai_ — Edith Rice Plews Hawaii — _Hawaiian Applique_ — Vicky Fleming Hawaii — _Tutu and the Ti Plant_ — Sandra L. Goforth, Betty Rose Rezentes, and Christine Joy Pratt Hawaii — _Tifaifai and Quilts of Polynesia_ — Joyce D. Hammond Hawaii — _Hawaiian Quilting, A Fine Art_ — Elizabeth A. Akana Hawaii — _“Quilts” in Finding Paradise, Island Art in Private Collections_ — Loretta G. Woodard Hawaii — _The Hawaiian Quilt: A Spiritual Experience_ — Poakalani and John Serrao Hawaii — _The Wilcox Quilts in Hawaii_ — Robert J. Schleck Hawaii — _Hawaiian Quilts_ — Stella Jones Hawaii — _The Queen’s Quilt_ — Rhoda E.A. Hackler and Loretta G.H. Woodard Hawaii — _Kauai Museum Quilt Collection_ — Christine Faye and Margaret Lovett Hawaii — _Hawaiian Quilts, Tradition and Transition_ — Reiko Mochinaga Brandon and Loretta G.H. Woodard Hawaii — _The Hawaiian Quilt_ — Reiko Mochinaga Brandon Hawaii — _At the Cutting Edge: Contemporary Hawaiian Quilting_ — Linda Arthur Hawaii — _Hawaiian Quilt Masterpieces_ — Robert Shaw ## Idaho Idaho — _Tactical Textiles: A Genealogy of the Boise Peace Quilt Project, 1981-1988_ — Angeline Kearns Blaine ## Illinois Illinois — _Somewhere in Between: Quilts and Quilters of Illinois_ — Rita Barrow Barber Illinois — _History from the Heart: Quilt Paths Across Illinois_ — Duane Kamm and Rachel Elbert Illinois — _Connecting Stitches: Quilts in Illinois Life_ — edited by Janice Tauer Wass Illinois — _Illinois Amish Quilts: Sharing Threads of Tradition_ — Janice Tauer Wass Patchwork Souvenirs of the 1933 World’s Fair / the Sears National Quilt Contest and Chicago’s Century of Progress Exposition — Merikay Waldvogel & Barbara Brackman ## Indiana Indiana — _Personal Histories from Members of the AQC, Americus Quilting Club_ — Americus Quilting Club Indiana — _Quilts of Indiana: Crossroads of Memories_ — Marilyn Goldman and Marguerite Wiebusch Indiana — _Perpetual Bloomer_ — Americus Quilting Club Indiana — _Quilts From the Indiana Amish: A Regional Collection_ — David Pottinger and Susan Einstein Indiana — _Women’s Work: Traditional Quiltmakers of Southern Indiana_ — Mary L. Stevens ## Iowa Iowa — _Quilts Reveal Lives of Early Iowans_ — Steven Blaski Iowa — _The Thread That Remains: Patterns From Iowa’s Past_ — Iowa Quilts Research Project Iowa — _The Thread That Remains: Patterns From Iowa’s Past_ — Karan Flanscha Iowa — _Heritage Quilts From the Heartland: The Iowa Quilts Research Project_ — Karan Flanscha Iowa — _Victorian Crazy Quilts_ — Carole A. Spencer Iowa — _Patchwork: Iowa Quilts and Quilters_ — Jacqueline Andre Schmeal ## Kansas Kansas — _Mid-Century Masterpieces: Quilts in Emporia, Kansas, 1935-1950_ — Barbara Brackman Kansas — _Kansas Quilt Treasures II: An Exhibition of Twenty Kansas Quilts 100 Years Old & Older_ — Enola Gish Kansas — _Kansas Quilt Project_ — _Kansas History_, Spring 1990 issue Kansas — _Quilted All Day: The Prairie Journals of Ida Chambers Melugin_ — Carolyn O’Bagy Davis Kansas — _Sunflower State Quilts: A Guide to Publicly Held Quilt Collections in the State of Kansas_ — Kathrine Walker Schlageck Kansas — _Mennonite Quilts and Pieces_ — Judy Schroeder Tomlonson Kansas — _Material Pleasures: Quilts From the Kansas Museum of History_ — Barbara Brackman et al. Kansas — _Kansas Quilts: An Exhibition of Antique and Contemporary Quilts From Kansas Collections_ — Enola Gish Kansas — _Kansas Quilt Symposium, July 20-21-22, 1978_ — Kaw Valley Quilters Guild and University of Kansas Continuing Education Division Kansas — _Kansas Quilts and Quilters_ — Barbara Brackman et al. ## Kentucky Kentucky — _Kentucky Quilts, 1800-1900_ — Jonathan Holstein and John Finley Kentucky — _Elizabeth Roseberry Mitchell’s Graveyard Quilt: An American Pioneer Saga_ — Linda Otto Lipsett Kentucky — _Kentucky Quilts & Their Makers_ — Mary Washington Clarke Kentucky — _Kentucky Quilts: Roots and Wings_ — Kentucky Folk Art Center ## Louisiana Louisiana — _Traditional Quiltmaking of North Louisiana Women: Form, Function, and Meaning_ — Margaret Susan Roach Louisiana — _Anna Williams: Her Quilts and Their Influence_ — Katherine Watts ## Maryland Maryland — _The Fruits of Her Hands: Baltimore Album Quilts as Manifestation of Early Nineteenth-Century American Patriotism_ — Linda Hime Newberry Maryland — _Heirloom Quilting Designs From the Woodbourne Quilt_ — Montgomery County Historical Society Maryland — _Old Line Traditions: Maryland Women and Their Quilts_ — Gloria Seaman Allen Maryland — _Lavish Legacies: Baltimore Album and Related Quilts in the Collection of the Maryland Historical Society_ — Jennifer Faulds Goldsborough Maryland — _Maryland Album: Quiltmaking Traditions, 1634-1934_ — Gloria Allen and Nancy Tuckhorn Maryland — _Baltimore Album Quilts_ — Dena S. Katzenberg Maryland — _Spoken Without a Word: A Lexicon of Selected Symbols with 24 Patterns from Classic Baltimore Album Quilts_ — Elly Sienkiewicz ## Massachusetts Massachusetts — _Visions & Voices: The History of a Quilt Guild_ — Verena Rybicki Massachusetts — _Massachusetts Quilts: Our Common Wealth_ — Lynne Zacek Bassett Massachusetts — _Clara Wainwright: Quiltmaker and Celebration Artist_ — Clara Wainwright and Rachel Rosenfield Lafo ## Michigan Michigan — _Michigan Quilts_ — Marsha MacDowell and Ruth Fitzgerald Michigan — _Susan McCord’s Quilts: A Farmwife’s Legacy_ — Nancy Villa Bryk Michigan — _Great Lakes, Great Quilts_ — Marsha MacDowell Michigan — _African American Quiltmaking in Michigan_ — Marsha L. MacDowell Michigan — _The Elliott Family of Sac Bay, Michigan and Their Quilts, Early 1850s-1920_ — Jane Frerer McIntosh Michigan — _Mary Schafer and Her Quilts_ — Gwen Marston and Joe Cunningham Michigan — _Mary Schafer, American Quilter_ — Gwen Marston ## Minnesota Minnesota — _In Her Own Words: Uncovering a Life Experience Woven into the African American Quiltmaking Tradition (Wilma Gary)_ — Remi Kouessi-Tanoh Douah Minnesota — _Stitches in Time_ — Maria King and Vickie Wendel Minnesota — _The Tenney Quilt: Celebrating the Women of Minnesota’s Tiniest Town_ — Heidi Haagenson Minnesota — _Discovering Ourselves in Minnesota Quilts_ — Darlene Zimmerman Minnesota — _Minnesota Quilts, Creating Connections to Our Past_ — Gail Bakkom, Jean Carlton et al. ## Mississippi Mississippi — _Martha Skelton: Master Quilter of Mississippi_ — Mary Elizabeth Johnson Mississippi — _The Art of Afro-American Quiltmaking: Origins, Development and Significance_ — Maude Southwell Wahlman Mississippi — _Quilts and Quilting in Claiborne County: Tradition and Change in a Rural Southern Community_ — David Crosby Mississippi — _Mississippi Quilts_ — Mary Elizabeth Johnson Mississippi — _Something To Keep You Warm: The Roland Freeman Collection of Black American Quilts from the Mississippi Heartland_ — Roland Freeman Mississippi — _Threading the Generations: A Mississippi Family’s Quilt Legacy_ — Mary Elizabeth Johnson and Carol Vickers Mississippi — _Journey of the Spirit: The Art of Gwendolyn A. Magee_ — René Paul Barilleaux, editor ## Missouri Missouri — _Missouri Heritage Quilts_ — Bettina Havig Missouri — _Ozark Quilts, 1830-1930: A Celebration of Our Past_ — Nan Olstead et al. ## Montana Montana — _Montana Star Quilts_ — Linda Parker Montana — _Textiles From the Steamboat Bertrand: Clothing and Gender on the Montana Mining Frontier_ — Lore Ann Guilmartin Montana — _Celebrating One Hundred Years: The Montana Centennial Quilt, 1889-1989_ — Mary Hurley and Marian S. Sweeney Montana — _Quilts by Iris Allrunner_ — Iris Red Elk Allrunner Montana — _Border to Border: Quilts and Quiltmakers of Montana_ — Annie Hanshew ## Nebraska Nebraska — _Quilts From the Nebraska Collections_ — Lincoln Quilters Guild Nebraska — _Influence of Ethnicity on Nebraska Quilts Made Before World War II_ — Kyung-Soon Kim Nebraska — _The Nebraska Quiltmaker_ — Elizabeth Weyhrauch Shea Nebraska — _Nebraska Quilts and Quiltmakers_ — Patricia Crews and Ronald Naugle ## Nevada Nevada — _Nevada Quilts: A Material History Perspective_ — Shelly Feazell Nevada — _Quilters Between the Revivals: The Cultural Context of Quilting 1945-1970_ — Colleen Hall-Patton ## New Hampshire New England — _What’s New England About New England Quilts?_ — edited by Lynne Z. Bassett New England — _Northern Comfort: New England’s Early Quilts 1780-1850_ — Lynne Z. Bassett and Jack Larkin ## New Jersey New Jersey — _American Quilts in the Newark Museum Collection_ — Phillip D. Curtis New Jersey — _New Jersey Crazy Quilts, 1875-1900_ — Susan R. Finkel New Jersey — _New Jersey Quilts, 1770-1950_ — Rachel Cochran and Rita Erickson et al. New Jersey — _New Jersey Quilters: A Timeless Tradition_ — Morris Museum of Arts and Sciences New Jersey — _Quiltmaker Tales_ — New Jersey Network New Jersey — _Quilts and Counterpanes in the Newark Museum_ — Margaret E. White New Jersey — _Herstory: Quilts of Hunterdon County, New Jersey, 1820 to 1950_ — Veronica Mitchell ## New Mexico New Mexico — _Surviving the Winter: The Evolution of Quiltmaking in New Mexico_ — Dorothy R. Zopf New Mexico — _The Hispanic Tradition of Quiltmaking in Mora County, New Mexico_ — Dorothy R. Zopf ## New York New York — _Quilted Together: Women, Quilts, and Communities_ — Joyce Ice and Linda Norris, editors New York — _The Unbroken Thread: A History of Quiltmaking in the Catskills_ — Steve Hoare New York — _Patterns in Time: Quilts of Western New York_ — Lynn T. Hoffman New York — _New York Beauties_ — Jacqueline Atkins and Phyllis Tepper New York — _The Raquette River Quilters: A Case Study of Cultural Biases and Contemporary Quiltmaking Production From a Feminist Perspective_ — Carol L. Church New York — _Threaded Memories: A Family Quilt Collection_ — Catherine Schwoeffermann New York — _Quilts From Montgomery County, New York_ — Mary Antoine de Julio ## North Carolina North Carolina — _Quilts, Coverlets & Counterpanes: Bedcoverings From the MESDA and Old Salem Collections_ — Paula W. Locklair North Carolina — _Artistry in Quilts_ — North Carolina Museum of History North Carolina — _150 Years of North Carolina Quilts: Selections From the Pattie Royster James Quilt Collection_ — Robert Bryan North Carolina — _North Carolina Quilts_ — Ruth Roberson North Carolina — _Nancy Riddick’s Quilts: A Model for Contextualizing African American Material Culture_ — Cassandra Stancil North Carolina — _North Carolina Country Quilts: Regional Variations_ — Ackland Art Museum, University of North Carolina at Chapel Hill North Carolina — _Amy Emms’ Story of Durham Quilting_ — Amy Emm and Pam Dawson North Carolina — _A Historical Study of American Quilts: Designs From North Carolina From 1660 to 1976_ — Marilyn Y. Gore North Carolina — _My Voice on Cloth: Story Quilters of the South Carolina Low Country_ — Susan Scott Hester North Carolina — _Economic Influences on German and Scotch-Irish Quilts in Antebellum Rowan County, North Carolina_ — Laurel Horton North Dakota — _Native Needlework: Contemporary Indian Textiles From North Dakota_ — Christopher Martin, editor ## North Dakota North Dakota — _A Century of Quilts: An Exhibit of North Dakota Quilts in Honor of One Hundred Years of Statehood, 1889-1989_ — Kim R.L. Baird North Dakota — _Morning Star Quilts: A Presentation of the Work and Lives of Northern Plains Indian Women_ — Florence Pulford ## Ohio Ohio — _Quilts in Community: Ohio’s Traditions_ — Ricky Clark and George Knepper et al. Ohio — _Ohio Quilts and Quilters, 1800-1981_ — Patricia Mooney Melvin Ohio — _Quilts and Carousels: Folk Art in the Firelands_ — Ricky Clark Ohio — _Ohio Quilts, A Living Tradition_ — M.J. Albacete, Sharon D’Atri, and Jane Reeves Ohio — _‘In the Old Days, They Used Scraps’: Gender, Leisure, Commodification, and the Mythology of Quiltmaking, Wayne County, Ohio, 1915-1995_ — Valerie Sanders Rake Ohio — _Uncommon Threads: Ohio’s Art Quilt Revolution_ — Gayle A. Pritchard Ohio — _The History of the Bicentennial Quilt Project of the Ohio Valley Quilters’ Guild_ — Esther Veach Muhlberger Ohio — _Album Quilts of Ohio’s Miami Valley_ — Sue C. Cummings Ohio — _Quilts of the Ohio Western Reserve_ — Ricky Clark Ohio — _Philena’s Friendship Quilt: A Quaker Farewell to Ohio_ — Lynda Salter Chenoweth ## Oklahoma Oklahoma — _Oklahoma Heritage Quilts: A Sampling of Quilts Made in or Brought to Oklahoma Before 1940_ — Oklahoma Quilt Heritage Project Oklahoma — _Centennial Stitches: Oklahoma History in Quilts_ — Judy Howard ## Oregon Oregon — _Aurora: An American Experience in Quilt, Community and Craft_ — Jane Kirkpatrick Oregon — _Quilts and Quiltmaking in the Willamette Valley of Oregon_ — Betty Thiessen Meloy Oregon — _Quilts of the Oregon Trail_ — Mary Bywater Cross Oregon — _Treasures in the Trunk: Quilts of the Oregon Trail_ — Mary Bywater Cross Oregon — _Speaking in Cloth: 6 Quilters, 6 Voices_ — Ann Johnston and Jeannette DeNicolis Meyer ## Pennsylvania Pennsylvania — _Lancaster County, Quilt Capital USA_ — Ed Klimuska Pennsylvania — _Bits and Pieces, Textile Traditions_ — Jeannette Lasansky, Virginia Gunn et al. Pennsylvania — _On the Cutting Edge: Textile Collectors, Collections, and Traditions_ — Jeanette Lasansky Pennsylvania — _Pieced by Mother: Over 100 Years of Quiltmaking Traditions_ — Jeanette Lasansky Pennsylvania — _Quilts From Two Valleys: Amish Quilts From the Big Valley [Pennsylvania], Mennonite Quilts From the Shenandoah Valley [Virginia]_ — Phyllis Pellman Good Pennsylvania — _Just a Quilt (Juscht en Deppich): A Folk Cultural Study and Source Book of Quilting Practices in and Around the Goschenhoppen Region 1840-1940_ — Nancy Roan and Ellen J. Gehret Pennsylvania — _The Quilts of Lancaster County, Pennsylvania: Production, Context, and Meaning, 1750-1884_ — Patricia J. Keller Pennsylvania — _In the Heart of Pennsylvania: 19th and 20th Century Quiltmaking Traditions_ — Jeanette Lasansky Pennsylvania — _Women’s Voices, Women’s Quilts: A Study of Discourse Practices in a Pennsylvania Quilting Circle_ — Caroline Fitzpatrick Pennsylvania — _Quilts: The Fabric of Friendship_ — Sharon P. Angelo Pennsylvania — _Plain and Fancy: Country Quilts of the Pennsylvania Germans_ — Anita Schorsch Pennsylvania — _Quilted Memories of Schuylkill County_ — Elizabeth Keller Pennsylvania — _Threads of Tradition: Northwest Pennsylvania Quilts_ — Marianne Berger Woods Pennsylvania — _Nineteenth-Century Applique Quilts_ — Dilys Blum and Jack L. Lindsay, editors Pennsylvania — _Decorative Arts of the Amish of Lancaster County_ — Daniel McCauley and Kathry Good Pennsylvania — _Lest I Shall Be Forgotten: Anecdotes and Traditions of Quilts_ — Nancy Roan and Donald Roan Pennsylvania — _Quilting Traditions: Pieces from the Past_ — Patricia T. Herr Pennsylvania — _The Hands That Made Them: Quilts of Adams County, Pennsylvania_ — Ellie Bennett et al. Pennsylvania — _Quilt Treasures of Yesteryear: Antique Quilts of Franklin County, Pennsylvania_ — Chambersburg Quilt Guild Pennsylvania — _Layers: Unfolding the Stories of Chester County Quilts_ — Patricia Keller et al. Pennsylvania — _Pennsylvania Quilts: One Hundred Years, 1830-1930_ — Moore College of Art Pennsylvania — _Plain & Fancy: Country Quilts of the Pennsylvania-Germans_ — Anita Schorsch Pennsylvania — _Berks County Quilt Harvest Documentation Project_ — _Historical Review of Berks County_, Winter 1992-1993 issue Pennsylvania — _For the Joy of It: Appliqué Quilts From the Judy Roche Collection_ — Brandywine River Museum Pennsylvania — _Saved for the People of Pennsylvania: Quilts From the State Museum of Pennsylvania_ — Lucinda Cawley et al. Quilts From Two Valleys: Amish Quilts from the Big Valley / Mennonite Quilts from the Shenandoah Valley Mennonite Quilts and Pieces ## Rhode Island Rhode Island — _Down by the Old Mill Stream_ — Linda Welters and Margaret T. Ordonez, editors ## South Carolina South Carolina — _Stitched From the Soul: Slave Quilts From the Antebellum South_ — Gladys-Marie Fry South Carolina — _Social Fabric: South Carolina’s Traditional Quilts_ — Laurel Horton and Lynn R. Myers, editors South Carolina — _Glorified Patchwork: South Carolina Crazy Quilts_ — University of South Carolina McKissick Museum South Carolina — _Mary Black’s Family Quilts: Meaning and Memory in Everyday Life_ — Laurel Horton ## South Dakota South Dakota — _The Star Quilt: A Symbol of Lakota Identity_ — Marla N. Powers [To Honor and Comfort: Native Quilting Traditions](http://www.amazon.com/exec/obidos/asin/0890133174/quiltweb/) by Marsha MacDowell, C. Kurt Dewhurst; Paperback ## Tennessee Tennessee — _Quilts…Homeward Bound: The Quilts of Hickman County, Volume V_ — Ruth Ann Carathers and Linda Foley Reynolds et al., editors Tennessee — _Soft Covers for Hard Times: Quiltmaking and the Great Depression_ — Merikay Waldvogel Tennessee — _A People and Their Quilts_ — John Rice Irwin Tennessee — _Martha Ann’s Quilt for Queen Victoria_ — Kyra E. Hicks Tennessee — _A Patchwork of Quilts, A History of Friends and Families in Hickman County, Tennessee, Volume I_ — Ruth Ann Rochelle Carathers et al., editors Tennessee — _Quilts of Tennessee: Images of Domestic Life Prior to 1930_ — Bets Ramsey and Merikay Waldvogel Tennessee — _Celebrating 200 Years of Stars: The Quilts of Hickman County, Volume II_ — Ruth Ann Rochelle Carathers et al., editors Tennessee — _Celebrating the Comforts of Home: The Quilts of Hickman County, Volume III_ — Ruth Ann Rochelle Carathers et al., editors Tennessee — _Of Hearth & Home: The Quilts of Hickman County, Volume IV_ — Ruth Ann Carathers and Linda Foley Reynolds et al., editors Tennessee — _Bristol’s History Told in a Quilt Setting_ — Martha Marshall Tennessee — _Making Do: Quilts of the Great Depression_ — Bets Ramsey Quilts from Appalachia ## Texas Texas — _Lone Stars: A Legacy of Texas Quilts 1836-1936 (Vol. I)_ — Karoline Bresenhan et al. Texas — _Lone Stars: A Legacy of Texas Quilts 1936-1986 (Vol. II)_ — Karoline Bresenehan and Nancy Puentes Texas — _Lone Stars III: Texas Quilts Today_ — Karoline Patterson Bresenhan and Nancy O’Bryant Puentes Texas — _Quilts of the Texas South Plains: A Sesquicentennial Exhibition_ — Sharon Newman Texas — _Texas Quilts, Texas Women_ — Suzanne Yabsley Texas — _Texas Quilts and Quilters: A Lone Star Legacy_ — Marcia Kaylakie and Janice Whittington Texas — _Trinity Valley Quilters’ Guild: Quiltmaking Practices and Motivations_ — Jane Kolar Kucko Texas — _Quilting and the Pattern of Relationships in Community Life_ — Joyce Ann Ice Texas — _Martha Mitchell of Possum Walk Road: Texas Quiltmaker_ — Melvin Rosser Mason Texas — _Texas Quilts, Texas Treasures_ — Texas Heritage Quilt Society ## Utah Utah — _Quilts in Utah: A Reflection of the Western Experience_ — Sandi Fox Utah — _Magnificent Harvest, Quilts From the Heart_ — Lonnie Thorpe Utah — _The Salt Lake City 14th Ward Album Quilt, 1857_ — Carol Holindrake Nielson Utah — _Pioneer Quiltmaker: The Story of Dorinda Moody Slade, 1808-1895_ — Carolyn O’Bagy Davis Utah — _A Quilt for the Promised Valley_ — Carolyn O’Bagy Davis Utah — _Quilted All Day: The Prairie Journals of Ida Chambers Melugin_ — Carolyn O’Bagy Davis Utah — _Quilts and Women of the Mormon Migrations: Treasures of Transition_ — Mary Bywater Cross Utah/Pennsylvania/Ohio — _Outer Image, Inner Things: A Study of the Relationship Between Belief System and Artistic Expression_ — Elizabeth Laura Lathrop Utah — _Gathered in Time: Utah Quilts and Their Makers, Settlement to 1950_ — Kae Covington ## Vermont Vermont — _55 Famous Quilts From the Shelburne Museum in Full Color_ — Celia Y. Oliver, editor Vermont — _Plain and Fancy: Vermont’s People and Their Quilts as a Reflection of America_ — Richard L. Cleveland and Donna Bister ## Virginia Virginia — _Appalachian Quilts of Floyd County, Virginia_ — Susan Lynn Davis Virginia — _Virginia Quilt Museum_ — Joan Knight and Polly Frye Virginia — _Virginia Quilts: First Search for Virginia-Made Quilts, Beginning in Northern Virginia_ — Hazel Carter Virginia — _Quilts of Virginia, 1607-1899: The Birth of America Through the Eye of a Needle_ — Virginia Consortium of Quilters Virginia — _First Flowerings: Early Virginia Quilts_ — Gloria Seaman Allen Southern States — _Quilts, Coverlets & Counterpanes: Bedcoverings From the Museum of Early Southern Decorative Arts and Old Salem Collections_ — Paula W. Locklear Southern States — _Southern Quilts: A New View_ — Bets Ramsey and Gail Andrews Trechsel Southern States — _Southern Quilts: Surviving Relics of the Civil War_ — Bets Ramsey and Merikay Waldvogel ## Washington Washington — _Quilt Masterpieces in Full Color_ — Yakima Valley Museum & Historical Association Washington — _A Common Thread: Quilts in the Yakima Valley_ — Diana McLachlan Washington DC/Pennsylvania — _Mother Work: Quilts and Art: A Material Culture Study_ — Diane Louise Devaul Washington — _Washington State: Women and Their Quilts_ — Nancyann Twelker ## West Virginia West Virginia — _West Virginia Quilts and Quiltmakers: Echoes From the Hills_ — Fawn Valentine West Virginia — _A Canopy for Dreams: Historic Quilts From the West Virginia State Museum Collection_ — Colleen Anderson West Virginia — _Mountain Artisans; Appalachia Exhibition_ — Museum of Art, Rhode Island School of Design Appalachia — _Best of the Appalachian Craft Series: Quilts_ — Jane Efird ## Wisconsin Wisconsin — _Wisconsin Quilts, History in the Stitches_ — Ellen Kort Wisconsin — _Dressing the Bed: Quilts and Coverlets From the Collections of the Milwaukee Public Museum_ — Donald Hoke Midwest — _Amish Crib Quilts from the Midwest: The Sarah Miller Collection_ — Janneken Smucker, Patricia Cox Crews, and Linda Welters Midwest — _African American Quilt Culture: An Afrocentric Feminist Analysis of African American Art Quilts in the Midwest_ — Yoland Ann Hool ## And More If you know of any books that I have missed, please [let me know.](https://quilthistory.com/about/) I am not listing symposium papers or magazines. --- --- title: "Cotton and Textile Terminology" url: "https://quilthistory.com/cotton-and-textile-terminology/" lang: "en-US" type: "page" description: "Compiled by Patrick Leech, these are terms with dates of first and last occurrence and definiion in the Oxford English Dictionary TermFirst occurrenceLast occurrence*Definition**a la mode16761861A thin, light, glossy black silk.abaca1818 The native name of the palm (Musa textilis) which furnishes" last_modified: "2026-05-27T21:49:42+00:00" custom_fields: iawp_total_views: 2 --- # Cotton and Textile Terminology Compiled by Patrick Leech, these are terms with dates of first and last occurrence and definiion in the Oxford English Dictionary | Term | First occurrence | Last occurrence* | Definition** | | --- | --- | --- | --- | | a la mode | 1676 | 1861 | A thin, light, glossy black silk. | | abaca | 1818 |   | The native name of the palm (Musa textilis) which furnishes what is commonly known as Manilla Hemp; occasionally applied in commerce to the fibre, whence ‘the most exquisite textile fabrics, and the elegant Manilla hats are manufactured.’ | | alapeen | 1739 | 1757 | A mixed stuff either of wool and silk or mohair and cotton. | | alexander | 1500 | 1882 | Alexandrine or Alexandrian work; a species of striped silk. | | alpaca | 1838 |   | The fabric made of alpaca wool. | | angola | 1827 |   | A corruption of angora; often used of the fabric made of angora wool. | | angora | 1867 |   | The fabric manufactured from the wool of the angora goat, at one time commonly called angola. | | antherine | 1710 | 1739 | A kind of poplin, now obsolete. | | armozeen | 1599 |   | A stout plain silk, usually black, used for clerical gowns and for mourning scarves. | | asbestos cloth | 1857 |   | A cloth woven from asbestos fibres. | | baize | 1578 |   | A coarse woollen stuff, having a long nap, now used chiefly for linings, coverings, curtains, etc., in warmer countries for articles of clothing, e.g. shirts, petticoats, ponchos; it was formerly, when made of finer and lighter texture, used as a clothing material in Britain also. | | bandanna | 1752 |   | A richly coloured silk handkerchief, with spots left white or yellow by the process described above (see following quotation: ‘plain taffaties, ordinary bandannoes, and chappas’). | | barathea | 1862 |   | A cloth of a fine texture composed of a silk warp and woollen weft, also of cotton and wool and entirely of wool. | | barége | 1828 |   | A light, silky dress-fabric, resembling gauze, originally made at Baréges. | | barragan | 1677 |   | ‘A genteel corded stuff, much in vogue at that time for summer wear.’ | | barras | 1640 | 1714 | ‘A coarse linen fabric originally imported from Holland.’ | | barrateen | 1689 | 1761 | Some kind of woven fabric. | | bath-coating | 1791 |   | A material formerly fashionable for male attire. | | batiste | 1697 |   | The French word for cambric; applied, in commerce, to a fine light fabric of the same texture, but differently finished, and made of cotton as well as of linen. | | baudekin | 1300 | 1861 | A rich embroidered stuff, originally made with warp of gold thread and woof of silk; later, with wider application, rich brocade, rich shot silk. Sometimes, more fully, cloth of baud(e)kin. | | beaupers | 1592 | 1720 | A fabric, apparently linen; used for flags. | | bedford | 1862 |   | Bedford cord, a woven fabric with prominent cords running in the direction of the warp. | | bengaline | 1884 |   | A new (French) name for poplin, a mixed fabric of silk and worsted. | | bengal | 1680 |   | Applied to piece goods (apparently of different kinds) exported from Bengal to England in the 17th century: cf. bengal stripes: striped ginghams, originally brought from Bengal, afterwards manufactured at Paisley. | | bergamot | 1882 |   | A woven fabric or tapestry composed of a mixture of flock and hair, said to have been first produced at Bergamo in Italy. | | beteela | 1598 | 1727 | A kind of muslin formerly imported from the East Indies. | | black | 1400 |   | Black fabric or material. | | blanket | 1300 | 1866 | A white or undyed woollen stuff used for clothing. | | bombasine | 1572 |   | A twilled or corded dress-material, composed of silk and worsted; sometimes also of cotton and worsted, or of worsted alone. In black the material is much used in mourning. | | borato | 1578 | 1720 | A thin fabric. | | bouclé | 1895 |   | A yarn of looped or curled ply; fabric made from this. | | boulter | 1612 |   | A piece of cloth used for sifting; a sieve, strainer; a bolting-machine. The fabric used for this purpose. | | box cloth | 1890 |   | A thick coarse cloth material, usually of a buff colour, from which riding garments are made; also applied to the colour. | | braid | 1706 |   | A woven fabric of silken, woollen, cotton, gold or silver thread in the form of a band, used for trimming or binding articles of dress. | | bridgewater | 1552 | 1607 | A woollen cloth named after the place of its original manufacture. | | broadcloth | 1420 |   | Fine, plain-wove, dressed, double width, black cloth, used chiefly for men’s garments. (The term is now used to imply quality rather than width, which may vary considerably.) | | brocade | 1563 |   | A textile fabric woven with a pattern of raised figures, originally in gold or silver; in later use, any kind of stuff richly wrought or ‘flowered’ with a raised pattern; also a cloth of gold and silver of Indian manufacture. | | broché | 1877 |   | Of a material, especially silk: woven with a pattern on the surface. Also a material of such a texture. | | bruges | 1517 | 1752 | Name of a city of Flanders, used attributively in Bruges satin, and sometimes elliptically. | | brunswick | 1480 | 1480 | The name of an obsolete textile fabric. | | buckram | 1222 |   | a. A kind of fine linen or cotton fabric. b. A kind of coarse linen or cloth stiffened with gum or paste. | | buckskin | 1894 |   | A kind of strong twill cloth. | | buffin | 1572 | 1632 | ’A coarse cloth in use for the gowns of the middle classes in the time of Elizabeth.’ | | burel | 1300 | 1720 | A coarse woollen cloth (probably originally of brown colour: cf. baize); frieze. | | burlap | 1695 |   | Originally perhaps a sort of holland; now a coarse canvas made of jute or hemp, used for bagging; also, a finer material used for curtains. | | burnet | 1284 | 1753 | A wool-dyed cloth of superior quality, originally of dark brown colour. | | bustian | 1463 | 1725 | A cotton fabric of foreign manufacture, used for waistcoats and for certain church vestments; sometimes described as a species of fustian, but sometimes mentioned as distinct from it. | | byss | 1314 | 1648 | Fine linen. The word was to English writers often a mere name to which they attached no certain meaning, except that of fineness and value; in the versions of the Bible it is variously rendered; the version of 1611 has ‘fine linen’. | | caddis | 1536 | 1887 | A kind of stuff; perhaps of worsted (or ? silk). | | caffa | 1531 | 1810 | a. A rich silk cloth, apparently similar to damask, much used in the 16th century. b. A kind of painted cotton cloth made in India, and occurring in commerce in the 18th century. | | calamanco | 1592 |   | A woollen stuff of Flanders, glossy on the surface, and woven with a satin twill and chequered in the warp, so that the checks are seen on one side only; much used in the 18th century. | | calico | 1578 |   | A general name for cotton cloth of all kinds imported from the East; ‘an Indian stuff made of cotton, sometimes stained with gay and beautiful colours’; subsequently, also, various cotton fabrics of European manufacture (sometimes also with linen warp). Now, in England, applied chiefly to plain white unprinted cotton cloth, bleached or unbleached (called in Scotland and U.S. cotton). | | camaca | 1375 | 1485 | A kind of fine fabric, probably of silk. | | cambric | 1530 |   | A kind of fine white linen, originally made at Cambray in Flanders. (Also applied to an imitation made of hard-spun cotton yarn.) | | cameline | 1400 |   | A kind of stuff made (or supposed to be made) of camel’s hair: cf. camlet. | | camlet | 1400 |   | A name originally applied to some beautiful and costly eastern fabric, afterwards to imitations and substitutes the nature of which has changed many times over. ‘A kind of stuff originally made by a mixture of silk and camel’s hair; it is now made with wool and silk.’ ‘A light stuff, formerly much used for female apparel, made of long wool, hard spun, sometimes mixed in the loom with cotton or linen yarn.’ It is uncertain whether it was ever made of camel’s hair; but in the 16th and 17th centuries. It was made of the hair of the Angora goat. | | canton | 1860 |   | The name of the city in southern China used attributively to denote various manufactured articles, such as Canton crape. | | canvas | 1260 |   | A strong or coarse unbleached cloth made of hemp or flax, used (in different forms) as the material for sails of ships, for tents, and by painters for oil-paintings, formerly also for clothing, etc. | | carde | 1426 | 1426 | Some fabric anciently used for canopies, curtains, and linings. | | carmelite | 1828 |   | A fine woollen stuff, generally of a grey or other obscure colour, perhaps = French carmeline ‘wool of the vicugna’ (a species of llama). | | carpmeal | 1610 | 1799 | “A coarse kind of Cloth made in the North of England.” | | carrel | 1570 | 1720 | A fabric mentioned in the 16th and 17th centuries. | | cashmere | 1822 |   | The material of which cashmere shawls are made. Also applied to a woollen fabric made in France and England in imitation of the true cashmere. | | cashmerette | 1886 |   | A fabric made in imitation of cashmere, with a soft and glossy surface, for ladies’ dresses. | | cassimer | 1704 |   | A thin fine twilled woollen cloth used for men’s clothes. | | catgut | 1731 | 1823 | ‘A coarse cloth formed of thick cord, woven widely and used in the last century for lining and stiffening dress, particularly the skirts and sleeves of a coat.’ | | caury-maury | 1287 | 1529 | ? A kind of coarse, rough material. | | cerecloth | 1553 |   | Cloth smeared or impregnated with wax or some glutinous matter. | | chaisel | 1205 | 1320 | A fine linen (sometimes identified with byss or byssus). | | challis | 1849 |   | A fine silk and worsted fabric, very pliable and without gloss, used for ladies’ dresses, ‘introduced at Norwich about 1832, where it speedily became fashionable.’ | | charmeuse | 1907 |   | A soft smooth silk fabric, having a satin-like surface. | | checkarsey | 1552 | 1552 | A fabric; possibly check kersey. | | chenille | 1738 |   | A kind of velvety cord, having short threads or fibres of silk and wool standing out at right angles from a core of thread or wire, like the hairs of a caterpillar; used in trimming and bordering dresses and furniture. | | cheviot | 1883 |   | A cloth made from Cheviot wool. | | cheyney | 1668 | 1757 | A sort of worsted or woollen stuff. | | chiffon | 1890 |   | A diaphanous plain-woven fabric of fine hard-twisted yarn (originally silk, later nylon, etc.); also attributively, sometimes with sense ‘light in weight’. | | chintz | 1614 |   | Originally a name for the painted or stained calicoes imported from India; now, a name for cotton cloths fast-printed with designs of flowers, etc., in a number of colours, generally not less than five, and usually glazed. | | ciclatoun | 1225 | 1400 | A precious material much esteemed in the Middle Ages. | | cloth-of-gold | 1386 |   | A tissue consisting of threads, wires or strips of gold, generally interwoven with silk or wool; also applied to gilded cloth. | | coburg | 1844 |   | A thin fabric of worsted and cotton or worsted and silk, twilled on one side; an imitation of merino, for ladies’ dresses. | | cobweb lawn | 1603 | 1691 | A very fine transparent lawn. | | cogware | 1389 | 1483 | A coarse kind of cloth, apparently resembling frieze, made of the most inferior wool. | | corduroy | 1774 |   | A kind of coarse, thick-ribbed cotton stuff, worn chiefly by labourers or persons engaged in rough work. | | cottonade | 1858 |   | A name for various cotton fabrics, especially of coarse or inferior quality; cotton check. | | covert | 1895 |   | Covert cloth = covert coating; covert coat, a short light overcoat worn while shooting, riding, etc., and as a dust-coat; hence covert coating, material, usually waterproof, for such coats. | | crape | 1633 |   | a. A thin transparent gauze-like fabric, plain woven, without any twill, of highly twisted raw silk or other staple, and mechanically embossed, so as to have a crisped or minutely wrinkled surface. The name originally comprised fine worsted fabrics (see b.); but it is now chiefly limited to a black silk (or imitation silk) fabric much used for ladies’ mourning dresses, and for funereal trimming and draping. b. In the 18th century, ‘a sort of thin worsted stuff, of which the dress of the clergy is sometimes made’. | | crepe | 1797 |   | The French word for crape (used in that language in the early wider sense, and including crêpe anglais, which is called crape in English), often borrowed as a term for all crapy fabrics other than ordinary black mourning crape. | | crepe de chine | 1872 |   | A white or other coloured crape made of raw silk. | | crepe lisse | 1825 |   | Smooth or glossy crape, which is not crêpé or wrinkled. | | crepelline | 1873 |   | A light thin material of silk, or silk and wool, used for women’s dresses. | | crepon | 1887 |   | A stuff resembling crape, but of firmer substance, made of fine worsted, silk, or a combination of the two. | | crinoline | 1830 |   | A stiff fabric made of horse-hair and cotton or linen thread, formerly used for skirts and still for lining, etc. (For the latter purpose the name is also applied to imitations made of stiffened muslin, etc.). | | crisp | 1397 | 1619 | Some thin or delicate textile fabric, used especially by women for veils or head-coverings; ? a crape-like material. | | crystal | 1882 |   | ‘A very fine wide Durant [a glazed woollen stuff], once an article of export for use in making nuns’ veils. Invariably made white.’ | | culgee | 1688 | 1714 | A rich figured silk worn as a turban or sash, or otherwise, on a festive occasion; hence, a figured Indian silk formerly imported into England. | | cypress | 1398 | 1722 | A name of several textile fabrics originally imported from or through Cyprus: a. A cloth of gold or other valuable material. b. A valuable quality of satin, called more fully satin of Cypres, satin Cypres. c. A light transparent material resembling cobweb lawn or crape; like the latter it was, when black, much used for habiliments of mourning. | | damask | 1430 |   | a. A rich silk fabric woven with elaborate designs and figures, often of a variety of colours. Also applied to figured materials of silk and wool, silk and cotton, or worsted or cotton only, used for furniture-covering, curtains, etc. ‘True damasks are wholly of silk, but the term is now applied to any fabric of wool, linen, or cotton, woven in the manner of the first damasks.’ b. A twilled linen fabric richly figured in the weaving with designs which show up by opposite reflexions of light from the surface; used chiefly for table-linen. | | damassin | 1839 |   | ‘A species of woven damask with gold and silver flowers.’ | | delaine | 1840 |   | Originally called in full mousseline, or muslin-de-laine: a kind of light textile fabric, chiefly used for women’s dresses; originally made of wool, now more commonly of wool and cotton, and generally printed. | | demi-ostade | 1537 | 1882 | A stuff, apparently half-worsted half-linen, linsey-woolsey. | | denim | 1695 |   | A name originally given to a kind of serge; now (originally U.S.) to a coloured twilled cotton material used largely for overalls, hangings, etc.. | | diagonal | 1861 |   | a. A soft material used for embroidery; b. a black coating for men’s wear. | | diaper | 1350 |   | The name of a textile fabric; now, and since the 15th century, applied to a linen fabric (or an inferior fabric of ‘union’ or cotton) woven with a small and simple pattern, formed by the different directions of the thread, with the different reflexions of light from its surface, and consisting of lines crossing diamond-wise, with the spaces variously filled up by parallel lines, a central leaf or dot, etc. In earlier times, the name was applied to a richer and more costly fabric, apparently of silk, woven or flowered over the surface with gold thread. | | dimity | 1440 |   | A stout cotton fabric, woven with raised stripes or fancy figures; usually employed undyed for beds and bedroom hangings, and sometimes for garments. | | doeskin | 1851 |   | A highly-finished closely-cut thick black cloth, twilled, but dressed so as to show very little of the twill. | | doily | 1678 | 1714 | The name of a woollen stuff, ‘at once cheap and genteel’, introduced for summer wear in the latter part of the 17th century. | | donegal | 1903 |   | The name of a county in the north-west of Ireland; used attributively or elliptically to designate something produced in or peculiar to the county, especially a type of tweed or a kind of coarse, knotted carpet. | | dorea | 1696 |   | A kind of striped Indian muslin. | | dornick | 1489 |   | A silk, worsted, woollen, or partly woollen fabric, used for hangings, carpets, vestments, etc. | | dowlas | 1493 |   | a. A coarse kind of linen, much used in the 16th and 17th centuries. b. Now applied to a strong calico made in imitation of this. | | drab | 1541 |   | A kind of cloth. | | drabbet | 1819 |   | A drab twilled linen, used for making men’s smock-frocks, etc. | | dreadnought | 1806 |   | A thick coat or outer garment worn in very inclement weather; also, the stout woollen cloth with a thick long pile of which such garments are made. | | drill | 1743 |   | Abbreviated form of drilling: a coarse twilled linen or cotton fabric used for summer clothing, etc. | | drilling | 1640 |   | A coarse twilled linen or cotton fabric used for summer clothing, etc. | | drugget | 1580 |   | a. Formerly, a kind of stuff, all of wool, or mixed of wool and silk or wool and linen, used for wearing apparel. b. Now, a coarse woollen stuff used for floor-coverings, table-cloths, etc. | | ducape | 1678 |   | ‘A plain-wove stout silk fabric of softer texture than Gros de Naples. Its manufacture was introduced by the French refugees of 1685.’ | | duchesse | 1878 |   | Duchesse satin, satin duchesse, a very soft, heavy kind of satin. | | duck | 1640 |   | A strong untwilled linen (or later, cotton) fabric, lighter and finer than canvas; used for small sails and men’s (especially sailors’) outer clothing. | | duffle | 1677 |   | A coarse woollen cloth having a thick nap or frieze. | | dungaree | 1613 |   | A kind of coarse inferior Indian calico. | | dunster | 1601 | 1887 | A woollen cloth, so called from a small town in West Somersetshire. | | durance | 1583 | 1709 | A stout durable cloth. | | durant | 1766 |   | A woollen stuff called by some everlasting; a variety of tammy. | | duroy | 1619 |   | A kind of coarse woollen fabric formerly manufactured in the west of England; akin to the stuffs called tammies. (Not the same as corduroy.) | | eider-down | 1872 |   | A heavily napped wool or cotton or man-made fabric of thick texture, in plain and fancy colours, used for petticoats, cloaks, bath-robes, etc. | | elatcha | 1613 | 1813 | A silk fabric from Turkestan: ‘a silk cloth 5 yards long, which has a sort of wavy line pattern running in the length on one side.’ | | estamin | 1701 |   | An open woollen fabric, used for making sieves, etc.. In 18th century. also applied to some silk fabric, presumably of similar texture. Also spelt estamene, as the name of a woollen cloth for dresses. | | etamine | 1714 |   | ‘Etamine, a sort of embroidered canvas, likely to be worn at spas.’ | | everlasting | 1590 |   | a. A material used in 16-17th centuries for the dress of sergeants and catchpoles, apparently identical with durance. b. In later times, a strong twilled woollen stuff, called also lasting. | | faille | 1869 |   | A light kind of ribbed silk fabric. Faille française has a larger rib than faille proper, being thus intermediate between this and ‘ottoman’. More recently the term wool faille has been applied to a kind of ‘terry’. | | falding | 1386 | 1523 | A kind of coarse woollen cloth; frieze. | | farandine | 1663 | 1673 | A kind of cloth used in the seventeenth century, made partly of silk and partly of wool or hair. | | fearnought | 1772 |   | A stout kind of woollen cloth, used chiefly on board ship in the form of outside clothing in the most inclement weather, also as a protective covering or lining for the outside door of a powder magazine, the portholes, etc.. | | felt | 1000 |   | A kind of cloth or stuff made of wool, or of wool and fur or hair, fulled or wrought into a compact substance by rolling and pressure, with lees or size. Also a piece of woven cloth with a felted nap used in paper-making. | | ferret | 1649 |   | A stout tape most commonly made of cotton, but also of silk; then known as Italian ferret. | | figuretto | 1662 | 1775 | ‘A kind of stuff so called from the flowers or other figures which are wrought upon it.’ | | filoselle | 1612 |   | A kind of stuff (? a mixture of silk and wool). | | flannel | 1503 |   | An open woollen stuff, of various degrees of fineness, usually without a nap. | | florameda | 1640 | 1640 | ‘Probably a flowered or figured stuff.’ | | florence | 1483 |   | The name given to certain woven fabrics: a. of wool; b. of silk. | | florentine | 1545 |   | A textile fabric of silk or wool, used for wearing apparel. | | foulard | 1864 |   | A thin flexible material of silk, or of silk mixed with cotton. | | frieze | 1418 |   | A kind of coarse woollen cloth, with a nap, usually on one side only; now especially of Irish manufacture. Also frieze-cloth. | | frizado | 1542 | 1719 | A fine kind of frieze. | | fustian | 1200 |   | Formerly, a kind of coarse cloth made of cotton and flax. Now, a thick, twilled, cotton cloth with a short pile or nap, usually dyed of an olive, leaden, or other dark colour. | | fustian anapes | 1463 | 1627 | Apparently. a kind of cotton velvet. | | gaberdine | 1904 |   | A variety of twill-woven cloth, usually of fine worsted. | | galatea | 1882 |   | A cotton material striped in blue on a white ground. It is made for women’s dresses, and washes well. | | gambroon | 1831 |   | ‘A kind of twilled cloth for linings.’ | | garlits | 1696 | 1812 | ‘A kind of linen cloth imported from Germany.’ | | gauze | 1561 |   | A very thin, transparent fabric of silk, linen, or cotton. | | genoa | 1766 |   | The name of a city of Italy. Used in names of articles connected with Genoa, as Genoa velvet. | | georgette | 1915 |   | A thin, semi-transparent, plain-woven crepe made from fine, hard-twisted silk or other yarns. Also georgette crepe. | | gimp | 1664 |   | Silk, worsted, or cotton twist with a cord or wire running through it. Now chiefly applied to a kind of trimming made of this, sometimes covered with beads or spangles. | | gingham | 1615 |   | A kind of cotton or linen cloth, woven of dyed yarn, often in stripes, checks, and other patterns. In plural, fabrics of this kind. | | glacé | 1847 |   | Of cloth, leather, etc.: having a smooth surface with a high polish or lustre. Also = glacé silk and = glacé leather. | | grazet | 1696 |   | A kind of woollen stuff. | | grenadine | 1852 |   | An open silk or silk and wool textile used for dresses. | | grogram | 1562 |   | A coarse fabric of silk, of mohair and wool, or of these mixed with silk; often stiffened with gum. | | gros de Naples | 1799 |   | A heavy silk fabric, made originally at Naples. | | gulix | 1696 |   | A kind of fine linen. | | gunny | 1711 |   | A coarse material used chiefly for sacking and made from the fibres of jute or (in some parts) from sunn-hemp; a sack of this material. | | haberjet | 1502 | 1865 | A kind of cloth named in Magna Carta, and in some ancient documents. | | harden | 1430 |   | A coarse fabric made from the hards of flax or hemp. | | harrateen | 1711 | 1825 | A kind of linen fabric formerly used for curtains, bed-furniture, and the like. | | harris | 1892 |   | The name of the southern section of the island of Lewis with Harris in the Outer Hebrides, used (chiefly attributively) to designate the hand-woven tweed produced by the inhabitants of this region. Also elliptically (Harris is a proprietary term in relation to tweed manufactured in the island of Lewis with Harris). | | hemp roll | 1696 | 1696 | ‘A strong coarse Linnen and when whited very good for Sheets for Poor People.’ | | henrietta | 1851 |   | Designating a light-weight dress fabric, sometimes with a silk warp. | | hessian | 1881 |   | A strong coarse cloth, made of a mixture of hemp and jute, employed for the packing of bales. | | holland | 1427 |   | A linen fabric, originally called, from the province of Holland in the Netherlands. | | homespun | 1607 |   | Cloth made of yarn spun at home; also, a coarse and loosely-woven material made in imitation of home-made cloth. | | hopsack | 1892 |   | a. The material of which hop-sacks are made, a coarse fabric composed of hemp and jute. b. Applied to a woollen dress-fabric made with a roughened surface. | | hopsacking | 1884 |   | a. The material of which hop-sacks are made, a coarse fabric composed of hemp and jute. b. Applied to a woollen dress-fabric made with a roughened surface. | | huckaback | 1696 |   | A stout linen fabric, with the weft threads thrown alternately up so as to form a rough surface, used for towelling and the like. | | imperial | 1476 | 1876 | Short for cloth imperial: a textile fabric in use in the Middle Ages, with figures woven in gold; apparently so called as being made at Constantinople. | | inderkins | 1696 | 1696 | ‘A coarse narrow Cloth which comes from Hamborough – it is made of the worst of Hemp.’ | | inkle | 1545 |   | A kind of linen tape, formerly much used for various purposes. | | italian cloth | 1867 |   | A kind of linen jean with satin face, largely employed for linings (in French, satin de Chine; Italian, zanella). | | janus cloth | 1877 |   | Materials with a double facing, or things having a two-way action. | | jap silk | 1895 |   | Colloquial abbreviation of Japanese. Also as adjective, specifically Jap silk = Habutai. | | jean | 1567 |   | A twilled cotton cloth; a kind of fustian. Originally jene (ge(a)ne, geanes) fustian, shortened to jeanes, jean, etc. The form jeans is used in U.S.. | | jersey | 1583 |   | The name of the largest of the Channel Islands: used attributively and elliptically, especially in reference to the knitting of stockings and other worsted articles, which was long a staple industry of Jersey; attributively of Jersey; of Jersey worsted. Hence also used of fine machine-knitted fabric generally. | | kendal | 1389 | 1687 | A species of green woollen cloth. | | kenting | 1657 | 1793 | A kind of fine linen cloth. | | kersey | 1390 |   | A kind of coarse narrow cloth, woven from long wool and usually ribbed. | | kerseymere | 1798 |   | A twilled fine woollen cloth of a peculiar texture, one-third of the warp being always above, and two-thirds below each shoot of the weft. | | kincob | 1712 |   | A rich Indian stuff, embroidered with gold or silver; also a piece or variety of this. | | lake | 1386 | 1603 | Fine linen. | | lamé | 1922 |   | A material consisting of silk or other yarns interwoven with metallic threads. | | lasting | 1782 |   | A durable kind of cloth; = everlasting. | | lawn | 1415 |   | a. A kind of fine linen, resembling cambric; pieces or sorts of this linen. b. specifically, this fabric used for the sleeves of a bishop. Hence, the dignity or office of a bishop. | | leno | 1821 |   | A kind of cotton gauze, used for caps, veils, curtains, etc. Also attributively. Hence, the type of weave used for this fabric. | | levantine | 1831 |   | ‘A very rich-faced stout twilled black silk material, exceedingly soft, and of excellent wear.’ | | linsey-woolsey | 1483 |   | Originally a textile material, woven from a mixture of wool and flax; now, a dress material of coarse inferior wool, woven upon a cotton warp. | | lisse | 1852 |   | A kind of silk gauze. | | lockram | 1483 | 1820 | A linen fabric of various qualities for wearing apparel and household use. | | long cloth | 1545 |   | A kind of cotton cloth or calico manufactured in long pieces; especially cloth of this kind made in India. | | lukes | 1472 | 1547 | Made at Liège; said especially of velvet. | | lungi | 1634 |   | A loin cloth. Also, the material of which this is made. | | lustring | 1697 | 1886 | A glossy silk fabric. | | lyre | 1421 | 1490 | The name of a town in Brabant, now Lire or Liere, occurring in the designations of certain kinds of cloth, as black of lyre (black a-lyre, black of lure), green of lyre (grene alyr, grene lyre). | | manchester | 1777 |   | Some kind of cotton fabric. | | mantua | 1709 | 1787 | A material; ? = mantua silk. | | marble | 1520 | 1720 | A mottled or dappled colour resembling that of variegated marble; hence, a cloth of such a colour. | | marcella | 1812 |   | A kind of twilled cotton or linen cloth used for waistcoats, etc. | | marocain | 1922 |   | A dress fabric of ribbed crêpe. Also, a garment made from marocain. | | marry-muffe | 1604 | 1640 | Some kind of cheap textile fabric; a garment made of this. | | marseilles | 1762 |   | A stiff cotton fabric, similar to piqué. | | medley | 1438 |   | A cloth woven with wools of different colours or shades; = medley-cloth. | | melton | 1823 |   | The name of a town in Leicestershire (more fully Melton Mowbray), a famous hunting centre. Used attributively in Melton Jacket, also in Melton cloth (see quot. 1882) and elliptically as noun. | | merino | 1818 |   | A soft woollen material resembling, but finer than, French cashmere, originally manufactured of merino wool, and later of a fine wool mixed with cotton. | | merv | 1887 |   | A silk material for ladies’ dresses and dress-trimmings. | | messellawny | 1612 | 1640 | Some textile fabric. | | minikin | 1604 | 1721 | Used to designate some kind of baize. | | mockado | 1543 | 1660 | A kind of cloth much used for clothing in the 16th and 17th centuries. Also attributively, as mockado cassock, doublet, etc.; mockado ends, fringe (mentioned as a commodity sold by weight); tuft mockado, a peculiar kind of mockado decorated with small tufts of wool. | | mohair | 1570 |   | Properly, a kind of fine camlet made from the hair of the Angora goat, sometimes watered. Also, yarn made from this hair. In modern use often applied to a fabric in imitation of the true mohair, in the 18th century wholly of silk, but now usually of a mixture of wool and cotton. | | moire | 1660 |   | Originally a kind of watered mohair; afterwards, any textile fabric (but usually silk) to which a watered appearance is given in the process of calendering; a watered or clouded silk. Moire antique, explained by French lexicographers to mean a watered silk of large pattern, is in English use practically synonymous with moire, which is apprehended as a shortened form. | | moory | 1696 |   | A kind of Indian cloth. | | moreen | 1691 |   | A stout woollen or woollen and cotton material either plain or watered, used for curtains, etc. | | morella | 1670 | 1702 | A kind of material used for dresses, curtains, etc. Also morella mohair. | | moss crepe | 1955 |   | A dress fabric which relies for its characteristic effect on a special yarn called a moss crêpe yarn. | | motley | 1386 | 1617 | A cloth of a mixed colour; a mixture. | | mousseline | 1696 |   | French muslin; also, a dress of this material; a dress-material originally composed wholly of wool, but afterwards of wool and cotton, printed with varied patterns. | | mumull | 1676 |   | A thin variety of muslin. | | mungo | 1857 |   | A fabric made from the short fibres recovered from old hardwoven or felted material. | | muslin | 1609 |   | The general name for the most delicately woven cotton fabrics, including many varieties, used for ladies’ dresses, curtains, hangings, etc.. | | musterdevillers | 1400 | 1564 | A kind of mixed grey woollen cloth, much used in the 14th and 15th centuries. | | nainsook | 1804 |   | A cotton fabric, a kind of muslin or jaconet, of Indian origin; a garment made of this. | | nankeen | 1755 |   | A kind of cotton cloth, originally made at Nanking from a yellow variety of cotton, but now extensively manufactured from ordinary cotton and dyed yellow. | | napkining | 1640 | 1812 | Material for napkins. | | naps | 1771 |   | A cloth having a nap on it. | | nettle cloth | 1539 |   | a. Cloth made of nettle-fibres. b. Cotton cloth, calico. | | nilla | 1696 | 1757 | A kind of Indian piece-goods. | | ninon | 1911 |   | A light-weight fabric, used especially in dresses, made in a plain weave from silk, rayon, or nylon. | | norwich crape | 1821 |   | A textile fabric manufactured, or as manufactured, in Norwich. | | norwich poplin | 1860 |   | A textile fabric manufactured, or as manufactured, in Norwich. | | norwich stuff | 1618 |   | A textile fabric manufactured, or as manufactured, in Norwich. | | nun’s cloth | 1884 |   | A thin woollen stuff. | | nun’s veiling | 1883 |   | A thin dress-stuff. | | oilcloth | 1697 |   | A general name for any fabric of cotton, linen, hemp, etc. prepared with oil, so as to be rendered waterproof. | | orange-list | 1830 |   | A kind of wide baize. | | organdie | 1835 |   | A very fine and translucent kind of muslin. | | orleans | 1844 |   | A fabric of cotton warp and worsted weft, brought alternately to the surface in weaving. | | osnaburg | 1545 |   | A kind of coarse linen originally made in Osnabrück. | | ottoman | 1883 |   | A kind of fabric of silk, or silk and wool. | | paduasoy | 1663 |   | A strong corded or gros-grain silk fabric, much worn in the 18th century by both sexes, of which poult-de-soie is the modern representative. | | panne | 1794 |   | A soft kind of cloth with a long nap, resembling velvet. | | paragon | 1605 | 1739 | A kind of double camlet; a stuff used for dress and upholstery in the seventeenth and early eighteenth century. | | paramatta | 1834 |   | A light dress fabric having a weft of combed merino wool and a warp formerly of silk, but now generally of cotton. | | parisian cloth | 1960 |   | ’An English textile of cotton warp and worsted weft.’ | | peeling | 1611 | 1769 | A thin skin or fabric formerly used as a dress material. | | pekin | 1783 |   | A kind of silk stuff. | | penistone | 1551 | 1778 | A kind of coarse woollen cloth formerly used for garments, linings, etc. | | percale | 1621 |   | Originally a fabric imported from the East Indies in the 17th and 18th centuries. | | percaline | 1858 |   | A glossy kind of French cotton cloth, usually dyed of one colour. | | perpet | 1715 | 1745 | Abbreviation of perpetuana: a durable fabric of wool manufactured in England from the 16th century (cf. the similar names everlasting, durance, lasting, etc.). | | perpetuana | 1599 |   | A durable fabric of wool manufactured in England from the 16th century (cf. the similar names everlasting, durance, lasting, etc.). | | perse | 1386 |   | In early writers, blue, bluish, bluish-grey; in later writers often taken (after Italian) as a dark obscure blue or purplish black; also as name of the colour, or of a stuff of the colour. | | persian | 1696 | 1876 | A thin soft silk, usually used for linings. Also called Persia or Persian silk. | | petersham | 1812 |   | A thick kind of ribbon of ribbed or corded silk used for strengthening the waists of women’s dresses, and for belts and hatbands. | | philip | 1614 | 1668 | A kind of worsted or woollen stuff of common quality (erroneously Phillipine, Cheny). | | pine-wool | 1884 |   | A wool-like material made from the spun fibres of pine-leaves, used in some countries for garments. | | plaid | 1512 |   | The woollen cloth of which plaids are made; later, applied to other fabrics with a tartan pattern. | | plain | 1600 |   | Plain cloth; a kind of flannel. | | plain-backs | 1830 |   | Weavers’ name for a kind of worsted fabric | | pleasance | 1420 |   | A fine kind of lawn or gauze; in a 1548 identified with lumberdyne. | | plumbet | 1533 | 1882 | A woollen fabric; the same as plunket. | | plunket | 1375 |   | A woollen fabric of varying texture, of a grey or light blue colour. | | plush | 1594 |   | A kind of cloth, of silk, cotton, wool, or other material (or of two of these combined), having a nap longer and softer than that of velvet; used for rich garments (especially footmen’s liveries), upholstery, etc. | | poldavy | 1481 |   | A coarse canvas or sacking, originally woven in Brittany, and formerly much used for sailcloth. | | poplin | 1710 |   | A mixed woven fabric, consisting of a silk warp and worsted weft, and having a corded surface; now made chiefly in Ireland. Also applied to imitations of this. | | poult de soie | 1835 |   | A fine corded silk; ‘a plain silk of rich quality in a soft and bright grosgrain make’ ; now most frequently applied to coloured goods. | | print | 1756 |   | A printed cotton fabric; a piece of printed cotton cloth. Also, a pattern printed on fabric. | | prunella | 1656 |   | A strong stuff, originally silk, afterwards worsted, formerly used for graduates’, clergymen’s, and barristers’ gowns; later, for the uppers of women’s shoes. | | puke | 1466 | 1612 | A superior kind of woollen cloth, of which gowns were made. | | pullicate | 1792 |   | a. A coloured handkerchief, originally made at Pulicat. b. Later, a material made in imitation of these, woven from dyed yarn. | | raines | 1526 | 1721 | Cloth of Raine(s), a kind of fine linen or lawn made at Rennes in Brittany. | | rash | 1578 |   | A smooth textile fabric made of silk (silk rash), or worsted (cloth rash). | | ratteen | 1685 |   | A thick twilled woollen cloth, usually friezed or with a curled nap, but sometimes dressed; a frieze or drugget. | | rattinet | 1811 | 1838 | A woollen stuff, somewhat thinner and lighter than ratteen. | | ray | 1300 | 1837 | A kind of striped cloth. | | renforcée | 1688 | 1698 | A strong make of silk. | | rep | 1860 |   | A textile fabric (of wool, silk, or cotton) having a corded surface. | | ribbon | 1545 |   | A narrow woven band of some fine material, as silk or satin, used to ornament clothing or headgear, or utilized for other purposes; without article, as a material. | | roan | 1617 | 1696 | a. The place-name used attributively to designate the linen cloth made there. b. A make of linen from Rouen. | | romal | 1683 |   | A thin silk or cotton fabric with a handkerchief pattern. | | rug | 1558 | 1711 | A rough woollen material, a sort of coarse frieze, in common use in the 16 -17th centuries. | | russell | 1868 |   | A ribbed or corded fabric, usually made with a cotton warp and woollen weft. Commonly called russell cord. | | russet | 1275 |   | A coarse homespun woollen cloth of a reddish-brown, grey or neutral colour, formerly used for the dress of peasants and country-folk. | | sackcloth | 1373 |   | A coarse textile fabric (now of flax or hemp) used chiefly in the making of bags or sacks and for the wrapping up of bales, etc.; sacking. | | sagathy | 1707 | 1884 | ‘A slight woollen stuff; being a kind of serge, or ratteen; sometimes mixed with a little silk.’ | | salempore | 1598 |   | ‘A blue cotton cloth formerly made at Nellore in India, and largely exported to the West Indies, where it was the usual slave cloth.’ | | sameron | 1556 | 1684 | ‘Sammaron, is a Cloath between Linnen and Hempen, not altogether so course as the one, nor fine as the other.’ | | samite | 1300 | 1971 | A rich silk fabric worn in the Middle Ages, sometimes interwoven with gold. Also, a garment or a cushion of this material. | | sannah | 1696 | 1850 | Some kind of cotton fabric formerly exported from India. | | sarcenet | 1463 |   | A very fine and soft silk material made both plain and twilled, in various colours, now used chiefly for linings; a dress made of this. | | satara | 1878 |   | A woollen cloth. | | sateen | 1878 |   | A cotton or woollen fabric with a glossy surface like that of satin. | | satin | 1366 |   | A silk fabric with a glossy surface on one side, produced by a method of weaving by which the threads of the warp are caught and looped by the weft only at certain intervals. | | satinet | 1703 |   | An imitation of satin woven in silk, or silk and cotton. | | satinisco | 1615 | 1661 | An inferior quality of satin. | | saxony | 1842 |   | A fine kind of wool, and cloth made from it. Several distinct kinds of fabric are thus designated. | | say | 1297 |   | A cloth of fine texture resembling serge; in the 16th century sometimes partly of silk, subsequently entirely of wool. | | scarlet | 1250 | 1859 | In early use, some rich cloth, often of a bright red colour, but also sometimes of other colours, as blue, green, brown. | | scotch cloth | 1675 | 1738 | A textile fabric resembling lawn, but cheaper; said to have been made of nettle fibre. | | seersucker | 1722 |   | A thin linen, or sometimes cotton, fabric, striped and with a crimped or puckered surface, of Indian manufacture. Also (and now chiefly) applied to imitations made elsewhere. Also, a garment made of seersucker. | | sempiternum | 1633 | 1665 | A quality of woollen cloth made in the 17th century and similar to perpetuana. | | sendal | 1225 |   | A thin rich silken material; also, a covering or garment of this material. | | serge | 1386 |   | A woollen fabric, the nature of which has probably differed considerably at different periods. The name now denotes a very durable twilled cloth of worsted, or with the warp of worsted and the woof of wool, extensively used for clothing and for other purposes. Certain imported varieties were formerly known by French designations indicating the place of manufacture, as serge de Ghent, serge de Nismes, serge de Ro(h)an, serge de Shaloon. | | shag | 1592 |   | A cloth having a velvet nap on one side, usually of worsted, but sometimes of silk. | | shagreen | 1702 | 1741 | A silk fabric. | | shalloon | 1678 |   | A closely woven woollen material chiefly used for linings. | | shantung | 1882 |   | A soft undressed Chinese silk. | | sheeting | 1711 |   | Stout cloth of linen or cotton, such as is used for bed linen, etc. | | shirting | 1604 |   | Material for shirts; specifically. a kind of piece-goods of stout cotton cloth suitable for shirts but also used for other garments. | | shoddy | 1847 |   | A cloth composed of shoddy wool; more fully shoddy cloth. | | sicilienne | 1873 |   | A fine poplin made of silk and wool. | | silesia | 1727 |   | A fine linen or cotton fabric originally manufactured in Silesia. | | sindon | 1450 |   | A fine thin fabric of linen; a kind of cambric or muslin. | | stamin | 1225 |   | a. A coarse cloth of worsted; in earliest use usually an under garment made of this worn by ascetics. b. In later use, a kind of woollen or worsted cloth, for outer garments, curtains, etc. for which Norfolk was formerly noted; = tamin, tammy. | | stammel | 1530 | 1665 | A coarse woollen cloth, or linsey-woolsey, usually dyed red; an under-garment of this material, worn by ascetics. | | straits | 1429 | 1706 | Cloth of single width, as opposed to broadcloth. | | stuff | 1643 |   | ‘This term may be applied to any woven textile, but it more especially denotes those of worsted, made of long or “combing wool”. Stuffs are distinguished from other woollen cloths by the absence of any nap or pile.’ | | suedette | 1915 |   | A material designed to imitate the texture of suede, especially a type of cotton or rayon fabric with a suede-like nap. | | superfines | 1812 |   | Goods of superfine quality (see the following quotation: ‘The chief manufacture is cloth, which was formerly almost wholly of the coarser kinds; but the manufacture of superfines has of late increased’). | | surah | 1873 |   | A soft twilled silk fabric used for women’s dresses. | | surat | 1643 |   | The name of a town and district in the presidency of Bombay, India, used attributively to designate (a) a kind of cotton produced in the neighbourhood, (b) coarse cotton goods, usually uncoloured. | | swansdown | 1801 |   | a. A soft thick close woollen cloth. b. A thick cotton cloth with a nap on one side, also called Canton or cotton flannel. | | swanskin | 1694 |   | A fine thick kind of flannel; also, a woollen blanketing used by printers and engravers as an elastic impression-surface. | | tabby | 1638 |   | A general term for a silk taffeta, apparently originally striped, but afterwards applied also to silks of uniform colour waved or watered. | | tabine | 1611 | 1626 | Apparently the same as tabby, the cloth (a general term for a silk taffeta, apparently originally striped, but afterwards applied also to silks of uniform colour waved or watered). | | tabinet | 1778 |   | A watered fabric of silk and wool resembling poplin: chiefly associated with Ireland. | | taffetta | 1373 |   | A name applied at different times to different fabrics. In early times apparently a plain-wove glossy silk (of any colour); in more recent times, a light thin silk or union stuff of decided brightness or lustre. In the 16th century mention is also made of ‘linen taffety’. In recent times the name has been misapplied to various mixtures of silk and wool, and even cotton and jute, thin fine woollen material, etc. | | tammy | 1665 |   | A fine worsted cloth of good quality, often with a glazed finish. Much mentioned in 17th and 18th centuries, but apparently obsolete before 1858. The name was revived as a trade-term in the late 19th century. | | tape | 1000 |   | A narrow woven strip of stout linen, cotton, silk, or other textile, used as a string for tying garments, and for other purposes for which flat strings are suited, also for measuring lines, etc. | | tarlatan | 1727 |   | A kind of thin open muslin, used especially for ball-dresses. | | tars | 1300 | 1450 | A rich and costly stuff of Oriental origin, used in the West in the 14th and 15th centuries. | | tartan | 1500 |   | A kind of woollen cloth woven in stripes of various colours crossing at right angles so as to form a regular pattern; worn chiefly by the Scottish Highlanders, each clan having generally its distinctive pattern; often preceded by a clan-name, etc. denoting a particular traditional or authorised design. Also, the pattern or design of such cloth, and applied to silk and other fabrics having a similar pattern. | | tartarin | 1343 | 1688 | A rich stuff, apparently of silk, imported from the East, probably from China through Tartary. | | taunton | 1499 |   | Name of a town in Somersetshire; hence short for Taunton cloth, a woollen cloth formerly made there. | | tavistock | 1535 | 1552 | A woollen cloth formerly made at the town of Tavistock. | | tawny | 1416 |   | Cloth of a tawny colour. | | terry velvet | 1835 |   | Of pile-fabrics: looped, having the loops that form the pile left uncut, as terry pile, terry velvet. | | thickset | 1756 | 1882 | A stout twilled cotton cloth with a short very close nap; a kind of fustian; also, a garment of this material. | | thunder and lightning | 1766 | 1868 | Applied to a cloth, apparently of glaring colours, worn in 18th century, and perhaps later. | | ticklenburg | 1696 |   | A kind of coarse linen cloth. | | tie silk | 1920 |   | A strong silk fabric used especially for ties and clothing. | | tiffany | 1601 |   | A kind of thin transparent silk; also a transparent gauze muslin, cobweb lawn. | | tinsel | 1526 | 1755 | A kind of cloth or tissue; tinselled cloth; a rich material of silk or wool interwoven with gold or silver thread (cf. baudekin); sometimes apparently, a thin net or gauze thus made, or ornamented with thin plates of metal; later, applied to a cheap imitation in which copper thread was used to obtain the sparkling effect. | | tissue | 1366 | 1910 | A rich kind of cloth, often interwoven with gold or silver. | | tobine | 1755 | 1858 | = tabine: a general term for a silk taffeta, apparently originally striped, but afterwards applied also to silks of uniform colour waved or watered. | | toilinet | 1799 |   | A kind of fine woollen cloth: used in the first half of the 19th century for waistcoats of grooms, huntsmen, etc. | | tuke | 1477 |   | Canvas, such as is used for an awning or canopy; but also applied to a finer fabric. | | tulle | 1818 |   | A fine silk bobbin-net used for women’s dresses, veils, hats, etc. | | tuly | 1321 | 1523 | An attribute of silk, tapestry, etc. of a rich red colour; perhaps originally applied to such fabrics imported from Toulouse. | | turkin | 1483 | 1618 | A kind of light blue cloth. | | tussore | 1619 |   | A coarse brown silk (furnished by Antheræa mylitta and other species of silkworm) made in and imported from India. | | tweed | 1847 |   | A twilled woollen cloth of somewhat rough surface, and of great variety of texture, originally and still chiefly made in the south of Scotland (usually of two or more colours combined in the same yarn); inferior kinds are made of wool with a mixture of shoddy or cotton. | | valencia | 1838 |   | A mixed fabric mainly employed for waistcoats, having a wool weft with a warp of silk, silk and cotton, or linen, and usually striped. | | velours | 1706 |   | ‘A kind of velvet or plush for furniture, carpets, etc. manufactured in Prussia, partly of linen and partly of double cotton warps with mohair yarn weft. | | velveret | 1769 |   | A variety of fustian with a velvet surface. | | velvet | 1320 |   | A textile fabric of silk having a short, dense, and smooth piled surface; a kind or variety of this. | | velveteen | 1776 |   | A fabric having the appearance or surface of velvet, but made from cotton in place of silk. | | venetian | 1710 |   | A closely-woven cloth having a fine twilled surface, used as a suiting or dress material. | | vermillion | 1641 | 1641 | A fabric dyed with vermilion. | | vesse | 1483 | 1523 | A kind of worsted fabric formerly made in Suffolk. | | victoria crape | 1877 |   | ‘A very successful imitation of real crape is made in Manchester of cotton yarn, and sold under the name of Victoria crape.’ | | vicuna | 1851 |   | A South American animal (Auchenia vicunna), closely related to the llama and alpaca, inhabiting the higher portions of the northern Andes and yielding a fine silky wool used for textile fabrics; thus Vicuña cloth; also, a garment made of this. | | vigogne | 1873 |   | A textile fabric made from the wool of the vicuña, used as a dress material; vicuña-cloth. | | vitry | 1425 | 1867 | Vitry canvas, a kind of light durable canvas. | | voile | 1889 |   | A thin semi-transparent cotton or woollen material much used for blouses and dresses. | | wad | 1540 | 1761 | A material composed of matted fibres of silk, raw cotton, etc. | | wadmal | 1392 |   | A kind of woollen cloth. a. In England, a coarse woollen material used principally for covering horse-collars, and other rough purposes; also (especially in the south-west) for petticoats, mittens, etc.). b. In Scotland, a woollen fabric woven in Orkney and Shetland. c. A woollen fabric worn by country people in Scandinavia and Iceland. | | watchet | 1198 | 1865 | A light blue colour; cloth or garments of this colour. | | west of England | 1843 |   | The name of a region of England, used to designate high-quality woollen broadcloth for which it has long been noted. | | whipcord | 1895 |   | A close-woven ribbed worsted material used for dresses, riding breeches, etc. | | wildbore | 1784 |   | A stout and closely woven unglazed tammy. | | worcester | 1551 | 1551 | ‘The name of the county town of Worcestershire, used attributively to designate articles originating there, e.g. (formerly) a fine cloth.’ | | worsted | 1293 |   | A woollen fabric or stuff made from well-twisted yarn spun of long-staple wool combed to lay the fibres parallel. | | zanella | 1876 |   | ‘A mixed twilled fabric introduced of late years, and used for covering umbrellas.’ | | zephyr | 1849 |   | A fine light cotton cloth of the gingham type used for women’s dresses, having the colours woven into the fabric. | | zibelline | 1892 |   | A soft smooth woollen material with a slightly furry surface, used for women’s dress.. | * If obsolete ** Quotation marks indicate the use of a quotation by the OED. --- --- title: "Quiltersbee Comments on Quilt History" url: "https://quilthistory.com/quiltersbee-comments/" lang: "en-US" type: "page" description: "A note on Quiltersbee. This was a yahoo chat group which had it's own web page for a time. The original 2008 article can be found here.Compiled and provided by Christina A. Aubin IntroductionOkay, you all seem to be interested" last_modified: "2026-07-12T19:12:04+00:00" custom_fields: iawp_total_views: 2 --- # Quiltersbee Comments on Quilt History A note on Quiltersbee. This was a yahoo chat group which had it’s own web page for a time. The original 2008 article can be found [here](https://web.archive.org/web/20080723180836/http://www.quiltersbee.com/qbqhist2.htm). Compiled and provided by Christina A. Aubin - Introduction Okay, you all seem to be interested in history! I had a request not to leave out other countries so I promise to see what I can do about that. I know that almost all countries have a quilting tradition as even when quilting was not used for bedding it was used for Armor and for warm clothing. I’ll start with a brief note on early American quilting. Despite popular belief it is highly unlikely that quilts came on the Mayflower. At that time a quilt was a luxury item and only the very rich possessed them. The Mayflower passengers were neither rich nor ostentatious, being puritans! They probably brought woven coverlets with them. The Virginia settlements probably saw quilts long before the New Englanders. They were more wealthy and more class concious than the New Englanders. The earliest quilts in America were Indian chintz quilts and Palamplores. These were either made wholecloth or, more frequently, the expensive chintzes and calicos were cut into large peices and appliqued into Tree Of Life type designs for quilts, coverlets and bed hangings. The introduction of less expensive colorfast cottons at the end of the eighteenth century set the stage for the explosive growth of the American quilting tradition in the nineteenth century. We have the English, Welsh, and Dutch settlers to thank for introducing quilting to the new world, as they brought a strong quilting tradition with them from their own countries and that tradition spread very rapidly to their friends and neighbors. I hope you find this interesting and that others with something to add will jump in! Book recommendation for today: The American Quilt: A History Of Cloth And Comfort, by Rod Kiracofe, pub. Clarkson Potter, 1993. Originally $60.00 it may be available cheaper now that it has been out for a while. Christina - Slave and Abolitionist Quilts In the pre-civil war south the children of slaves went to work when scarcely out of infancy. Some went to work in the master’s household. The big plantations had “sewing slaves’, who made the clothing for the members of the household and also made quilts. Sometimes these women sewed quilts alongside the mistress of the house. Pre-Civil war southern quilts speak of leisure and refinement. Endless hours of time went into the making of this elaborate appliquéd quilts. Many of those hours were either put in by slaves or made possible by the fact that slaves did all the household tasks, leaving the mistress free to do needlework. At the same time these slave women were making quilts for their own use. Their African languages and Religions were banned but they used their African designs in the appliqué quilts that they made and the sense of color and style in their pieced quilts was also inspired by African tradition. A slave might be given a blanket once every three years, quilts were a necessity. These women knew from their mothers how to make vegetable dyes and could turn rough slave cloth into every color of the rainbow. They used worn clothes and scraps from the mistress of the house. Few of these quilts survived, they were used until they wore out. As the abolitionist movement grew in the north quilts were sold to raise money for the abolitionist cause. Women inscribed their needlecases with the phrase “May the work of our needles prick the conscience of the slaveholder “. Quilt patterns associated with the abolitionist cause include, Underground Railroad, Jacob’s Ladder, North Star, and Slave Chain. It is said that quilts hung on the line designated a safe stop on the underground railroad. Harriet Powers, while a slave, made one of the most treasured quilts in the American quilt tradition, The Harriet Powers Bible Quilt. This quilt is in the collection of the Smithsonian Institution. The licensing of the image of this quilt for reproduction by foreign companies for import into this country contributed to a massive furor and scandal which rocked the Smithsonian. Quilters from all over the country flooded the museum with complaints and boycotts. This lead directly to the RJR collection of reproduction Smithsonian fabrics. The museum discovered that this was a much more acceptable way of using their collection to raise funds! Note from Pat: Harriet Powers actually made two Bible Quilts. One is in the Smithsonian and the other is located in the Boston Museum of Fine Arts. The block I find most interesting is one that has been documented to reflect the quiltmaker’s intention of recalling the oral history, passed down through her family, regarding the “Dark Day of 1780”. On that particular day, many people were under the impression that the world was about to end. The day was as dark as night because of the smoke generated by massive forest fires in the southern part of the U.S. By all reports, people were praying and calling out for mercy. They thought that they were about to witness the “Second Coming”. - Indigo and White In the late 1890’s the trend was for blue and white quilts, particularly indigo blue and white. There was scarcely a quilter to be found who did not have at least one in her collection and many “best” quilts were indigo and white. This accounts for the fact that so many of these spectacular quilts survive. Many incorporated appliqué but the overwhelming majority were pieced. Trapunto and elaborate feather quilting was often used on these quilts. Blue and White were the colors of the WTCU (Women’s Christian Temperance Union), a very powerful and popular group. As many surviving blue and white quilts are in the Drunkard’s Path pattern there is speculation that many of these quilts were made for The Cause. This is not likely to be the case in fact, however, it is far more likely that this was simply a very popular combination due to it’s striking beauty. Another reason this combination was so popular for “best” quilts was that indigo was a superior dye, the color was true and fast. Demand for indigo dyed fabrics was high and companies responded by printing large quantities of them. Blue and white remains popular to this day but has never been so popular as it was at the end of the 19th century. - Crazy Quilting Crazy quilts are enjoying a comeback recently but it is nothing compared to the amazing popularity they enjoyed when they were first all the rage in the late Victorian era! The 1880″s were the high point of Crazy quilt making, though the style was born just before that and continues to this day. At one time many people attributed the beginnings of the crazy quilt to as early as the arrival of the colonists to the new world, it’s advent was supposed to have risen out of the scarcity of fabric and the use of every little scrap. This theory is no longer considered to be likely and it is almost certain that the Crazy Quilt owes its start to the Centennial Exhibition of 1876, held in Philadelphia. It was at this exhibition that American women were first exposed to the arts and culture of Japan. For the first time they saw a style that was not strictly symmetrical, they saw beautiful fans and opulent embroidery. The Crazy Quilt came from these origins. It was just at this time that there was an increased supply of reasonably priced silk, bringing the silk crazy quilt into the sphere of the middle class. Crazy quilts are not, in fact, quilts. They were intended as parlor throws or piano scarves. They typically have no batting or filler and are tacked invisibly, not quilted. These spectacular quilts took a long time to make, decades not being unusual. Scraps of dress silks, wedding gowns, silk souvenirs, cigar bands and more found their way into crazy quilts. When the foundation was complete the embellishment began, and often did not end until the maker’s death! The embellishments included elaborate embroidery, beads even painted designs. During the high point of the rage patterns for everything from the supposedly random foundations to the embroidered and painted designs were printed in the ladies magazines of the day. A crazy quilt was not just a thing of beauty but a status symbol. A Crazy Quilt required more than just material, it required a huge amount of leisure time, and leisure time was something only found in a prosperous household. If a man could invite associates and neighbors into his home and it contained visible signs of his wife’s leisure activities it was a sure sign of his success and prosperity. He was able to provide her with both household help and luxurious materials, her accomplishments reflected well on him. Many crazy quilts survive to this day, they were treasured objects then and remain so today. Because of their freewheeling nature some are not as lovely as others but all have great charm and some of the most beautiful of all quilts are Crazy Quilts. This weeks book review: Crazy Quilt Handbook, and Crazy Quilt Odyssey, both by Judith Montano, published my C&T. Penny McMorris wrote an excellent book on Crazy Quilting but it is out of print, check your local library, - 1971 I can almost hear you all thinking, “1971? What on Earth does that have to do with quilt history?”, well, quite a lot actually! Quiltmaking started a decline in the late forties and fifties. By the sixties there was little fine quilting fabric to be had and not many women were quilting. With the “back to Earth” movement of the sixties, however, quiltmaking started it’s comeback. Many people began looking at the traditional crafts of America and quiltmaking above all. Quilts were still not taken particularly seriously however until 1971. Why 1971? Because of a singular seminal event. In 1971 Jonathan Holstein and Gail Van Der Hoof managed to convince the prestigious Whitney Museum of American Art to hang an exhibition of their collection of antique American quilts. The now famous exhibition was called “Abstract Design in American Quilts”. It was an incredible achievement on the part of Holstein and Van Der Hoof to get the Whitney to agree to the exhibition as craft arts in general and quilts in particular had little respect at that time. The Whitney exhibit caused a sensation, it was one of the most popular exhibits in the museum’s history and received rave reviews from all quarters. In addition to it’s successful run at the Whitney the exhibit traveled for nearly four years, all over the USA and Europe. It sparked a huge renewal of interest in quiltmaking and quilts, and coming as it did on the eve of the United States Bicentennial it was a huge factor in the resurgence of quiltmaking in America. Following the Whitney exhibit many magazines began featuring quilts, other museums sponsored exhibits, and galleries began displaying quilts. Many people had never actually seen quilts before this time, or if they had seen them it was as strictly old fashioned utilitarian household items. The Whitney exhibit was not the first exhibit but it was the most prestigious and highly publicized up to that time. This magnificent exhibit was recently re-hung at a museum in Kentucky (I think!) and the catalogue reprinted. If you can lay your hands on “Abstract Design in American Quilts” by Jonathan Holstein, please don’t pass up the chance to purchase it! You may owe the fact that you quilt at all to this magnificent curatorial achievement! This weeks book recommendation: The Art Quilt, by Penny McMorris and Michael Kile, pub. The Quilt Digest Press - Broderie Perse This is one of the earliest forms of quiltmaking. The origins of Borderie Perse are in the 1700’s when chintz was the queen of fabrics. Beautiful chintz fabrics were being imported into England and France from the east Indies in huge numbers. These fabrics were glazed, block printed fabrics featuring designs of flowers, figures and Tree of Life designs, they were a true fad and often used as bed hangings and draperies, as well as parlor furnishings. European companies and guilds finally rebelled against the fad and demanded protection against these imports. When governments stepped in with restrictions these already expensive fabrics became a very rare and costly extravagance. Europen made copies were equally rare and expensive, and even the wealthiest women did not use these fabrics wholecloth. Instead they were carefully cut up and the motifs appliquéd onto less expensive background materials. Lovely medallion, block and wreath designs were fashioned in this way, both in Europe and the colonies. A small amount of fabric could be stretched a long way, a good thing as chintz fabrics could cost the equivalent of many hundreds of 1990’s dollars per yard. There were three predominant Broderie Perse styles, Tree of Life, Medallion, and all-over designs. Many of these fine quilts have survived and are displayed in museum collections to this day. They were among the most valued of household possessions then and are still highly prized today. Many of today’s fabrics lend themselves to this technique and it is still occasionally seen, though not recognized! My friend has made a bright turquoise vest appliquéd with neon tropical fish, cut from a Hoffman print, I wonder if she realizes that she has used one of the oldest of quiltmaking techniques on this most modern looking of garments?! - Quilts in Time of War Women have used quilts for charitable purposes and fund-raisers since at least the mid-nineteenth century and probably earlier. Some of the most organized and widespread charitable quilting activities took place in times of war. Women worked in the hundreds of thousands to send quilts to men going off to serve in the civil war. They joined Ladies Aid Societies, The US Sanitary Commission, Church groups and Sewing Circles to provide much needed bedding for soldiers, both in the field and in hospitals. Huge fund-raisers were held to raise money for supplies and many valuable family heirlooms were sacrificed in order to help the cause. Many soldiers in the civil war went off to fight with a quilt sent from home. Schoolchildren raised money and made quilts to send. In Alabama woman used quilts to raise money for gunboats! When the war was over quilts were made using fabrics from the uniforms of returning and lost soldiers. Some women inscribed their quilts with the dates and places of battles fought by the soldiers in their families. Fabric was scarce following the war and many quilts were made of homespun or much worn dress scraps. The cotton industry had been greatly disrupted by the war and took some time to recover. The Civil War was not the only war in which quilts played a part. Many quilts were made for soldiers in W.W.I and for war torn Europe following W.W.II. Church groups sent thousands of quilts to Europe in the years following the war. Quilts came through the United Nations and The Red Cross as well. The Church Relief Society of The Church Of Latter Day Saints had collected 5044 quilts by December 1945*. In times of trouble women often turned to the only option open to them to assist, their needles. To this day in times of war women often make quilts to keep occupied if nothing else. More than one quilt was made by women soldiers serving in the Gulf and by their mother’s and sisters at home. Recommended reading: *Joyce B. Peadon, “Donated Quilts Warmed War Torn Europe”, Quiltmaking in America: Beyond The Myths, Rutledge Hill Press 1994 - Quilt Bees In the mid to late nineteenth and early twentieth centuries every community had it’s quilt bees and most followed a similar pattern. Women spent long winter months piecing tops and over the summer months called on their friends and neighbors to help quilt them. No one wanted to miss a quilting as this was a major social occasion and chance for gossip, if you weren’t there yours could be among the names bandied about over the frame! (or frames, often more than one quilt was worked on at a bee in the summer, when the quilting was outdoors). Children were called upon to keep the needles threaded and less skilled quilters and young ladies were often relegated to KP duty, it paid to polish your quilting stitch! Perhaps the most festive Quilting Bees were held to quilt a brides quilt. Traditionally this quilt would be the thirteenth quilt a young girl had made, and displayed her finest work. The time between engagement and wedding was a flurry of quiltings as none of the thirteen quilts were quilted before the engagement. The most expensive part of a quilt was the backing and batting and this investment was not made until it was certain the quilts would be needed to set up housekeeping. The quilt bee was a party as much if not more than a working occasion and a lady made every effort to put on her best for her friends and neighbors. At the end of the day the men joined the ladies for a festive supper and perhaps a barn dance. These events were particularly cherished by the women of the great plains and western states as it was a rare opportunity for them to see other women, they spent most of their days with their own families and chores and might only see others every few months and not at all in the winter. It might be a four or five hour or more journey to the nearest neighbor, a truly perilous trip in winter. Some women were very fussy as to who was invited to a quilting, wanting only the most skilled to work on her quilts. Occasionally the stitches of a less skilled quilter were removed after the bee and redone by the quilts owner. Pride was taken in ones stitches! Quilt Bees still take place today though they are more likely to take the form of a church or charity organization which quilts to raise funds for well deserving causes than as the social occasion which also resulted in the completion of a necessary but tedious task. The recommended book is: Quilting Together, by Paula Nadelstern and LynNell Handcock. Published by Crown Publishers,inc. 1988. $35.00 - Singer and The Sewing Machine, A Capitalist Romance Hello everyone. This is vaguely quilt connected so pass on if you aren’t interested. I was lunchtime browsing in the library and found a book entitled SINGER AND THE SEWING MACHINE, A CAPITALIST ROMANCE by Ruth Brandon, published over here in Britain in l977 so I had a little read since the Singer machine is one of the better known names (no, no affiliation, and I don’t have one). It made for VERY interesting reading, especially when incorporated into much of American history and the patent wars re early sewing machines. Singer himself was a real rogue in business and a rascal in his personal life, leaving behind 23 children (that we are certain of) when he died over here in England. He is buried in Torquay and also left a mansion, MORE than a mansion I am told, in Torquay called “The Wigwam” as he thought that meant “home”. It outsized any castle for miles around and had its own separate theatre. Singer was always more interested in the acting profession and grand gestures than in being a mechanic though he was gifted that way also. I thought some of the points were most interesting in that we often think of how liberating the sewing machine was in that women could make clothes, quilts, curtains etc at home so much quicker but it wasn’t sold as a free-the-woman item, except that it might free her (as said some of the advertisements) to “look after the children better”; it was sold strictly on a money making basis. Since it sold mostly to factories who did not buy very many and Singer wanted it to be popular, it was decided that it must be made “respectable” so every minister’s wife was offered one at half price if she could get her husband to buy it (husbands controlling the purse strings). This opened the doors widely as many minister’s wives had large families and were in great need of a fast way to sew clothing for the children. Women were generally considered unable to operate ANY type of machinery so Singer got some of his nieces to demonstrate them in large shop windows to show that a woman COULD “master” the machine. All these sales tactics worked as we know today by the popularity of the sewing machine generally. All and all, it was an very enlightening book for summer reading. - The Drunkard’s Path The Drunkards Path is an interesting one. I believe it is also known as Rocky Road To Kansas among other things and belongs to the “Robbing Peter To Pay Paul” group of designs. These designs depend on a combination of blocks to achieve the full design. Drunkards Path (Usually done in blue and white) was a symbol of support for the temperance movement and drunkards path quilts were used to raise funds for the temperance society and often hung at society meetings. I will see if I can find out anything else about this block. - Signature Quilts/Album Quilts/Friendship Quilts Signature quilts were a true nineteenth century fad. The trend began in the early 1840’s, surged through the 1850’s, faded during the 1860’s and 70’s and enjoyed a resurgence in the 1880’s and 90’s. The trend began on the eastern seaboard, between Northern New Jersey and Maryland, with the greatest popularity in the Philadelphia and Baltimore areas. It spread north to Lower New England and west to Ohio before moving south to Virginia and the Carolinas. The earliest known examples are from 1840 or 41. Most of these early signature quilts were of the album or sampler variety, with the single pattern version not seen until about ten years later. This single pattern version was never popular in the Delaware valley are and was more often seen in New York, New England and the western states (though albums were not seen at all in the west until after the civil war). These quilts were often inscribed with more than just signatures. Poems, bible verses and personal notes were all popular. Verses just for this purpose were published in the ladies magazines of the day.The classic “Baltimore” style album was first seen around 1845 or 46. The name Mary Evans is often associated with the Baltimore Album style, but it is certain that she did not make or even have a hand in every “Baltimore” album made, as was once thought. The Baltimore style album was, in fact made also in Pennsylvania, Connecticut, Virginia and other Eastern seaboard states. The applique style album was the most popular syle for some time, and many applique patterns trace their origins to this time and trend. Later quilts were often pieced patterns, such as the appropriately named “album patch”. Many of these patterns never survived the album craze and are rarely seen in any other quilts. The initial hotbed of album quilts, Eastern Pennsylvania, Maryland and New Jersey never really resumed an interest in these quilts after the civil war, the new popularity of these patterns was in the west, an area that had not participated in the first wave of the fad. Early album quilts found in these areas were brought there from the east and were not, in fact made there. Just a note I meant to add to the article. The highest price ever paid at auction for an American quit was a Baltimore Album quilt, it sold for $275,000.00, and was immediatly resold for a higher, undisclosed amount. The previous high was also for a Baltimore Album and was $225,000.00. Dear Janet, I’d have to check some old paperwork but as I recall that sale was at Sotheby’s in 1988 or 1989.OOPS! I found it. It was sold first in 1987 for $175,000.00 then resold for something over $200,000.00. I may be mistaken about the $275,000 price as I can find no reference to it now. It may have been resold a third time or I may be thinking of a different quilt. To see a photograph of the quilt look in the color section of Baltimore Beauties and Beyond, Book 1. by Elly Sienkiewicz. Suggested references: Remember Me: Women and Their Friendship Quilts, by Linda Otto Lipsett. Published by The Quilt Digest Press Quiltmaking In America: Beyond The Myth, selected writings from the American Quilt Study Group. Edited by Laurel Horton, published by Rutledge Hill Press - The Rose of Sharon I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters. As the apple tree among the trees of the wood, so is my beloved among the sons. His left hand is under my head, and his right hand doth embrace me. The Song of Solomon, Chapter 2, verses 1-6 The Rose of Sharon is one of the most beloved of all quilt blocks, yet were we to host an exchange it is likely that none of the blocks would be identical. The Rose of Sharon has been popular since the mid-nineteenth century and was one of the few non-realistic flower blocks to retain it’s popularity through the depression. Rose of Sharon is often seen in a pink and green colour scheme and was understandably popular as an engagement or wedding quilt. In fact it was rarely used for anything else in the late 1800’s. The one thing that unifies all versions of the block is it’s central scalloped circle, representing the rose. This circle is layered with two or three circles and there is an arrangement of buds and leaves around the circle. It is this arrangement which varies greatly from block maker to block maker. Many Rose of Sharon quilts have survived because they were _best_ quilts, used only for company or tucked away as items of value rather than everyday quilts. A similar pattern is the Whig Rose, which also has many variations. Unlike The Rose of Sharon, The Whig Rose often expressed support by it’s maker for the Whig party and it is more commonly seen in the classic late nineteenth century red and green colour scheme. The Rose of Sharon is just one of many quilt blocks and designs with biblical themes, religion was an overwhelming factor and comfort in women’s lives and the Bible was often the only book in a family’s home, it was a source of inspiration both spiritually and practically. One of the most powerful quilts in the Smithsonian collection is a bible quilt, The Harriet Powers Bible Quilt. Made by a former slave this exquisite work is a treasure to us all and was a source of much controversy when it’s image was licensed for reproduction. We may be grateful that the license has been canceled. Other popular Biblically inspired blocks include Jacob’s Ladder, Tree of Life, Storm at Sea, and Bethlehem Star. Today’s recommended reading: Pieces Of The Past, by Nancy J. Martin, published by That Patchwork Place Journey To Jericho, by Kaye England The Holy Bible - New England (or Where do you live?) Where are you from? Where do you live? Does it have an influence on your quilts? In this age of easy worldwide communication regional differences are not so clear-cut as they once were. I am from New England, and live now in Florida. What might my quilts have been like had I lived in New England in the early nineteenth century? A child in the early 1800’s was taught early on the skills she would need to run her household. Everything had to be made by hand, including the cloth that went into clothing and household goods. The thread was harvested, spun, and woven at home. By the age of five a young New England girl knew how to spin, weave, darn and stitch. She may have finished her first quilt top, she had certainly begun it! When she grew up she faced the daunting task of sewing all of her family’s clothing, imagine sewing a mans suit, by hand! In New England as elsewhere, quilts were influenced by the lives of those who lived there, and for many New Englanders the overwhelming force in their lives was the ocean. The mighty north Atlantic pounds the coast and provides nourishment, livelihood and danger to the inhabitants of the coast. Many traditional quilt patterns honor this influential neighbor! Some patterns which are common to older New England Quilts are Mariner’s Compass, Ship of Life, Storm At Sea, Ocean Waves, and World Without End. An old New England Ship Of Life quilt is inscribed: The great ship of life gliding over the sea of time, bound to the shore of eternity, Her anchor cast upon the Rock of Ages. If you lived in Kansas you might make a Mariner’s Compass quilt also, but you probably call it Sunflower! Many of you are making flannel quilts now, I’m not. I live in Florida, I make bright quilts to show up in light filled, white rooms filled with light furniture. Where I live has an influence on what I sew. You might not even be aware of it but it does you too. When I buy fabric for the quilt shop where I work, many fabrics get passed over because they wont sell in Florida, I bet your local shop owner makes similar decisions every day. Where do you live? Why don’t you tell us in a quilt? - 54-40 or Fight The border between the US and Canada in the Northwest was in dispute in the early 1800’s. Both the Americans and British had Fur Companies in the area, and all was pretty much mixed up. The British didn’t bother to send families, and the Americans encouraged families to come and join the fun. As the Americans came alone the Oregon Trail, the tended to settle below the 49th parallel, due mainly to geography. In 1844, the border situation was really sticky. A lot of people wanted the border set at the 54 longitude and 40th parallel which would have taken all of Southern Alaska and British Columbia. James Polk ran in the election that year on the platform of 54-40 or Fight. In 1846 they settled by agreement on the 49th parallel, with all of Vancouver Island going to the British. There are bunch of Islands between Vancouver Island and the Main Land known as the San Juan Islands. The boundary really wasn’t set very well with them. Some were clearly below or above the 49th parallel, but it happened to run straight through one of the largest of these islands, San Juan Island. This lead to a situation where another border dispute between the United States and Britain came to a head in 1859, when an American settler in the San Juan Islands killed a pig belonging to an Englishman. The pig had wandered into the American’s potato patch and was rooting himself up some lunch. Both countries had been occupying the islands because the treaty of 1846 did not state who was to have jurisdiction over them. Both countries sent troops to the islands during the Pig War, but the only shot fired was the one that killed the pig. This went on for a fairly long time, and in the meantime, more Americans than Brits moved onto the island. It wasn’t finally settled until they called in Emperor William I of Germany, who ended the disagreement in 1872 by awarding the San Juans to the United States. This is the rough outline of the story. Some of it has moved into folk lore. But hope this helps. - Transitions We had a death in our house last month. My cat passed away unexpectedly. Many of you may wonder why make an issue of a cat? Well, it was a terrible thing for me and many of you were kind enough to share your thoughts and prayers with me. Many of also suggested I make a mourning quilt for her. This is a transition in my life as I had her for most of my adult life. Quilts to commemorate transitions were once very common. When a girl was married a wedding quilt was made, Mourning quilts were very popular during the Victorian era, when the cult of mourning was at it’s peak. One famous quilt has a cemetery in the center with coffins appliqued around the borders. Each coffin was assigned to a particular individual and when that person passed away, his or her coffin was moved to the middle. Fairly graphic demonstration of what many might prefer not to think about! A mother made a Freedom Quilt when her son turned 21. That was a lot more significant in the 18th and 19th century than it is now. Children were, quite literally, the property of their parents. Women became the property of their husbands when they married but men earned their “freedom” at their majority (21 years of age). Prior to that time anything they earned went to the father. Boys not needed at home were often sent to work at neighboring farms and any wages earned were given to his parents. Any inheritance was not handed over until a boy reached that magic age. Turning 21 was a hugely important event in a man’s life and this event was often commemorated by his proud mother and sisters with a quilt. (If the young man was well thought of or a good catch the neighbor girls might make him a quilt too!) Patterns for these quilts varied widely with one exception, a Turkey Tracks (also know as Wandering Foot) was never, ever made. It was said that if a Turkey Tracks quilt was given to a boy or young man he would wander for life and never settle down. Not a risk even the least superstitious mother cared to take! Here is some further information on 54-40 or fight, provided by Jane Stapel Clarke: You also gave the history on the Turkey Track and it is one of my favorites, so I added a bit to it. Were you aware that it was originally called TENTS OF KEDAR?? named from the nomadic tribes back in biblical days and done in black and white solids as no prints were made yet. After they were available, they used the prints and it was a mourning quilt. That is what fascinated me, YOUR very interesting post and my little bit of info, in my info it says it acquired that name because some hubby/father deserted his family and they were a superstitious crowd…they thought the jerk left because of the quilt (what the heck, we usually blame ourselves) Star Of Bethlehem Now when Jesus was born in Bethlehem of Judea in the days of Herod the King, behold, there came wise men from the east to Jerusalem, Saying, where is He that is born King of The Jews? For we have seen his star in the east and are come to worship him St. Mathew 2:1-2 The Star Of Bethlehem is one of the oldest and most beloved of all the traditional quilt patterns. The name “Star Of Bethlehem” is used for several blocks but it is most accurately and traditionally used to refer to the pattern often called Lone Star. An large 8 pointed star subdivided into many small diamonds to form a starburst medallion. This pattern is one a the few pieced patterns to come to us from Europe. In the early 19th century it was normally seen with extremely elaborate chintz appliques in the setting triangles and corner squares. As the century progressed these appliques became more simple and by the later part of the century the modern version with it’s plain background was beginning to appear. This version of the Star of Bethlehem was the one which traveled across the Great Plains and was introduced to the Plains tribes by missionary wives. Already skilled seamstresses the women of these tribes took up quiltmaking and brought their own sensibilities to it. The Star of Bethlehem became a predominant theme in their quiltmaking, as the Morning Star played an important role in their culture. To this day this pattern is made in endless variations by women of the plains tribes. The Star of Bethlehem is so popular and so dramatic that it is probably the single most known pattern among non-quiltmakers. If you have not made one of these wonderful quilts, please give it a try. They are not hard to do and always give a beautiful result! A note from June Slattery on early Scottish and English quilting Quilting came back to Scotland and Great Britain at the time of the Crusades. Christians traveled across Europe and the Middle East and met with the Mongol hoards in their journeys. When they got there they realized that the men wore quilted cloth under their chain mail. When they returned they brought this idea to their wives who started making quilted clothing for their spouses so that they would not be chaffed by the chain mail. From that whole cloth quilts were made because they figured that if it was good for that it would make great blankets too. Quilting was not a class related craft as everyone was doing it right from the queen down to the lowliest peasant. The only thing that differentiated their quilts was the quality of fabrics and threads. In the early days when people were emigrating to the new world tradesmen were not allowed to leave and if they did they were not allowed to practice their trades in the new world-that included weaving and spinning. So, early settlers had to patch their blankets with old bits of cloth and clothing to keep them whole and that is where our patchwork quilts came from. June in frozen Waterloo, Ontario Canada The note below is not an E-mail to Quiltersbee. It is a comment by the members of the British Quilt History List. Quilting and Patchwork in the British Isles Ursula McKean Dundee Scotland, UK There is some evidence of patchwork and quilting in medieval Europe. Clothes worn under armour or as armour seem to have been made of quilted leather or linen padded with rags or straw or sheeps’ wool, and perhaps reinforced with metal. Very little is documented and only the occasional item has survived. During the Renaissance (15th-16th centuries), there is evidence of more decorative padded and quilted clothing, and also top covers of beds, as luxury items. As time went on, the surviving records show that the fashion became popular lower down the social scale and materials included cheaper ones. From the 17th century on, we know more, and more original items survive. Quilted bedcovers are documented in a wider range of homes (through wills etc.) and quilted women’s petticoats, babies’ caps and men’s waistcoats survive if only in fragments. There are some nice items in the Museum of Costume in Bath, England. The earliest surviving dated patchwork bedcover is the 1718 silk coverlet discovered in 2000 and purchased by the Quilters’ Guild of the British Isles The coverlet is pieced over papers, even the curved bits. Within the British Isles, some regional variations show up from the 18th century on. Wales and Northern England (‘Durham’ quilts to dealers, but ‘North Country’ to quilters) have surviving and identifiable traditions which just made it into the mid 20th century, and other parts of the British Isles (Ireland and the southwest of England) may well have had their own styles too. These are mostly styles of quilting design, not patchwork. There are several notable collections of quilts in museums; the Beamish Museum near Newcastle; the Bowes Museum in Barnard Castle, both in England; the Museum of Welsh Life at St. Fagans, Cardiff, in Wales; and the Ulster Folk and Transport Museum, Cultra, Northern Ireland. As far as influence on US traditions goes, apart from the fact that nearly all (white) early US immigrants were British, it’s known that particular American styles developing from British traditions are: the appliqued style that developed into the Baltimore style; pieced patchwork worked in borders around a central medallion; perhaps an influence from Welsh wool quilts is seen in Amish patchwork (but not necessarily Amish quilting). From the mid 19th century on, the surviving quilts show that influences go both ways across the Atlantic. It’s important to remember that before the Industrial Revolution, all fabric was time-consuming to produce and expensive to buy, so that the added contribution of patchwork and quilting to any piece of textile either made that textile a strictly luxury item, or was done because the investment of time and effort was felt to be essential (as in armour or fashion wear). Never was it cheap until after textiles became machine-made. There is a useful booklist on the website of the British Quilt Study Group. There are some interesting discussions on the British Quilt History List. Some museums: Beamish Museum Bowes Museum Ulster Folk and Transport Museum, Cultra --- --- title: "The Smithsonian Quilt Controversy" url: "https://quilthistory.com/todays-quilts/the-smithsonian-quilt-controversy/" lang: "en-US" type: "page" description: "In 1992, catalogs began arriving in American mailboxes that would set off one of the biggest disputes in quilting history. These catalogs were selling handmade copies of historic 19th-century quilts from the Smithsonian collection, and quilters across the country were" last_modified: "2026-08-01T18:50:02+00:00" custom_fields: iawp_total_views: 95 --- # The Smithsonian Quilt Controversy In 1992, catalogs began arriving in American mailboxes that would set off one of the biggest disputes in quilting history. These catalogs were selling handmade copies of historic 19th-century quilts from the Smithsonian collection, and quilters across the country were not happy about it. ## A Deal With the Smithsonian The Smithsonian had licensed four quilts from its collection to [American Pacific Enterprises Inc](https://www.hometextilestoday.com/industry-news/american-pacific-liquidates/)., a deal intended to generate revenue for the institution. The contract was set to run three years and was expected to bring in between $500,000 and $800,000 in royalties. The four quilts selected for reproduction were an 1851 Bride’s Quilt, an 1830 Great Seal of the United States quilt, a circa 1850 Sunburst quilt, and the well-known 1855 Bible Quilt made by Harriet Powers. Each reproduction took three or four workers in China approximately 50 hours to complete. American textiles were used for the applique, while the backing and batting were Chinese-made cotton. The quilts were sewn by machine but quilted by hand. Each one came with a registration card and a certificate calling them Authentic Smithsonian Reproductions. American Pacific sold more than 23,000 reproductions of the four designs by March 1993, at an average price between $150 and $300. The exact total number of quilts produced is not known. ![Harriet-Powers-Bible-Quilt A colorful patchwork quilt featuring appliqué human and animal figures, geometric shapes, and circles, arranged in panels across a light background with visible stitching.](https://quilthistory.com/wp-content/uploads/2026/05/Harriet-Powers-Bible-Quilt-e1779808448617.jpg)Collection of the[ Smithsonian Institution National Museum of American History.](https://americanhistory.si.edu/collections/object/nmah_556462) ## Quilters Push Back Quilt and textile historians were among the first to raise the alarm. They worried that once the quilts left their original packaging, dishonest or simply uninformed resellers might try to pass them off as genuine antiques. The word spread quickly through guild meetings, magazines, catalogs, fax networks, phone trees, quilt shows, and letters to Congress. The National Quilting Association faxed its official position paper to member chapters and called for action. According to [Quiltfolk](https://www.quiltfolk.com/journal/harriet-powers-quilt-made-in-china/), around 25,000 people signed roughly 500 petitions, including through quilt shops and the Houston Quilt Festival. ![A colorful handmade quilt with intricate floral and leaf patterns in green, red, yellow, pink, and blue, spread out over a bed. The quilt has a white background with a red triangular border along one edge.](https://quilthistory.com/wp-content/uploads/2026/06/Smithsonian-brides-quilt-634x1024.jpg)The Brides Quilt (found on Facebook Marketplace) ## Quilters Concerns The concerns went beyond the quilts themselves. Many quilters believed the Smithsonian should have contracted American quilt makers for the project rather than outsourcing production overseas. Others worried that lower-quality reproductions could hurt the market for American-made quilts. Some simply wanted the quilts to be clearly labeled “Made in China,” particularly given that the United States was running a $12.7 billion trade deficit with China at the time. There was also a broader concern: if museums could license designs from their collections, would individual quilters one day find their own donated works reproduced without their permission? ![The Great Seal Quilt A square quilt with a blue and white floral pattern featuring a central eagle with a basket of flowers, surrounded by vine and flower motif borders—an elegant piece reminiscent of styles seen in The Smithsonian Quilt Controversy.](https://quilthistory.com/wp-content/uploads/2026/05/The-Great-Seal-Quilt.jpg)Collection of the [Smithsonian Institution National Museum of American History](https://americanhistory.si.edu/collections/object/nmah_556469) ## Smithsonian Concessions and Changes Smithsonian officials met with quilters to hear their concerns, and some changes followed. The Smithsonian agreed to print its name and the copyright year (1992) on reproduced quilts. Steps were also taken toward permanent “Made in China” labeling, tighter advertising standards, and increased domestic production. They also agreed not to use the words “heirloom” or “American heritage” in their advertising. Later contracts were signed with American groups, including [Cabin Creek Quilters in Appalachia](https://sah-archipedia.org/buildings/WV-01-KA2) and [Missouri Breaks in the Lakota Sioux ](https://www.missouri-breaks.com/)reservation. By 1994, the Smithsonian had stopped licensing reproduction quilts entirely. ## A Turning Point for Quilters The controversy had a lasting effect on how museums think about their collections. The Smithsonian now frames its quilt holdings as cultural, artistic, and historical objects, not simply decorative items. The episode prompted museums more broadly to take a harder look at labeling practices, cultural context, artist rights, and the ethics of reproduction. For quilters, the dispute also marked a shift in how they saw themselves and their craft. This was not just a disagreement over imported bedcovers. Quilters argued that historic quilts carry women’s history, regional stories, family labor, and artistic value. When those quilts are copied, stripped of context, and sold through mass-market catalogs, those meanings can be lost. Quilt scholar Judy Elsley later described the episode as “cultural dislocation,” a phrase that gets at the real concern: not just that the quilts were being copied, but that their stories were being lost in the process. ## Learn More [Quilters Protests Answered](https://www.washingtonpost.com/archive/lifestyle/1992/04/11/quilters-protest-answered/f9c4b188-043a-4fb2-9f4b-2f39432746f1/) by the Washington Post [Uncoverings 1993](https://digitalcommons.unl.edu/aqsg-uncoverings/14/) includes the article _The Smithsonian Quilt Controversy: Cultural Dislocation by Judy Eisley_ [AQSG Review of Uncoverings 1993](https://www.americanquiltstudygroup.org/quilt-history-snippets-december-2024), Volume 14 of the Research Papers of the American Quilt Study Group, edited by Laurel Horton [The Quilt Index](https://quiltindex.org/) has over 100,000 images of American Made Quilts [Hearts and Hands: ](https://amzn.to/49mf84i)The Influence of Women and Quilts on American Society (San Francisco: The Quilt Digest, 1987) [Always There: The African American Influence in American Quilts](https://amzn.to/4fHJxOj) (Louisville, Kentucky: Kentucky Quilt Project, 1992) [Stitching Stars: The Story Quilts of Harriet Powers](https://amzn.to/4uLzOeH) by Mary E. Lyon, (Aladdin Paperbacks, 1993). --- --- title: "Arch Quilts: What they are and how to spot them" url: "https://quilthistory.com/todays-quilts/arch-quilts-what-they-are-and-how-to-spot-them/" lang: "en-US" type: "page" description: "If you spent time in country-style homes during the late 1980s and early 1990s, chances are you saw an Arch quilt. You just may not have known it. They were part of an imported quilt trend aimed at the resale" last_modified: "2026-08-15T18:20:55+00:00" custom_fields: iawp_total_views: 805 --- # Arch Quilts: What they are and how to spot them If you spent time in country-style homes during the late 1980s and early 1990s, chances are you saw an Arch quilt. You just may not have known it. They were part of an imported quilt trend aimed at the resale market that took advantage of the country decorating culture of the day. They are now showing up in resale markets as antique American quilts, either by mistake or by deliberate fraud. ## Who or What Was Arch Quilts ![A white product tag from Arch Associates, Inc. lists the address, dimensions 100 x 90, filling as polyester, covering as cotton, federal requirement code RN 74888, and notes its made in China.](https://quilthistory.com/wp-content/uploads/2026/05/arch-label.jpg) Arch quilts were imported by Arch Associates, Inc., a company based first in Elmsford, NY and later in Hawthorne, NY. Founded around 1987 by K.C. Foung, the company imported quilts manufactured in China using polyester batting and sold them through department stores, gift shops, catalogs, and home decor retailers. In 1993 the company registered the “Arch Home Collection” trademark; that trademark was canceled around 2001. The quilts were sold under the name “Arch Quilts” or as part of the “Arch Home Collection” and carried a bumblebee trademark. Labels read “Arch Quilts Elmsford NY” or “Arch Quilts Hawthorne NY,” and a “Made in China” tag was standard. They were often sold with matching shams or coordinating accessories, making them an easy one-stop purchase for the home decorator. ## The Country Decor Craze To understand Arch quilts, you have to understand the world they were born into. From the late 1980s through the mid-1990s, country decorating was not a style, it was a way of life. Magazines like _Country Living_ fueled a Colonial revival aesthetic built around pine furniture, braided rugs, and an appetite for anything that looked like it came from a simpler time. Ducks and geese were everywhere, along with baskets, calico prints, and the soft romantic palettes of Laura Ashley and the “Americana” look Ralph Lauren had made aspirational. Arch quilts slipped perfectly into this world. They were decorative bed coverings designed for appearance over heirloom craftsmanship, priced for middle-class homeowners, and styled to look like the kind of thing a quilter grandmother might have made. Early colorways leaned into dusty pink, gray-blue, mauve, and sage green. Later offerings shifted toward burgundy, hunter green, navy, deep cream, sherbet florals, and yellow accents as the palette of the decade evolved. They were affordable, they were attractive, and they were instant Americana, delivered in a department store bag. ## Common Arch Quilt Patterns Arch quilts were made in a wide range of traditional American quilt patterns, which is part of what makes them so easy to mistake for genuine antiques. Common designs include Dresden Plate, Double Wedding Ring, Tulip Applique, and Baltimore Album-influenced blocks. You will also find LeMoyne Star, Railroad Crossing, Pineapple, Log Cabin, Eight Point Star, Lone Star, Trip Around the World, and Delectable Mountains. Americana-styled quilts in red, navy, and hunter green were popular as well. ![Handmade quilt with a geometric pine tree or zig-zag pattern in pastel shades of blue, pink, lavender, and white, bordered by blue and white floral and striped designs, laid flat on a dark surface.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-1.jpg) ![A handmade quilt featuring a repeating geometric pattern of red, white, and blue shapes arranged in diamond blocks, bordered by red, white, and blue strips. The quilt has a traditional, patriotic design.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-2.jpg) ![A large quilt with an interlocking double wedding ring pattern in blue, pink, and cream tones hangs on a rod against a white wall, with sunlight peeking from beneath it onto a wooden floor.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-3.jpg) ![A handmade quilt featuring a repeated star pattern in teal, burgundy, gold, and white, bordered with a zigzag maroon edge, is spread out on a rug. The quilt has intricate geometric and floral designs.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-4-337x450.jpg) ![A colorful quilt laid on grass features a repeating fan pattern with red, blue, green, and gold sections, bordered by geometric designs on a dark blue background.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-5.jpg) ![A handmade quilt featuring a repeating pattern of red, green, black, and white squares bordered with red and white stripes. The design creates a geometric, almost three-dimensional effect.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilt-6.jpg) ![A close-up of a white quilt on a bed, featuring detailed stitched patterns of leaves and vines. The quilt texture and intricate stitching are clearly visible.](https://quilthistory.com/wp-content/uploads/2026/08/20250510_082203-338x450.webp)Private Collection, Andrew B. ![A neatly made bed with a colorful patchwork quilt in pastels and florals. A black and white stuffed cow sits atop a white pillow at the head of the bed.](https://quilthistory.com/wp-content/uploads/2026/08/Arch-Quilts-Postage-Stamp-5-24-2025-337x450.webp)Private Collection, Andrew B. ![Arch DWR A bed covered with a handmade quilt featuring an interlocking ring pattern in blue, white, and pink fabrics. A matching pillow rests at the head of the bed. The quilt has a vintage, patchwork design.](https://quilthistory.com/wp-content/uploads/2026/08/Arch-DWR-340x450.webp)Private Collection, Andrew B. ## How to Recognize an Arch Quilt Knowing what to look for can save you from paying antique prices for a department store purchase. ### The Label The most definitive identification is the label. Look for tags reading “Arch Quilts Elmsford NY” or “Arch Quilts Hawthorne NY,” possibly along with a “Made in China” tag. ![A fabric label sewn onto a quilt reads ARCH QUILTS in green text, with ELMSFORD, N.Y. printed below in smaller letters. The label is attached to a cream-colored quilt.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilts-Elmsford.jpg) ![A close-up of a colorful quilt shows a fabric label reading ARCH QUILTS HAWTHORNE, NY sewn into the seam, with visible stitch patterns and various fabric colors in the background.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-Quilts-Hawthorne.jpg) ![A handmade quilt with a colorful geometric patchwork pattern and blue, yellow, pink, and floral fabrics, partially folded to show the plain white underside.](https://quilthistory.com/wp-content/uploads/2026/07/Arch-Quilt-Label-e1782943128111.webp)Found on Facebook Marketplace ![A large handmade quilt features a repeating geometric pattern with blue, yellow, and patterned fabric pieces, bordered by strips of pastel patchwork and cream fabric, displayed on a gray floor.](https://quilthistory.com/wp-content/uploads/2026/07/Arch-Quilt-e1782943165820.webp)Found on Facebook Marketplace ### False Knife-Edge Construction This is one of the trickier identification points, and it trips up a lot of buyers. A true knife-edge finish is made by turning the quilt top and backing in on each other and stitching them closed. There is no batting in this narrow border area. An Arch quilt, by contrast, has batting all the way to the edge, so the knife-edge area will feel puffy or slightly spongy. Sometimes a seam line was stitched about a quarter inch from the edge to simulate a traditional binding, which can leave the edge looking wrinkled or uneven. It’s in the blue Pineapple quilt below right. Once you know what to look for, it is hard to miss. ![A close-up of a quilt corner featuring patterned fabric strips in red, white, green, and pink with floral and polka dot designs, lying on a textured brown carpet.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-puffy-edge.jpg) ![A close-up of a handmade quilt with a scalloped edge, featuring pastel colors and floral patterns arranged in a geometric, zigzag design. The quilt is laid on a wooden surface.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-GFG-Edge.jpg) ![A close-up of a quilt corner featuring a blue, green, and white patchwork pattern with floral designs and geometric shapes, bordered by a blue and white floral print fabric, laid on a dark wooden floor.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-edge-fake-seam.jpg) ### Fabric Clues The fabrics used in Arch quilts tend to give themselves away to an experienced eye. The decorator color palettes described above are one clue, but the cotton fabrics themselves are often poor quality. They might be faux antique calicos, 1930s-style reproduction prints, or other imitation fabrics that simply do not have the look or hand of American quilting cotton from earlier eras. ![A close-up of an Arch Quilts creation, showcasing a colorful quilt with a geometric star pattern, featuring teal, mustard, rust, black, cream, and floral print fabrics sewn together with visible stitching.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-poor-quilting-1-768x1024.jpg) ![An Arch Quilts design, this quilt features a geometric pattern of red and white shapes on a blue background, bordered by white and red strips. The repeating diamond and triangle motifs add to its striking visual appeal.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-poorquilting.jpg) ![A close-up of a colorful patchwork quilt by Arch Quilts, featuring geometric diamond patterns with red, green, white, and floral fabric strips sewn together in a symmetrical, repeating design.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-fabrics.jpg) ### Quilting Style and Construction Arch quilts were typically machine-pieced and then hand quilted afterward. The hand quilting was decorative rather than functional, with sparse spacing and a low stitch count per inch. The stitches are often large and uneven in length. This is not what you see in a quilt made by an experienced American quilter; it is what you see when quilting is performed quickly as a finishing step rather than as a craft tradition. ## Why So Many Are Mistaken for Antiques Estate sales are ground zero for Arch quilt confusion. A quilt surfaces from a cedar chest with a story attached: grandmother had it for years, it was always in the family, it must be old. And in fairness, it probably is old. Arch quilts are now 30 to 40 years old, and they wear their age accordingly. Faded colors, softened fabrics, and general wear make them look older than they are. The hand quilting is the other culprit. Many buyers assume that hand quilting equals antique, which is understandable but incorrect. Hand quilting simply means the quilting stitches were sewn by hand, which was true of Arch quilts. It says nothing about when, where, or by whom the quilt was made. Family provenance and hand stitching together make a compelling story, but neither one is evidence. ## Are Arch Quilts Collectible? Arch quilts are not antiques, and they are generally not valuable heirlooms in the traditional sense. But that does not mean they are worthless. They are genuine artifacts of a specific moment in American decorating history, and the country decor revival that comes around every decade or so gives them a nostalgic appeal. Plenty of people use them as draft stoppers, couch throws, or wall hangings, and there is nothing wrong with that. [![A neatly made bed with a colorful patchwork quilt featuring red, green, and purple star patterns, bordered by floral sashing, and matching pillow shams at the head of the bed.](https://quilthistory.com/wp-content/uploads/2026/08/20260801_114305-338x450.webp)](https://quilthistory.com/wp-content/uploads/2026/08/20260801_114305.webp)Andrew B shared this with me. [![Arch-quilt-from-facebook-marketplace A handmade quilt covers a bed, featuring colorful floral and geometric patchwork patterns in red, green, blue, and cream tones. The quilt displays a repeating design with flower motifs and leaves.](https://quilthistory.com/wp-content/uploads/2026/05/Arch-quilt-from-facebook-marketplace.jpg)](https://quilthistory.com/wp-content/uploads/2026/05/Arch-quilt-from-facebook-marketplace.jpg)This was on Facebook Marketplace, labeled as an Arch quilt. [![Arch-quilt. A colorful quilt with patchwork designs, including ships, birds, flowers, houses, and flags, set in square patterns bordered by a floral edge. The quilt is spread out on a wooden floor.](https://quilthistory.com/wp-content/uploads/2026/08/Arch-quilt.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Arch-quilt.webp) ### Appreciating Them for What They Are The hand quilting on an Arch quilt, whatever its quality, still represented real human labor. Some examples are surprisingly attractive, and the patterns chosen reflected genuine quilt history even if the execution was commercial. These quilts document what middle-class American homes looked like during a particular era, and that is worth something to the right collector. ## Common Misrepresentations Online When Arch quilts appear in online listings, certain red-flag words tend to follow them. “Antique,” “great-grandmother’s quilt,” “rare,” and “museum quality” should all prompt skepticism. So should “knife edge” and “hand stitched,” which are technically accurate terms that get used to imply age and authenticity they do not actually establish. A listing that combines several of these phrases with a Double Wedding Ring or Dresden Plate pattern in mauve and dusty rose deserves a closer look before any money changes hands. ## The Legacy of Arch Quilts The country decor boom has faded, and the Arch quilts that furnished it have quietly dispersed into estate sales, thrift stores, and antique malls. Younger collectors encountering them may have no frame of reference for what they are looking at. The quilts are becoming “vintage” simply because time passed, and that process will only continue. They are not antique quilts. But they are now honest artifacts of late-20th-century decorating culture, and they deserve to be understood as such. Before you buy, look for the label, feel the edge, examine the fabric and the stitching, and do not let a good story substitute for evidence. Quilt history requires evidence, not assumptions. And at the end of the day, the true value of any quilt is in how much you love it. --- --- title: "Quilt Care: Practical tips for the use and enjoyment of your antique quilt." url: "https://quilthistory.com/care-preservation/quilt-care-practical-tips-for-the-use-and-enjoyment-of-your-antique-quilt/" lang: "en-US" type: "page" description: "Display Avoid displaying your quilt in a room with poor ventilation, high humidity or other temperature extremes. Choose a method of display that distributes the weight of the quilt over the entire quilt such as an unused bed. This assumes" last_modified: "2026-08-01T18:46:43+00:00" custom_fields: iawp_total_views: 18 --- # Quilt Care: Practical tips for the use and enjoyment of your antique quilt. ## Display Avoid displaying your quilt in a room with poor ventilation, high humidity or other temperature extremes. Choose a method of display that distributes the weight of the quilt over the entire quilt such as an unused bed. This assumes you don’t have any cats. Cats are notorious for finding the only antique quilt in the house on which to sleep.  Spread a length of muslin or a sheet on top of the quilt to keep off dust when it is not being viewed. Rotate your displayed quilts. If you don’t have a spare bed, you could fold it and place it over a quilt rack or even the back of an unused chair. If possible, pad the folds with unbuffered acid-free tissue paper. Don’t fold it over a sharp surface like a chair rung or table edge. This just invites damage. Every month or so, refold the quilt along different lines. ![A quilt square featuring an embroidered blue bird surrounded by a floral wreath, with the initials ELD and the year 1930 stitched beneath. The background is white with a blue border.](https://quilthistory.com/wp-content/uploads/2026/05/ELD-signature.jpg)This quilt shows the effects of having been folded too long To display a quilt on a wall, sew a [hanging sleeve](https://phoebemoon.com/attaching-a-hanging-sleeve-to-a-quilt/) to the top of the quilt and hang it on a non-wood rod. Suspend this rod from the ceiling using wire or attach brackets to the wall. A hanging sleeve is a four-inch wide tube of fabric sewn along the top back edge with stitches every inch or so through all layers of the quilt. It looks a bit like the casing of kitchen curtains. Make sure the hanging sleeve is sewn securely. Watch for signs of stress. Never use nails, pins or staples to hold a quilt on the wall.  Display quilts in areas where light levels are low. Light damage to textiles is irreversible. Both sunlight and artificial light will cause fading. ## Cleaning Start by lightly vacuuming your quilt on low power using a brush attachment through a screen, if this is appropriate for your quilt. Damaged quilts, samplers, painted and embroidered pictures (as on a crazy quilt), and beaded work should not be vacuumed. Damage can be caused by the suction of even a low power vacuum. If you quilt is just musty, try airing it by draping it over a railing (on a sheet or large towel) on a breezy day. Do not put it on a clothesline. The stress of hanging over a small piece of rope may cause damage. You could also lay it out on your lawn on a clean sheet, with a clean sheet on top of course, to protect from the sun. Do not wet wash your quilt unless absolutely necessary. Never, under any circumstances, dry clean it. If your quilt is truly in need of intensive care, consult a professional quilt conservator for assistance. Some conservators may use specialized solvent cleaning methods. [Click here](https://quilthistory.com/quilt-restoration/) for a list of restorers in your area.  [The American Institute for Conservation](https://www.culturalheritage.org/home) can also give you a list of professional conservators in your area.  ![Double Purple fabric showing light damage](https://quilthistory.com/wp-content/uploads/2024/04/fugitive-fabric-768x608.jpg)Light Damage on Double Purple ## Storage If you plan to store your quilt for more than six months, lay it out fully on a white cotton sheet. Lay the same type of sheet on top and fold the quilt in an accordion pleated fashion. Avoid folding on any existing fold lines, and pad the folds with [unbuffered acid-free tissue paper](https://amzn.to/4uYh0sj) if possible. Do not store your quilt in a plastic bag, cardboard boxes or wooden trunks. Store your quilts individually in a large cardboard tube, a sturdy plastic container or an [acid-free box](https://web.archive.org/web/20200717060755/http://www.quiltbus.com/restoration.htm). Modern archival polypropylene containers are considered acceptable if breathable conditions are maintained. Don’t pack it too firmly. There should be air circulation around the quilt. Take care to ensure nothing heavy is placed on the quilt. If possible, store it in a temperature controlled area protected against insects such as moths, carpet beetles, and rodents. Many conservators now discourage mothballs around textiles, so if you use them, inspect carefully. Do not use attic or basement storage as temperature and humidity can fluctuate wildly. ## Document the quilt Quilts are more than fabric and thread. They are pieces of family history, carrying the stories of the people who made, used, and loved them. Take time to photograph your quilts, record any known history, save receipts or appraisals, and label stored quilts carefully so future generations will know their story. Even today’s quilts may become tomorrow’s antiques. If you made the quilt, or did any work to it, be sure to preserve your place in history: [sign and date your quilts!](https://phoebemoon.com/how-to-make-a-quilt-label/) ![A piece of fabric art features a white cat with a red bow on a blue background, and hand-stitched text that reads: Remember us now, Remember us ever, Remember us as your school children together. Harry Ygeant.](https://quilthistory.com/wp-content/uploads/2026/05/album-kitty-label.jpg)I wish she had put the year on it! ## Sources for Archival Supplies [The Hollinger Corp.](https://www.hollingermetaledge.com/), P.O. Box 8360, Fredericksburg, VA 22404; (800) 634-0491 [Light Impressions](http://www.lightimpressionsdirect.com/), PO Box 22708, Rochester, NY 14692-2708,  (800) 828-6216, FAX (800) 828-5539 [TALAS](https://www.talasonline.com/), 568 Broadway, New York, NY 10012; (212) 219-0770 [University Products, Inc](https://www.universityproducts.com/)., P.O. Box 101, Holyoke, MA 01041; (800) 628-1912 --- --- title: "Stitched in Silk and Secrets: The Victorian Crazy Quilt" url: "https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/" lang: "en-US" type: "page" description: "Victorian Crazy Quilts A crazy quilt is a mix of irregular fabric pieces stitched together with decorative embroidery, ribbons, lace, beads, and tiny personal treasures. Nearly every seam is embellished and every patch has a purpose or a story. It" last_modified: "2026-08-13T21:02:13+00:00" custom_fields: iawp_total_views: 81 --- # Stitched in Silk and Secrets: The Victorian Crazy Quilt ![crazy-beauty A handmade quilt with a colorful patchwork diamond pattern in the center, bordered by fan-shaped patchwork sections and black zigzag edging, held up indoors by an unseen person.](https://quilthistory.com/wp-content/uploads/2026/05/crazy-beauty-768x906.jpg) ## Victorian Crazy Quilts A crazy quilt is a mix of irregular fabric pieces stitched together with decorative embroidery, ribbons, lace, beads, and tiny personal treasures. Nearly every seam is embellished and every patch has a purpose or a story. It was a way for a Victorian woman to express herself and share her opinions in a time period when that was discouraged. But crazy quilts did not begin as the lavish Victorian showpieces most people picture today. The earliest forms of crazy patchwork were simple. We might call them scrap quilts today, but the pieces were irregular. They used what they had. There were no strict geometric layouts and no repeating blocks marching across the bed. ![A handmade quilt with a patchwork design featuring various colorful fabric scraps in different shapes and patterns, bordered by a patterned edge, is spread out on a wooden floor.](https://quilthistory.com/wp-content/uploads/2026/05/civil-war-patchwork.jpg) ## The Victorian Craze Begins Crazy quilting exploded in popularity during the 1880s, right in the middle of the Victorian era. America was changing rapidly. Industrialization created a growing middle and upper-middle class, and manufactured goods became easier to obtain. Sewing machines were becoming common in homes, magazines circulated widely, and fashionable women suddenly had both the leisure time and materials to experiment creatively. Godey’s Lady’s Book and publications like The Art Amateur and Demorest’s Monthly Magazine were influential in spreading specific stitch patterns and designs. ![An old, sepia-toned cover of Godeys Ladys Book from September 1869 features ornate illustrations of women, flowers, and fruit, with the title and editor names prominently displayed in the center.](https://quilthistory.com/wp-content/uploads/2026/05/Godeys-ladies-book-1869-293x450.jpg) Crazy quilts offered something deeply personal to the maker. They were time consuming show pieces, made both to create beauty for her home and also to showcase her needlework skill. Making one implied you had leisure time and having leisure time implied you had help. The servants who freed her hands for embroidery were themselves a status signal. The fabrics you used also signified wealth. Silk, satin, velvet, plush, wool, brocade, and ribbons were stitched together in rich jewel tones. Then came the embroidery. Feather stitch, herringbone stitch, spider webs, flowers, initials, dates, sayings, birds, and elaborate motifs crept across every seam. Some quilts even served as family records. Friends and relatives contributed meaningful fabric scraps that were embroidered with names, dates, or sentimental messages. A piece of christening gown fabric might appear beside a mourning ribbon or a fragment from a beloved dress. [![Crazy Quilt Ribbon A colorful patchwork quilt features various fabrics and stitching. One patch has gold text reading 12th Annual RE-UNION Pennsylvania Settlers Association August 30th, 1899..](https://quilthistory.com/wp-content/uploads/2026/08/crazy-quilt-ribbon-450x338.webp)](https://quilthistory.com/wp-content/uploads/2026/08/crazy-quilt-ribbon.webp) ## Where Did the Name “Crazy Quilt” Come From? The word “crazy” to describe this style of patchwork turns up earlier than most people expect. As far back as 1864, a writer at a Civil War sanitary fair in Cleveland described a “crazy bedquilt” hung on display — a grotesque, irregular piece made of newspaper and fabric scraps that was sold by lot each day as a kind of joke. By the 1870s, magazines were using terms like “ornamental fancy work” and “mosaic appliqué” for similar styles. The compound phrase “crazy quilt” was firmly in print by 1878, when The Cultivator and Country Gentleman described a “crazy cushion” stitched collaboratively by a group of friends, each embroidering her own section before returning it to the owner. The style reached its height in the late 1880s, though crazy quilts have never completely disappeared. The most elaborate examples, where embroidery nearly covered the fabric itself, are usually the earliest and most luxurious pieces. ## The Influence of Japan One of the biggest influences on crazy quilting arrived at the 1876 Centennial Exposition in Philadelphia, where Americans were introduced to Japanese art and design on a large scale. Japanese-inspired motifs soon appeared everywhere: fans, butterflies, cranes, dragonflies, flowers, insects, bamboo, and spider webs all became popular embroidery designs. Here are images from a “cheater cloth” crazy quilt. [![A patchwork quilt section features various fabric patterns. The central red patch shows a vintage-style illustration of a child in old-fashioned clothes and a bonnet, surrounded by other patterned fabric pieces.](https://quilthistory.com/wp-content/uploads/2026/05/Fake-crazy.jpg)](https://quilthistory.com/wp-content/uploads/2026/05/Fake-crazy.jpg) [![A patchwork quilt section with embroidered floral patterns, a lantern, intricate decorative stitching, and a crescent moon with a star, featuring earthy red, green, and blue fabric pieces.](https://quilthistory.com/wp-content/uploads/2026/05/Crazy-quilt-cheater-cloth.jpg)](https://quilthistory.com/wp-content/uploads/2026/05/Crazy-quilt-cheater-cloth.jpg) [![Patchwork quilt with geometric and floral patterns, a tennis racket and balls motif in the center, and various shades of brown, tan, green, and red.](https://quilthistory.com/wp-content/uploads/2026/08/44qu8.webp)](https://quilthistory.com/wp-content/uploads/2026/08/44qu8.webp) Even the word “crazy” may have been influenced by the craze for “crazed” pottery glazes imported from Asia. Those glazes featured delicate crackled surfaces that resembled irregular patchwork. ## A Fashionable Obsession At the height of the trend, crazy quilting became something of an obsession. Women searched everywhere for scraps of luxurious fabric. Ladies’ magazines published embroidery patterns and stitch diagrams. Thread manufacturers promoted specialty embroidery flosses. Tobacco companies even tucked printed silk “cigarette silks” into cigarette packages, knowing women would collect them for quilts. ![A vintage illustration shows a woman with powdered hair styled high, wearing a jeweled crown and an ornate dress. The text below reads: “Marie-Therese, Queen of Austria, 1717-1780. Zira Cigarettes.”.](https://quilthistory.com/wp-content/uploads/2026/05/cigarette-silk.jpg) [Stories and poems](https://www.antiquequiltdating.com/The_Craze_for_Crazy_Quilts_began.html) from the period joked about the extreme lengths some women went to in order to obtain free scraps of velvet and silk. ## More Art Than Bedding Most crazy quilts were never made to become a finished quilt. If you have ever seen a crazy quilt with no batting or backing, it’s likely that is wasn’t finished on purpose. Instead, they were decorative showpieces displayed in parlors on sofas, pianos, tables, or “fainting couches.” Victorian homes prized ornamentation, and crazy quilts fit perfectly into that world. The more elaborate the stitching, the more impressive the quilt. ### Many makers added: - Painted motifs on velvet or satin - Beads and ribbonwork - Lace and braid trims - Political ribbons - Souvenir fabrics - Handwritten names and dates Crazy patchwork appeared on far more than quilts. Victorian women decorated pillow covers, table scarves, slippers, piano covers, wall pockets, robes, fire screens, lambrequins, and even furniture with crazy patchwork. Some families created elaborate memorial textiles or ceremonial coverings for funerals. The style seemed to spread onto nearly every surface that could possibly hold a needle and thread. Symbolism was also important during the Victorian era. Flowers and motifs often carried hidden meanings. Roses represented love. Rosemary symbolized remembrance. Spider webs brought good luck. Anchors stood for hope and faith. Wreaths often signified mourning. ## Why Crazy Quilts Still Matter Today By the early 1900s, tastes began changing. The heavily ornamented Victorian style fell out of fashion, and crazy quilts were often dismissed as excessive or old-fashioned. Today, however, crazy quilts are appreciated once again for their artistry, individuality, and emotional power. Every scrap, stitch, and embellishment reflects the hand of the maker. Some are elegant. Some are exuberantly chaotic. Some are deeply sentimental. Together they offer a remarkable glimpse into the creativity of women who often had limited outlets for personal expression. Perhaps that freedom is part of why crazy quilts still resonate today. Traditional quilt patterns follow rules. Crazy quilts invite you to break them. And sometimes, that is exactly what makes them beautiful. ## Suggested Reading: American Quilts by Elizabeth Wells Robertson Studio Publications, N.Y.C. 1948 Crazy Quilts by Penny McMorris Dutton, NY 11984 [Crazy Quilts: History, Techniques, Embroidery Motifs](https://amzn.to/3PxhMgM) by Cindy Brick and Nancy Kirk Crazy Quilt Odyssey by Judith Montano C & T Publishing , Ca 1991 Patchwork and Applique by Sara Parr and Pamela Tubby Marshall Cavendish Unlmtd.1970 Quilting Manual by Dolores Hinson Hearthside Press 1966 Silk Ribbon Embroidery C & T Publishing, Ca. 1993 The Language of Flowers by Margaret Pickston The Yeoman Group, NY Wrapped in Glory – Figurative Quilts and Bedcovers 1700 – 1900 by Sandi Fox Thames and Hudson, L.A. --- --- title: "The Feedsack Story" url: "https://quilthistory.com/depression-quilts/the-feedsack-story/" lang: "en-US" type: "page" description: "The Origins of the Feedsack The feedsack story began in the early 1800s, when food staples, grain, seed, and animal feed were shipped and stored in tins, boxes, and wooden barrels. These containers were expensive, bulky, and easily damaged. Tin" last_modified: "2026-07-18T21:41:20+00:00" custom_fields: iawp_total_views: 179 --- # The Feedsack Story ![A stack of colorful, patterned fabric pieces is neatly folded on top of a patchwork quilt, with various floral and geometric designs in bright, cheerful colors.](https://quilthistory.com/wp-content/uploads/2026/04/feedsack-featured-image.jpg) ## The Origins of the Feedsack The feedsack story began in the early 1800s, when food staples, grain, seed, and animal feed were shipped and stored in tins, boxes, and wooden barrels. These containers were expensive, bulky, and easily damaged. Tin rusted, while hand-made boxes and barrels often leaked during transport. They were bulky, heavy and difficult to transport. Manufacturers wanted to find another method, but didn’t consider the cloth bags of homespun linen used by the farmer to store goods for use in the home because the hand sewn seams wouldn’t hold up in heavy use. This changed in 1846 with improvements in industrial sewing machines, which made it possible to sew strong double-locking seams capable of holding heavy goods. Feedsacks were initially made of heavy canvas, and were used to obtain flour, sugar, meal, grain, salt and feed from the mills. They were reusable, with the farmer bringing an empty sack stamped with his mark or brand to the mill to be filled. This changed when the North East mills began weaving inexpensive cotton fabric in the late 1800’s. Feedsacks (or feedbags) were initially printed on plain white cloth and in sizes that corresponded to barrel sizes. For example, a one barrel bag held 196 pounds of flour. A 1/8 barrel bag only held 24 pounds. The brand name of the flour was simply printed on the side of the bag. ## From Flour Bags to Household Fabric ![Robin-Hood-Flour A vintage flour sack with a colorful floral and leaf pattern in blue, green, and red, featuring a central Robin Hood all-purpose flour logo and branding in the middle.](https://quilthistory.com/wp-content/uploads/2026/05/Robin-Hood-Flour-247x450.jpg) The thrifty farm wife quickly discovered that this cotton bag was a great source of utilitarian fabric to be used for dish cloths, diapers, nightgowns and other household uses. Manufacturers decided to take advantage of this and started offering sacks in various prints and solid colors as a marketing ploy encouraging brand loyalty and repeat purchases. Decorative and dress-quality feedsacks appeared in the 1920s, but colorful printed sacks became much more widespread in the late 1930s and reached peak popularity during World War II. It would take three identical sacks to make a dress, for example, and the farmer just might be induced to buy more that way. Some companies printed coordinated floral collections so women could match fabrics from one sack to another. Storekeepers sometimes saved matching sacks for loyal customers who needed enough fabric to complete a dress or quilt. ![feed-sack-dresses Two women wearing matching floral dresses stand smiling in a sunlit room with a sewing machine on a table and fabric sacks piled on the floor. The scene has a vintage, early 20th-century feel.](https://quilthistory.com/wp-content/uploads/2026/05/feed-sack-dresses.jpg) Feed sacks became especially important during the Great Depression, when families could not afford to waste usable fabric. Rural women carefully washed, bleached, and reused the cotton sacks to make clothing and household items. Some manufacturers even used washable ink so the logos could be removed more easily. ![A green textured fabric with a repeating pattern of circles, each divided in half with contrasting dark and light sections, featuring abstract leaf and triangle shapes inside. Smaller outline circles are scattered between the larger ones.](https://quilthistory.com/wp-content/uploads/2026/05/fs22.jpg) ![A drawing of red strawberries with white dots and blue leaves on a textured, beige background with blue decorative accents.](https://quilthistory.com/wp-content/uploads/2026/05/fs21.jpg) ![Pattern of blue and orange flowers with green leaves scattered across a white background. The floral design repeats, creating a vibrant and colorful motif.](https://quilthistory.com/wp-content/uploads/2026/05/fs18.jpg) ![A fabric pattern featuring green four-leaf clovers with small blue clusters in the center, set against a light, textured background. The design is simple and has a hand-drawn, vintage feel.](https://quilthistory.com/wp-content/uploads/2026/05/fs19.jpg) ![A fabric pattern featuring clusters of small yellow and orange flowers with green leaves, set against a brown background with white geometric lines.](https://quilthistory.com/wp-content/uploads/2026/05/fs9.jpg) ![A close-up of blue fabric with a floral pattern featuring red and white flowers and yellow leaves. The texture of the fabric is visible.](https://quilthistory.com/wp-content/uploads/2026/05/fs7.jpg) Feedsacks became extremely common because farm families regularly purchased flour, sugar, feed, seed, and other staples packaged this way. Flour accounted for more than 42 percent of the feedsack market. Sugar was next with 17 percent followed by feed, seeds, rice, and fertilizer. These feedsacks came in different sizes, and the quality of the cloth varied with the item it carried. Sugar sacks, for example, were much finer in weave. By 1914, sacks came in 10, 6, 4, 3, 2 and 1 pound sizes, although these sizes varied by manufacturer. In 1937, federal regulations during the Roosevelt administration helped standardize sack sizes. A 50 pound feedsack measured 34 x 38 inches. A 100 pound sack measured 39 x 46. ![Blue and white floral pattern on fabric, featuring large blue flowers with white outlines and dark leaf-like details on a dark blue background.](https://quilthistory.com/wp-content/uploads/2026/05/fs20.jpg) ![Close-up of fabric featuring horizontal turquoise and white stripes with a slightly textured, woven appearance.](https://quilthistory.com/wp-content/uploads/2026/05/fs17.jpg) ![A close-up of a fabric with a pattern of red flowers and leaves, outlined in blue, on a cream-colored background.](https://quilthistory.com/wp-content/uploads/2026/05/fs12.jpg) ![White background with a pattern of hand-drawn black daisies and clusters of small turquoise dots scattered between the flowers. The design has a sketch-like, whimsical appearance.](https://quilthistory.com/wp-content/uploads/2026/05/fs5.jpg) ![A pattern of hand-drawn daisies with white petals and pink centers, overlapping each other, set against a light background. Some flowers have a purple tint on the petals.](https://quilthistory.com/wp-content/uploads/2026/05/fs3.jpg) ![Close-up of a woven fabric with a checkered pattern in blue and pink lines, featuring small floral motifs at the intersects on an off-white background.](https://quilthistory.com/wp-content/uploads/2026/05/fs1.jpg) Magazines and pattern companies began to take notice of feedsack popularity and published patterns to take advantage of the feedsack prints. Matching fabric and even matching wrapping paper was available, too. Directions were given for using the strings from feedsacks in knitting and crocheting. By 1942, published research estimated that three million women and children of all income levels were wearing printed feedsack garments. ## Feedsacks were used to make: - Clothes - Toys (see picture below) - Underwear - Pillowcases - Diapers - Laundry bags - Curtains - Table cloths - Towels, dish cloths [![Ink drawing of a girl sitting cross-legged on the floor with paper dolls and a “Rag Darlings” kit in front of her; books and a dresser are in the background. Drawn on lined notebook paper, the scene captures a nostalgic moment—perhaps she’s confirming a Feedsack Quilt design to match her playful creations.](https://quilthistory.com/wp-content/uploads/2026/07/Abby-Feedsacks-450x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Abby-Feedsacks.webp)This is my granddaughter who discovered a feedsack matching the cover of the [Rag Darlings book](https://amzn.to/457qZka) by Gloria Nixon in front of her. She is a little annoyed with me because I wouldn’t cut up the feedsack and make her a doll. ## Feedsacks in Quilts And, of course, quilts! Feed sacks were a popular source of quilt fabric. Today, many Depression-era quilts can be identified by their distinctive feedsack prints and coordinated floral designs. Quilters especially value feedsacks because they became an important source of quilt fabric during the 1930s and 1940s. Many Depression-era quilts contain recognizable feedsack prints, and experienced collectors can often identify particular manufacturers or time periods by the fabric patterns alone. The soft, lightweight cotton was easy to sew and came in hundreds of designs, making it ideal for scrap quilts and appliqué work. Antique quilts made from feedsacks provide a colorful record of rural American life during difficult economic times. [![A handmade quilt with a patchwork pattern, featuring colorful squares of floral, geometric, and solid fabrics in blue, red, pink, and white tones, spread across a bed.](https://quilthistory.com/wp-content/uploads/2026/07/feedsack-quilt-w-flannel-sheet-binding-450x358.webp)](https://quilthistory.com/wp-content/uploads/2026/07/feedsack-quilt-w-flannel-sheet-binding.webp)This is the feedsack quilt with a flannel batting that I used in the [Telltale Textiles: Batting](https://quilthistory.com/telltale-textiles/telltale-textiles-quilt-batting/) article. Notice the little ducks in the sashing. [![A fabric with a pattern of pink bunnies, some wearing blue or green bows, scattered among red stars on a white background.](https://quilthistory.com/wp-content/uploads/2026/07/little-ducks-443x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/little-ducks.webp)These little ducks are an example of a novelty print feedsack. ## Novelty Prints Manufacturers began to compete with each other to provide attractive, useful bags. Some bags came ready for sewing with pre printed patterns for dolls or aprons. Others were specifically printed for pillow cases or curtains. Some sacks were printed as a series such as the 1935 Sea Island sugar doll series. Many sacks had themes. Some of the more collectible sacks now are those with Walt Disney themes (Davy Crockett, Cinderella, Alice in Wonderland, Donald Duck, Mickey Mouse, Goofy), movie themes (Gone with the wind), adventure and comic-strip themes (Buck Rogers) or nursery rhyme themes (BoPeep, Humpty Dumpty) By 1941 there were 31 textile mills that manufactured bag goods. Bemis Brothers of Tennessee and Fulton Bag & Cotton Mills of Atlanta operated their own textile mills. Percy Kent Mills produced the famous WWII-era “Kent’s Cloth of the United Nations-233,” a patriotic feedsack print featuring Allied nations, wartime scenes, slogans, and caricatures of Axis leaders. ![Vintage map-themed fabric featuring illustrated scenes and labels from World War II, including a bear at Stalingrad, Pearl Harbor, a shark-faced plane, military figures, and various geographic locations.](https://quilthistory.com/wp-content/uploads/2026/05/WWIfeedsack.jpg) After WWII, technological innovations provided more sanitary and effective packaging made of heavy paper and plastic containers. It was cost effective, too. A cotton bag cost 32 cents to make, as opposed to 10 cents for the paper bag. By 1948 this new industry cornered more than half of the bag market and the cloth bag fell out of use. But not entirely! Some Amish and Mennonite communities demand, and receive, their goods in feedsacks. ## The Lasting Appeal of Feedsacks Collectors still love feedsack fabrics because they capture a unique moment in American history when practicality, creativity, and survival all came together. Each surviving feedsack tells a story about thrift, ingenuity, and daily life on American farms. For many collectors, the fabric represents memories passed down from mothers and grandmothers who carefully washed, ironed, and reused every scrap. Feedsack fabrics are also prized for their cheerful prints and charming designs. Reproduction feedsack prints are also popular with modern quilters who love the nostalgic look of 1930s fabrics. Even now, those bright little prints still have a way of making people smile. Not bad for something that once held chicken feed. ## Learn More: [Feedsack Fashions in the First Half of the 20th Century](https://pieceworkmagazine.com/make-do-feed-sack-fashion-in-the-first-half-of-the-twentieth-century/) [World War II Feedsack Cloth](https://www.amcmuseum.org/collections/wwii-feedsack-cloth/) [Feedsacks During and After WWII](https://trc-leiden.nl/trc-digital-exhibition/index.php/for-a-few-sacks-more/item/120-4-feedsacks-during-the-second-world-wara) [Feed Sacks: The Colourful History of a Frugal Fabric by Linzee Kull McCray](https://amzn.to/3RMf9sc) [Feed Sacks: A Collection of Vintage Feed Sack, Sugar Sack, Grain and Feed Bag Prints and Designs: Volume 1 (Fabric Study)](https://amzn.to/3PA4hwO) --- --- title: "The History of the Cotton Gin and Its Impact on American Textiles" url: "https://quilthistory.com/learn-quilt-history/the-history-of-the-cotton-gin/" lang: "en-US" type: "page" description: "Few inventions changed everyday fabric and clothing more dramatically than the cotton gin. Before its invention, cotton was difficult, slow, and expensive to process. Afterward, cotton cloth became cheaper, more common, and deeply woven into daily American life, from clothing" last_modified: "2026-08-01T18:49:23+00:00" custom_fields: iawp_total_views: 25 --- # The History of the Cotton Gin and Its Impact on American Textiles Few inventions changed everyday fabric and clothing more dramatically than the cotton gin. Before its invention, cotton was difficult, slow, and expensive to process. Afterward, cotton cloth became cheaper, more common, and deeply woven into daily American life, from clothing to quiltmaking. But the story of the cotton gin is not entirely one of progress. While the machine transformed the textile industry and helped fuel the growth of American manufacturing, it also strengthened the expansion of slavery in the South. Like many inventions during the Industrial Revolution, its impact was both remarkable and deeply complicated. ## Before the Cotton Gin Today, cotton fabric feels ordinary. We use it every day and quilt with it without giving much thought to where it comes from. In the late 1700s, however, cotton was far more difficult to produce. ### Why Cotton Was Difficult to Process The biggest problem was the seed. Short-staple cotton, which could grow in much of the American South, had tiny sticky seeds or trash tangled throughout the fibers. Removing those seeds by hand was exhausting work. A worker could spend an entire day cleaning just one pound of cotton. [Long-staple cotton](https://phoebemoon.com/threads/) was easier to clean, but it only grew well in limited coastal regions. Farmers inland needed a faster way to process short-staple cotton if it was ever going to become profitable. ### Cotton Becomes a Cash Crop At the time, tobacco and indigo were the South’s primary cash crops. Cotton existed, but cleaning it required so much labor that it could not compete economically on a large scale. Cotton was not considered anywhere close to being a profitable crop. But after the gin came into use, cotton very quickly began to rival in profit the industry of growing tobacco. Land that had been barren for so long now held a very profitable crop that could enhance a grower’s finances. Farmers began repuposing their land from food production to cotton production. This would prove to be problematic during the civil war when the South had no food to feed its citizens, and no market for their cotton crop. ## Eli Whitney and the Invention That Changed America Eli Whitney was born in Westborough, Massachusetts in 1765 and showed mechanical talent at an early age. Working in his father’s woodworking shop, Whitney could be found taking apart such items as pocket watches and clocks, studying the intricate mechanisms and then putting their parts together again. At the relatively early age of fourteen, he had opened his own nail-making business and then a pin-making shop, earning a fairly good wage for his efforts. After graduating from Yale University in 1792, Whitney traveled to Georgia, where he stayed on the plantation of Catharine Greene, the widow of Revolutionary War general Nathanael Greene. There he heard local planters complain constantly about cotton seeds and slow production. Farmers had plenty of land and growing demand for cotton, but cleaning the crop took too much time to make large-scale production practical. Whitney believed machinery could solve the problem. In 1793, he created a crude but ingenious device that would soon become known as the cotton gin when patented in the following year. The word “gin” came from “engine,” meaning a machine or mechanical device. ![Photo by Oliver Morgan Media A detailed close-up of an antique loom showcasing the threading process in a textile production setting.](https://quilthistory.com/wp-content/uploads/2026/05/a-detailed-close-up-of-an-antique-loom-showcasing-the-threading-process-in-a-textile-production-setting.-16194591-768x512.jpg)A close-up of an antique loom ## How the Cotton Gin Worked Whitney had arrived at a basic design: a cylinder, through which the cotton was fed, with wire teeth. The raw cotton from the field could be fed through the cylinder and as it spun round, the teeth would pass through small slits in a piece of wood, pulling the fibers of the cotton all the way through but leaving the unwanted seeds behind. This crudely made box, with a cylinder, a crank, and a row of saw-like teeth had made it possible to clean much more cotton than could be cleaned by hand. ### Early Gin Designs They were not elegant. Early versions were made largely from wood and wire. But they worked. Instead of cleaning one pound of cotton per day by hand, workers using a cotton gin could clean roughly fifty pounds daily. Larger mechanized versions eventually processed far more. The invention spread rapidly across the South. In some areas, farmers were so eager to use the new machine that homemade copies appeared almost immediately, often in violation of Whitney’s patent. Ironically, Whitney earned far less money from the cotton gin than many people assume. Patent disputes and illegal copies consumed years of his life. He later found greater financial success manufacturing muskets for the United States government. ## Cotton Becomes “White Gold” The effects of the cotton gin were immediate and enormous. In 1793, the United States produced roughly 180,000 pounds of cotton. Within only a few decades, production exploded into the millions of pounds annually. Cotton quickly became one of the most valuable crops in the American South. The textile industry boomed alongside it. Northern mills processed Southern cotton into cloth, thread, and fabric. New machinery powered by water and later steam engines accelerated production even further. ### Cheap Cotton Fabric Reaches Ordinary Homes Cotton fabric became affordable for ordinary families, not just the wealthy. This period also helped fuel the popularity of printed cotton fabrics. Calicoes, shirtings, and floral prints became widely available to homemakers and quilters. Quilting traditions expanded as fabrics became cheaper and easier to obtain. By the mid-1800s, homes contained more cotton clothing, curtains, bed coverings, and quilts than ever before. For many Americans, cotton transformed daily life as thoroughly as electricity or the internet would in later centuries. That is one reason cotton earned the nickname “white gold.” Before the cotton gin, most American quilts were made from wool, linen, or carefully saved scraps of expensive imported cloth. Cotton fabric existed but was a luxury item for most households. After the gin changed the economics of cotton production, printed cotton fabrics flooded the market at prices ordinary families could actually afford. Quilters who had previously used scraps from clothing construction could now buy new yardage. This shift is one reason the mid-1800s saw an explosion of new quilt block patterns — more fabric meant more experimentation, and more quilts meant more shared ideas between neighbors, church groups, and families heading west. ![A handmade quilt featuring a patchwork pattern of colorful diamond and square shapes in earthy tones like brown, red, cream, and green, arranged in a repeating geometric design.](https://quilthistory.com/wp-content/uploads/2026/05/scrap-quilt.jpg)Scrap quilt made of many different prints. ## The Cotton Gin’s Connection to Slavery The cotton gin solved one labor problem while creating another. Although the machine sped up seed removal, cotton still had to be planted, cultivated, and picked by hand. As global demand for cotton increased, plantation owners expanded production rapidly. The result was a tragic growth in slavery across the American South. Before the cotton gin, some Americans believed slavery might gradually decline. Instead, the soaring profitability of cotton encouraged the expansion of enslaved labor into new territories across the Deep South. By the mid-1800s, cotton production and slavery had become tightly linked economically and politically. This connection gave rise to the phrase “King Cotton,” which reflected the enormous influence cotton held over Southern politics and trade before the Civil War. The cotton gin remains one of history’s clearest examples of how an invention can improve efficiency while also worsening human suffering. For quilters, this history is stitched into every cotton scrap. The fabrics that created antique quilts were products of a cotton economy built on enslaved labor. Understanding where the cloth came from adds a layer of meaning to the quilts that survive from this period. ## Human Stories and Textile Superstititons Textile history is filled with colorful sayings, traditions, and superstitions, and cotton workers had many of their own. One weaving expression may even connect to the modern phrase “the kiss of death.” Weavers often repaired broken threads by tying tiny knots and moistening them with their lips to tighten the fibers. In some mills, poorly tied knots that later failed earned joking criticism as a “kiss of death.” Whether or not the modern phrase came directly from weaving, textile workers used many similar expressions throughout the 18th and 19th centuries. Cotton mills also had a darker side. Workers inhaled fine cotton dust daily, leading to respiratory illnesses later called “[brown lung disease.](https://www.hopkinsmedicine.org/health/conditions-and-diseases/occupational-lung-diseases)” Conditions in many early mills were noisy, dangerous, and exhausting. Yet textile communities also created strong traditions of craftsmanship and creativity. Many women transformed inexpensive cotton scraps into practical quilts, preserving family memories stitch by stitch. The same cotton industry that powered factories also filled hope chests and family linen cupboards across America. ### Quilting Bees Cotton mill towns developed tight social communities, and quilting was a central part of that culture. Mill workers, like farm families, held quilting bees where neighbors gathered to finish a quilt top that one woman had pieced alone. The abundance of cotton scraps from mill work meant that textile communities often produced a distinctive regional style of scrap quilt. Researchers studying 19th century New England mill towns have found evidence of quilting circles organized through churches and benevolent societies, some of which made quilts specifically to raise money for charitable causes. [![Four women in old-fashioned clothing sit and stand around a large wooden quilting frame on a porch, working together on a quilt. The scene appears to be from the late 19th or early 20th century.](https://quilthistory.com/wp-content/uploads/2026/05/quilted-walked-to-golden.jpg)](https://amzn.to/42wKOQP)From the Book: [The Quilt That Walked to Golden](https://amzn.to/42wKOQP) ## The Lasting Legacy of the Cotton Gin The cotton gin helped transform the United States into a textile and agricultural powerhouse. It fueled industrial growth, changed trade, expanded cotton farming, and made cotton fabric common in everyday homes. It also strengthened slavery and reshaped the nation’s economy in ways that eventually contributed to the Civil War. More than two centuries later, the cotton gin remains one of the most influential inventions in textile history. Its legacy can still be seen in the fabrics we sew, the quilts we treasure, and the complicated history woven into American cloth itself. Sometimes a simple machine changes far more than industry. Sometimes it changes a nation. ## Resources [Eli Whitney Museum](http://eliwhitney.org): — covers his life and inventions with primary source material Library of Congress, [Smithsonian National Museum of American History](http://americanhistory.si.edu) has textile history resources --- --- title: "Underground Railroad Quilts" url: "https://quilthistory.com/people-stories/myths-misconceptions/underground-railroad-quilts/" lang: "en-US" type: "page" description: "Putting it in Perspective: The Symbolism of Underground Railroad Quilts To understand the special role quilts may have played in the Underground Railroad, we first have to understand the life and times of the people who lived during the years" last_modified: "2026-07-17T13:37:36+00:00" custom_fields: iawp_total_views: 121 --- # Underground Railroad Quilts ## Putting it in Perspective: The Symbolism of Underground Railroad Quilts To understand the special role quilts may have played in the [Underground Railroad](https://americancivilwar.com/underground_railroad.html), we first have to understand the life and times of the people who lived during the years the railroad was running, approximately 1830-1862. These times were politically turbulent and impossible to summarize in a few brief paragraphs. This article should be considered an overview only. ## The World the Underground Railroad Ran Through In the [first year of the US Census, 1790](https://web.archive.org/web/20200922045135/https://www.censusrecords.com/content/1790_Census), the United States of America consisted of 3.8 million people including 694,000 slaves scattered along the 16 states of the east coast. The issue of slavery was a thorny one for the new government. The 40,000 slaves in the northern states of CT, NJ, NY, PA and RI [worked alongside free white men](https://web.archive.org/web/20120617001515/http://www.ucalgary.ca/applied_history/tutor/migrations/four3.html) in cutting, burning, and clearing bush for cultivation. Southern slaves were vitally important to the economy of the southern states, which depended on the production of labor-intensive crops such as sugar, coffee, cacao, tobacco and rice. Southern states agreed to join the United States of America only on the provision that they were allowed to keep their slaves. ### A Nation Divided: Slavery and Politics in the Early 1800s Congress was well aware of the both the importance of southern crops to the economy of the United States and the importance of slave labor to the production of these crops. As the country expanded westward, provisions were made for slavery to continue. Yet as each new area was opened to slavery, the voices of abolitionists (anti-slavery proponents) got louder. As a compromise, [An Act to Prohibit the Importation of Slaves](https://teachingamericanhistory.org/document/act-to-prohibit-the-importation-of-slaves/) into any Port or Place Within the Jurisdiction of the United States was passed in 1807. At that time there were approximately 1.1 million slaves in 18 states. ### The Missouri Compromise and Its Limits Anti-slavery sentiment in the North continued to grow in the early 1800’s. The [Missouri Compromise](https://www.history.com/articles/missouri-compromise) established a boundary between the slave states of the south and the free states of the north at the state line between Pennsylvania and Maryland, the Mason-Dixon line. Included in this compromise was a prohibition of slavery north of this line. At the same time, abolitionists were having an effect in the northern states. By 1810, the northern slave population in the North had dwindled to roughly 27,000. The invention and distribution of [the cotton gin](https://quilthistory.com/the-history-of-the-cotton-gin/) in the late 1700’s and early 1800’s allowed 50 pounds of cotton to be processed each day, making the crop profitable for the first time. After the invention of the cotton gin, the yield of raw cotton doubled each decade. 1815 marked the beginning of the Industrial Revolution. Cotton mills were opened in and around Lowell MA which could process this southern cotton into cloth. The invention of the steamboat and the opening of the complete [Erie Canal](https://web.archive.org/web/20200417073621/http://www.canals.ny.gov/history/history.html) in 1825 ensured this cloth could be made widely available to all Americans including those that were beginning the trek west. _Lock on the Erie Canal (Mohawk River) ### The Dred Scott Decision and the Fugitive Slave Act Not everyone in the north was anti-slavery. Most either didn’t care or recognized the importance of free labor to southern industry. Slaves were not recognized in society as being potentially equal. They were seen as children who must be protected even while they were being exploited. In 1857, the Missouri Compromise was declared unconstitutional in the [Dred Scott Decision](https://www.electricscotland.com/history/america/civilwar/cw9.htm) as it violated the Fifth Amendment of the Constitution, which prohibits Congress from depriving persons of their property without due process of law. This reopened parts of the Louisiana Purchase to slavery. In 1829, transportation by railroad began in the United States. The term “Underground Railroad” was coined shortly thereafter to refer to the organization of people who helped slaves escape. According to legend, it was named after a comment a slave owner made after his escaping slave swam a river and disappeared on the other side by way of an Underground Railroad. ## The Underground Railroad in Operation: How Slaves Actually Escaped Escape from slavery was not easy. Most slaves were uneducated and ill prepared for a long journey. Escapes were generally not planned; they were spur-of-the moment decisions made to take advantage of a favorable circumstance. Few took advantage of the Underground Railroad from Maryland, Virginia and the Carolinas. In fact, of the 100,000 slaves that escaped during the period 1830 – 1862, [less than 1% fled north.](http://historiccamdencounty.com/ccnews11.shtml) Most melted into local black communities passing themselves off as free men or headed south to the parts of Florida and Mexico which had been settled by the Spanish to pass as having Spanish ancestry. Slaves that did travel north found themselves facing professional slave catchers patrolling the borders between slave states and free states. Free blacks traveling by train or steamboat had to carry official papers listing their name, age, height, skin color, and other distinguishing features. ## The Road to Civil War ### The Abolition Movement Gains Steam In 1833 the American Anti-Slavery Society was formed, publishing a newspaper called the Liberator. Made up primarily of white people, the Society aimed to convince slave owners of the evils of the system they supported through moral persuasion. Noted authors and lecturers such as William Lloyd Garrison, Frederick Douglass and [Sojourner Truth](https://sourcebooks.fordham.edu/mod/sojtruth-woman.asp) began to travel the country lecturing on the evils of slavery. They found many supporters both in the northern states, where slavery had been abolished by 1827, and in England, where all slaves had been given a gradual emancipation in 1838. While these abolitionists were writing and publishing their articles, newspapers and magazines, the South released a flood of proslavery propaganda. Tensions were high and the political pot was beginning to heat up. By 1850, the United States consisted of 32 states stretching from coast to coast. Total population was 23 million, of which 3.2 million were slaves and 424,000 were free blacks according to the US Census that year. The South provided three-fifths of America’s exports, most of it in cotton, while the North continued to expand its manufacturing base. Pressure increased on southern slave owners as the country expanded westward. Territories were governed by Congress which maintained the status quo until the territory became a state. Since Mexico had abolished slavery in 1829, this meant that any territory created from land formerly governed by Mexico (right) had to remain a non-slave area. No slave holder would settle in a free territory, so when the territory became a state, it naturally became a free state, which [tipped the balance of power in Congress](https://amzn.to/4uURGng). ![A historical map of the United States in 1820 shows free and slave states, Missouri Compromise boundaries, territories, Spanish possessions, and major rivers—echoing routes once marked by Underground Railroad Quilts for freedom seekers.](https://quilthistory.com/wp-content/uploads/2026/05/map.jpg) ### States’ Rights and Southern Grievances The southern dependence on free slave labor pressured the legislature to pass [The Fugitive Slave act](https://avalon.law.yale.edu/19th_century/fugitive.asp) of 1850 which allowed slave hunters to cross into free states and bring escaping slaves back to their masters. At the same time, laws were enacted heavily fining anyone caught helping these escaping slaves. This was a tremendous concern for free blacks in the North, since the slave catchers often kidnapped legally free blacks as well as fugitives. The Underground Railroad continued to function, albeit under a heavy veil of secrecy. Between 1850 and 1860 the Railroad doubled the number of passengers it carried to freedom. The Fugitive Slave act prompted [Harriet Beecher Stowe](https://stowecenter.org/) to write [Uncle Tom’s Cabin](http://www139.pair.com/read/Harriet_Beecher_Stowe/Uncle_Toms_Cabin/) in 1851 as a serial in the abolitionist newspaper,[ The National Era](https://pacny.net/freedom_trail/Noble.htm). Her goal was to show the physical, sexual, and emotional abuse endured by enslaved people and the terrible impact of slavery on families. Her book quickly became a controversial best seller. Uncle Tom’s Cabin was both praised it as a landmark achievement; slavery proponents attacked it as inaccurate. About 300,000 slaves had fled to Canada by this time. Benjamin Drew, a Boston abolitionist acting in cooperation with officers of the Canadian Anti-Slavery Society, visited various towns in Canada, interviewing slaves who had made good their escape and established new lives. His book _The Refugee: Narratives of Fugitive Slaves in Canada Related by Themselves_ published in 1856 corroborated the abuses named in the Uncle Tom’s Cabin. The political pot began to simmer in the late 1850s as the southern states continued to protest what they saw as unequal representation in Congress. They demanded more rights for their states, feeling strongly that the right to govern themselves was guaranteed by the US Constitution. They felt they were being unfairly taxed by the northern controlled congress and that efforts to prevent slavery in the growing country were designed to destroy their economy. Ironically, no matter how much it abhorred slavery, the North never disagreed with the South. They agreet that the issue of slavery was one which the Constitution gave each state the right to decide for itself. Congress had determined that the issue was one of property rights and the definition of “property” was a state issue, not a federal one. ### Secession and the Opening of War The election of Abraham Lincoln in 1860 and the southern fear of his abolitionist tendencies brought the political pot to a boil. On December 24, 1860, South Carolina seceded from the Union, followed in short succession by Mississippi, Florida, Alabama, Louisiana, Texas and Georgia, forming the Confederate States of America. The US House hastily passed a resolution promising non-interference with slavery in any state in February to no avail. On April 12, 1861 Confederate batteries opened fire on the union troops at Ft Sumter SC. This bombardment of Fort Sumter was the opening engagement of the American Civil War. It is inaccurate to state that the [cause of the Civil War](https://web.archive.org/web/20200630070335/https://civilwarhome.com/gordoncauses.htm) was solely slavery. Over 80% of Confederate soldiers did not own slaves. They were fighting for the right of their state to govern itself. Likewise, few Union soldiers fought strictly to free the slaves. They were fighting to preserve the Union. However, the issue of slavery quickly became the politically correct spin used by Northern politicians. ## What the Historical Record Actually Shows On January 1, 1863, President Lincoln issued the [Emancipation Proclamation](https://www.archives.gov/exhibits/featured-documents/emancipation-proclamation) which declared, “that all persons held as slaves” within the states that had seceded from the Union “are, and henceforward shall be free.” Provided, of course, the Union won the war. The Confederate States of America did not feel bound by this proclamation since they planned to win the war. It applied only to states that had seceded from the Union, leaving slavery untouched in the loyal border states. It also expressly exempted parts of the Confederacy that had already come under Northern control. Although no slaves were actually freed by Emancipation Proclamation until after the war, the speech did have the effect of adding moral force to the Union cause. ### Diaries, Memoirs, and the Federal Writers Project After the war, there was an explosion of published information such as diaries and autobiographies detailing the abuses of slavery. Northern women wanted to know their family members had not died in vain. Since many former slaves could neither read nor write, they were assisted in writing their stories by white sympathizers. [Memoirs of a Slave Girl,](https://docsouth.unc.edu/fpn/jacobs/menu.html) written in 1861 by the literate slave Harriet Jacobs is one such story. While these diaries are a certainly a valuable source of information about the Underground Railroad, a more reliable source may be the thousands of interviews done in 1936 – 1938 by the [Federal Writers Project](https://www.loc.gov/collections/slave-narratives-from-the-federal-writers-project-1936-to-1938/about-this-collection/) which recorded firsthand reports of slave life. These interviews documented many escape routes, both on and off the Underground Railroad. However, I should point out that later historians have noted that because the collection was compiled primarily by white interviewers, it does not represent an entirely unbiased view. ### What the Interviews Don’t Say The idea of quilts being used in the Underground Railroad for purposes other than bedding was not mentioned either in the written documents of the period or in the interviews given years later. That is not to say they could not have been used in a form not discussed. However, care must be taken not to romanticize this possibility. ## The Quilt Code Theory: Origins and Problems To quote quilt historian [Xenia Cord](https://amzn.to/4dpWeup), “Quilt research and quilt history often rely heavily on the oral anecdotes and oral memories of quilters, stories that link women with common interests to a body of shared information. This information, strongly buttressed by written memoirs, documented sources, pictures, tangible artifacts, and previously published research allows the historian to contribute to the body of knowledge that is American quilt history.” “Occasionally a theory is presented that offers an engaging view of the American past; the theory may not have substance and may not be documentable in any scholarly way, but it provides a vehicle through which we believe we can understand our past. This is the case with studies that supposedly reveal hidden codes or messages in quilts. A number of popularly disseminated misunderstandings about the role of quilts prior to the Civil War in the preparation and escape of fugitive slaves, and in the Underground Railroad are at present being taught to our children.” ### Stitched from the Soul (1989) In 1989, [Stitched from the Soul](https://amzn.to/4tMRLZe) by Gladys-Marie Fry was published. In it, she offered a glimpse into the lives and creativity of African American quilters during the era of slavery. It was the first book to examine the history of quilting in the enslaved community and to place slave-made quilts into historical and cultural context. Unfortunately, the author did not confirm any of the family stories given with the quilts, so the book is riddled with inaccuracies and misplaced dates. She later curated an exhibit of these quilts. ### Sweet Clara and the Freedom Quilt (1993) Also in 1989, children’s book author [Deborah Hopkinson](https://deborahhopkinson.com/) heard a story on National Public Radio about an art quilt exhibit by African-American quilters. The interview was discussing the symbolism in the quilts, which inspired her to write a story indicating that a quilt may have been used as a signaling device in the Underground Railroad. Deborah Hopkinson was unable to find any documentation for this theory and so wrote her book [Sweet Clara and the Freedom Quilt](https://amzn.to/4udTSGt) with a fictional quilt. Her book was published in 1993. This book was later listed as a reference for _Hidden in Plain View_ as was _Stitched from the Soul._ ### Hidden in Plain View (1999) In 1999, the book [Hidden in Plain View](https://amzn.to/4folWCf) was published which further explored the theory of quilts being used in the Underground Railroad. Hidden in Plain View was written by Jacqueline Tobin, a Women’s Studies professor at the University of Denver, assisted by the late Raymond Dobard, an Art History teacher at Howard University. The book documented her discussions with Ozella McDaniel Williams between 1993 and 1997. Ozella Wiliams was an African-American quilt store owner in a Charleston SC tourist market. Her professed goal was to ensure that her families’ oral history of a quilt code, which had been passed down to her through the generations, was “written down.” This code was evidently a mnemonic device, used to help illiterate slaves memorize directions and activities they may have needed for escape. Ironically, Ms Williams family never used this code to effect their escape. In fact, in later interviews with some family members, they denied knowing anything at all about this “family story.” Hidden in Plain View, published after Ms Williams death, both documented the family story and created a great deal of controversy at the same time. Ozella Williams credited the origin of the meaning of blocks used in Underground Railroad quilts to her grandmother Eliza Farrow who was brought to this country “in the early 1800’s”. This has proved problematic for quilt historians as Eliza was not born until 1859 (in Georgia, not in Africa), giving birth to Ozella’s mother Nora in 1888 who gave birth to Ozella in 1922. This means the code must have passed through nine generations of extreme societal change, a daunting task even for a culture who relied on oral history. This may account for some of the discrepancies in the book. Since the publication of _Hidden in Plain View_, a number of quilt historians and researchers have challenged both its scholarship and its historical accuracy. Critics have pointed to discrepancies in dates, genealogy, quilt history, terminology, and documented evidence, raising important questions about whether the quilt code theory can be supported as verifiable history rather than oral tradition or folklore. Readers interested in examining these concerns in greater detail are encouraged to review [this article](https://www.tedpack.org/quilt1.html), which outlines several factual inconsistencies and explains why many historians remain skeptical of the book’s conclusions. The code related in the book associated quilt block names with their shape, style and color as hidden messages for slaves escaping the Charleston SC area. The origin of the code and how the meaning of the code was communicated between slaves was not explored. Each block, when made into a quilt, would pass on part of the message. These messages were contained in a series of seventeen quilts. Where the slaves found the time to make these quilts, or what fabric they used, was never explained. There are other discrepancies in the book as well. It appears that the facts were poorly researched. [Read more here.](https://www.tedpack.org/quilt1.html) ### Why the Code Doesn’t Hold Up Many of the [quilt blocks named in the book](https://web.archive.org/web/20160424190138/http://ugrrquilt.hartcottagequilts.com/rr4.htm) were not given their names until the early 1900s. The monkey wrench, for example, was not invented until 1858 and so could not have been the name of a block used as a mnemonic device. Another block referenced was the “bear paw” block, meant to warn slaves of the bears in the Appalachian Mountains through which they must escape. This is problematic because slaves escaping Charleston would not normally take the longer and more dangerous route through the mountains when a shorter, easier route was available. In addition, bears east of the Mississippi had been nearly killed off from overhunting. In 1872, Underground Railroad conductor William Still published a book detailing his activities which indicated that slaves escaping Charleston typically took the coastal route. ![A map of the eastern United States shows dark green, tan, and white states with red arrows marking migration routes—reminiscent of Underground Railroad Quilts—from Florida and the Gulf of Mexico up through the Midwest and Northeast.](https://quilthistory.com/wp-content/uploads/2026/05/UGRR-Map-from-NPS.gif)Map provided by the National Park Service It is possible that the ancestor who passed this story on to Ms Williams referred to these blocks by their 20th century names simply as a convenience; however, this changes the story of the quilt code. ### What the Authors Themselves Have Said So is the story related in Hidden in Plain View completely untrue? It’s impossible to say but it is worth noting that the authors have cautioned against believing the story as fact, indicating on page 33 that their findings are “informed conjecture”. Author Jacqueline Tobin wrote an E-mail to the Beaverton School stating: > There has been much said about this story that we certainly never stated or wrote. For example, the term “Underground Railroad quilts” is a misnomer. No quilts per se were used on the escape; no quilts were taken on the journey, no quilts hung outside safe houses, etc., according to Ozella’s story. In her code the quilt pattern names were appropriated by the slaves on the plantation to be used as mnemonic devices; to trigger memory of clues they could remember as they journeyednorth._ _All of it was in their mind; as Ozella stated so many times, “it’s a mind thing!” The only quilts were on the plantation themselves. How they were displayed or used is still conjecture except that Ozella stated they would be hung, one at a time, until the clue represented by the particular pattern was memorized. Yes, there are many stories about quilts and the URR; do not confuse them with this story._ Author Raymond Dobard gave an interview on the Oprah Winfrey show both cautioning that the quilt code story was meant to be a mnemonic device, not an actual code placed in a quilt. They both admit that the blocks shown in their book were only illustrative devices and not meant to be taken literally. According to an article in the July 2, 2007 [US News and World Report](https://www.usnews.com/news/articles/2007/06/24/were-quilts-used-as-underground-railroad-maps), “Tobin believes her book has been misinterpreted. Numerous details ascribed to the story—like hanging quilts along the way to indicate safe houses—”simply aren’t in the book,” she says. Moreover, “We make it clear that this was Ozella’s story only,” she says, and that such codes “could have” been used in this way and only on one particular plantation. “We’re not talking about hundreds or thousands of folks using this code,” says Tobin. “The story has grown in ways that we had not intended.”” ## So Was There an Underground Railroad Quilt? So, were quilts used as a signaling device in the Underground Railroad? Certainly a quilt could have been used to signal a safe house, as could any other common household object. Keeping in mind that most escaping slaves traveled at night, however, it is unlikely that they were told to look for something as suspicious as a quilt hanging on a line overnight or a quilt with a specific pattern of blocks. Is there no such thing as an Underground Railroad Quilt, then? Well, this is a trick question. In the late 1800s, many quilt blocks were named or renamed after political events. These were blocks such as “54-40 or fight” which referred to the boundary dispute between the US and Canada in 1846; “Burgoyne Surrounded” which referred to John Burgoyne’s defeat in the Saratoga Battlefields; the “Lincoln Log Cabin” named in honor of Abraham Lincoln after his assassination and the “Underground Railroad” block (also known as “Jacob’s Ladder”) which honored the brave conductors and passengers of the Underground Railroad. An Underground Railroad quilt, then, is one made of Underground Railroad blocks. [![A quilt block pattern inspired by Underground Railroad Quilts, featuring alternating dark brown checks and cream squares with colorful floral prints, arranged in a geometric, interlocking design.](https://quilthistory.com/wp-content/uploads/2026/05/jacobs-ladder.jpg)](https://scrapdash.com/beauty-quilt-block/)Jacobs Ladder Quilt Bloick ![A quilt block pattern inspired by Underground Railroad Quilts, featuring a symmetrical design with red and tan squares and rectangles forming an X and O motif on a cream background. The red shapes have a subtle floral print.](https://quilthistory.com/wp-content/uploads/2026/05/Burgoyne-Surrounded.jpg)Burgoyne-Surrounded Quilt Block [![A quilt block inspired by Underground Railroad Quilts, made of patterned fabric strips in blue, brown, and red tones with floral designs, arranged log cabin style around a central cream square with pink and green flowers.](https://quilthistory.com/wp-content/uploads/2026/05/lincoln-log-cabin.jpg)](https://phoebemoon.com/quilt-patterns/lincoln-log-cabin-king-quilt-pattern/)Lincoln Log Cabin Quilt Block Historians have to be careful not to blur American history with folktales or bend standards of truth to accommodate personal or financial agendas, which seems to have become the case with the Underground Railroad quilt code myth. Those that continue to perpetuate this myth without regard to the mounds of evidence proving it to be questionable if not outright false, often have a financial motive for doing so. ### Why Getting This Right Matters We have to conclude that there was no special role quilts played in the Underground Railroad. While no one can prove a negative, it seems unlikely that quilts were used as a directional code. Worse, this type of popular myth belies the hard work and dangers faced by the true heroes of the Underground Railroad. When myths are not dispelled and the general public is allowed to believe anything, it hurts the truth of the culture and propagates false truths. History would be far better served if actual research was done on this topic so that we might honor the people who truly deserved it such as [Harriet Tubman](https://www.americancivilwar.com/women/harriet_tubman.html) and [Levi Coffin](https://www.pbs.org/wgbh/aia/part4/4h2946.html), rather than just endlessly repeating discredited myths and gossip. The quilt code debate is still active. As recently as 2024, a Northwestern University Black Studies professor stated there was “no evidence” of the quilt code, while some community historians argue that dismissing oral history discounts the experiences of people who could not safely put anything in writing. To quote Fergus M. Bordewich (the author of [Bound for Canaan: The Underground Railroad and the War for the Soul of America](https://amzn.to/4tDhvXE)), “In an age when self-interest has been elevated in our culture to a public and political virtue, the Underground Railroad still has something to teach: that every individual, no matter how humble, can make a difference in the world, and that the importance of one’s life lies not in money or celebrity, but in doing the right thing, even in silence or secrecy, and without reward. This truth doesn’t need to be encoded in fiction in order to be heard.” ## For more information: [A Piece of My Soul: Quilts by Black Arkansans](https://amzn.to/43jJLnv) [A Separate Battle: Women and the Civil War](https://amzn.to/4dFCxit) [Always There: The African-American Presence in American Quilts](https://amzn.to/4uolJna) [The American Quilt – A History of Cloth and Comfort](https://amzn.to/4dpVo0H) 1750-1950 [Black Culture and Black Consciousness](https://amzn.to/4dLvnKJ), Afro-American Folk Thought from Slavery to Freedom by Lawrence W. Levine [Calculating the Value of the Union: Slavery, Property Rights, and the Economic Origins of the Civil War](https://amzn.to/3PSH6y3) [Common Place: The Journal of Early American Life](https://commonplace.online/article/authors-response/) [Did Quilts Hold Codes to the Underground Railroad?](http://news.nationalgeographic.com/news/2004/02/0205_040205_slavequilts.html) (National Geographic, paid) [Encyclopedia of Pieced Quilt Patterns](https://amzn.to/4v3gjOD) [Facts and Fabrications; Unraveling the History of Quilts & Slavery](https://amzn.to/4uJGr0C) by Barbara Brackman [For Purpose and Pleasure: Quilting Together in Nineteenth-Century America”, by Sandi Fox](https://amzn.to/4nIz5by) [The Frederick Douglass Statue with the Quilt Code Blocks Debate](https://www.antiquequiltdating.com/F._Douglass_Statue_Quilt_Code_Blocks_Debate.html)_ by Kimberly Wulfert, PhD_ [From Slavery to Freedom, A History of Negro Americans by John Hope Franklin](https://amzn.to/4uAkWjd) [Harriet Tubman: the Moses of her people](https://amzn.to/43lQs8u) [Kentuckys Underground Railroad Passage to Freedom](https://ket.org/program/kentuckys-underground-railroad-8212-passage-to-freedom/kentuckys-underground-railroad-8212-passage-to-freedom/) (video) [Long Memory, The Black Experience in America Mary Frances Berry and John W. Blassingame](https://amzn.to/4f1g1TC) [National Underground Railroad Freedom Center](https://freedomcenter.org/) [Narrative of Sojourner Truth](https://amzn.to/4dIaLSt) [New Jersey’s Underground Railroad Myth-Buster](http://historiccamdencounty.com/ccnews11.shtml) (paid) [History’s Tangled Webs by the NY Ti](https://www.nytimes.com/2007/02/02/opinion/02bordewich.html?pagewanted=all)[m](https://www.nytimes.com/2007/02/02/opinion/02bordewich.html?pagewanted=all)[es](https://www.nytimes.com/2007/02/02/opinion/02bordewich.html?pagewanted=all) [Pieced by Mother: Symposium Papers, c.1988, Oral Traditions Project.](https://amzn.to/4uTYi4Y) [Quiltmaking in America: Beyond the Myths, Laurel Horton (Editor)](https://amzn.to/43mlEEJ) [Quilts a Living Tradition, by Robert Shaw](https://amzn.to/3Rp4XWz) [Roll, Jordan, Roll, The World the Slaves Made by Eugene D. Genovese](https://amzn.to/4x5PnQ9) [Runaway Slaves: Rebels on the Plantation](https://amzn.to/4vs6XvP) [Signs and Symbols: African Images in African-American Quilts](https://amzn.to/3PLX7WG) [Stitching Stars; the Story Quilts of Harriet Powers](https://amzn.to/4odA1F5) [The Underground Railroad and the Use of Quilts as Messengers for Fleeing Slaves](https://www.antiquequiltdating.com/The_Underground_Railroad_and_the_Use_of_Quilts_as_Messengers_for_Fleeing_Slaves.html) _by Kimberly Wulfert, PhD_ [The Underground Railroad Quilt “Code”:](https://web.archive.org/web/20081222025757/http://www.ugrrquilt.hartcottagequilts.com/) Betsy Ross redux from Hart Cottage Quilts archive [Underground Railroad Quilt Codes: What We Know, What We Believe, and What Inspires Us](https://folklife.si.edu/magazine/underground-railroad-quilt-codes) [Underground Railroad Quilt Blocks](https://web.archive.org/web/20090215085636/http://quiltersmuse.com/underground_railroad_and_quilts_blocks.htm) from Quilters Muse Archive [Underground Railroad Quilt Code Myth](https://web.archive.org/web/20160303193414/http://www.ugrrquilt.hartcottagequilts.com/). by Leigh Fellner, who also wrote [Underground Railroad History](https://web.archive.org/web/20160310042658/http://ugrrquilt.hartcottagequilts.com/rr2), [Quilt Blocks in the UGRR code](https://web.archive.org/web/20160322222547/http://ugrrquilt.hartcottagequilts.com/rr3), [Fabrics Available to Slaves](https://web.archive.org/web/20160304183830/http://ugrrquilt.hartcottagequilts.com/rr5), [Questionable Associat](https://web.archive.org/web/20160304101821/http://ugrrquilt.hartcottagequilts.com/rr6)[i](https://web.archive.org/web/20160304101821/http://ugrrquilt.hartcottagequilts.com/rr6)[ons](https://web.archive.org/web/20160304101821/http://ugrrquilt.hartcottagequilts.com/rr6), and [Misquotes](https://web.archive.org/web/20160401221835/http://ugrrquilt.hartcottagequilts.com/rr6a) [Underground Railroad Free Press](http://www.urrfreepress.com/) [Underground Railroad American History](https://americancivilwar.com/underground_railroad.html) [Were Quilts Used as Underground Railroad Maps?](https://www.usnews.com/news/articles/2007/06/24/were-quilts-used-as-underground-railroad-maps) by US News [Who Really Ran the Underground Railroad?](https://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/who-really-ran-the-underground-railroad/) PBS Article [Women of the American Civil War](http://americancivilwar.com/women/women.html) --- --- title: "A Red and White Quilt Show" url: "https://quilthistory.com/people-stories/a-red-and-white-quilt-show/" lang: "en-US" type: "page" description: "An Homage to \"Infinite Variety\" You would almost have to be living under the Geico rock last month to miss all the publicity about the quilt show in New York City in May 2011. Titled \"Quilts of Infinite Variety: Three" last_modified: "2026-08-07T12:48:50+00:00" custom_fields: iawp_total_views: 147 --- # A Red and White Quilt Show ## An Homage to “Infinite Variety” You would almost have to be living under the Geico rock last month to miss all the publicity about the quilt show in New York City in May 2011. Titled “Quilts of Infinite Variety: Three Centuries of Red and White Quilts”, this exhibit of 651 red and white quilts belonging to Joanna Rose attracted more than 24,000 people from around the world. You can see the video at the bottom of the page. These are the pictures that I took of the quilt show that I curated about that time. These were vintage quilts loaned by members of the community, many of which had never before been exhibited. ![Red and White Signature Quilt](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-classroom.jpg) ## Red and White Block quilts The quilt on the right in the picture was made around 1840. It has a cross-stitched signature. That quilt and the one in the center of the pictures were made using the [Album](https://Phoebemoon.com/quilt-block-patterns-a/) Block.  Compare the [basket](https://phoebemoon.com/quilt-block-patterns-b/) quilt on the left above with the basket quilt in the picture below. ![Red and White Basket Quilt Top](https://scrapdash.com/wp-content/uploads/2020/02/red-baskets-top.jpg) Here is a different view of the quilts in the first picture.  The one on the left in the picture with the applique alternate blocks is a signature quilt with inked signatures from Greenville NY dated 1848. The one on the right is “Red Cross Quilt”, dated approx 1920. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-signature-quilt-1848.jpg) The c 1920 quilt top in the picture below was found in a box of books. The design is easy to pick out in the picture, but when you see it in person, all you see is movement. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-poinsettia.jpg) This is a [Bear Paw Variation](https://phoebemoon.com/free-quilt-patterns/quilt-block-patterns-b/) quilt that was loaned to the show. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/sherry-quilt.jpg) ## Red and White Fundraising Quilts Dated Dec 25, 1922, the fundraising signature quilt pictured below survived two fires. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-signature-quilt-1922.jpg) ## Red and White Coverlets Not all early bed coverings were quilts.  Before quilts were common, itinerant weavers traveled from town to town and home to home to make individual coverlets.  Here is a c. 1857 woven coverlet with fringe. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-coverlet-1857.jpg) ## Red and White Woven Marselles Woven Marseilles bedspreads were a fad in the late 19th century. The one on the top in the picture below has a pressed design, circa 1900. The quilt on the bottom has double pink stars. ![Pink and White Antique Quilt](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white-marsailles.jpg) ## Dating Red and White Quilts It is hard to date two-color quilts.  Pre-1900 quilts are generally turkey red and white. Red becomes clearer and slightly bluer after WWI.  The quilt on the right in the picture below was made approx 1920. ![Red and White Antique Quilt](https://scrapdash.com/wp-content/uploads/2020/02/red-and-white.jpg) The lime green in this [Cross and Crown](https://phoebemoon.com/free-quilt-patterns/quilt-block-patterns-c/) quilt was probably originally dark green. ![Red and White Antique Quilt Show](https://scrapdash.com/wp-content/uploads/2020/02/red-cross-crown.jpg) Have you made a Red and White quilt?  If you would like to share a picture with me, I would be delighted to put it on this page.  Just send it to [quilthistories@gmail.com](mailto:quilthistories@gmail.com). PS – Here is the Infinite Variety video: --- --- title: "Early Use of Natural Dyes in Textiles" url: "https://quilthistory.com/early-use-of-natural-dyes-in-textiles/" lang: "en-US" type: "page" description: "Color has been part of human culture for as long as people have made cloth. The need to transform plain fiber into something vivid and meaningful drove thousands of years of experimentation, trade, and discovery. The earliest written record of" last_modified: "2026-07-01T13:45:56+00:00" custom_fields: iawp_total_views: 167 --- # Early Use of Natural Dyes in Textiles Color has been part of human culture for as long as people have made cloth. The need to transform plain fiber into something vivid and meaningful drove thousands of years of experimentation, trade, and discovery. The earliest written record of the use of natural dyes was found in China dated 2600BC. Chemical tests of red fabrics found in the tomb of King Tutankhamen in Egypt show the presence of alizarin, a pigment extracted from madder. In more modern times, Alexander the Great mentions having found purple robes dating to 541BC in the royal treasury when he conquered Susa, the Persian capital. Kermes (from the kermes insect) is mentioned 25 times in the Bible, usually with blue and purple, for [Tabernacle textiles and priestly garments.](https://biblehub.com/exodus/26-31.htm) By the 4th century AD, dyes such as woad, madder, weld, Brazilwood, and indigo and a dark reddish-purple were known. Brazil, in fact, was named for the red Brazilwood found there, the dye having been known in Europe long before the continent was mapped. ## The Earliest Evidence The earliest surviving evidence of textile dyeing was found at the large Neolithic settlement at Catalhoyuk in southern Anatolia, where traces of red dyes, possibly from ochre (iron oxide pigments from clay), were found. Archaeological findings also show that the cultures of the Indus Valley used indigo and madder, derived from indigenous plants, to create colorful textiles and ceremonial clothing. ## The Royal Color – Purple When Alexander the Great conquered Susa, the Persian capital, around 330 BC, he reportedly found purple robes in the royal treasury that dated back to 541 BC — already centuries old and still vibrant. By the 4th century AD, dyers across Europe and Asia were working with woad, madder, weld, Brazilwood, and indigo, among others. Purple was made from a mollusk and clothing made from it was so expensive only the royal family could afford it. It was extracted from a small gastropod mollusk found in all seas or from a crustacean called a Trumpet Shell or Purple Fish, found near Tyre on the Mediterranean coast. Their body secreted a deep purple fluid which was harvested by cracking the shell and digging out a vein located near the shellfish head with a small pointed utensil. The mucus-like contents of the veins were then mixed together and spread on silk or linen. Estimates are that it took 8,500 shellfish to produce one gram of the dye, hence the fact this dye was worth more than its weight in gold. This expensive dye was mentioned in the bible, in [Acts 16:14](https://www.biblegateway.com/passage/?search=Acts%2016%3A14&version=KJV), where Lydia is a seller of purple. Lydia was likely a wealthy businesswoman. ## Red and Blue By the 15th century, insect-based dyes such as cochineal and kermes, were becoming more common. Cochineal was a discovery of pre-Columbian peoples in the Americas. The dried bodies of female cochineal insects, ground to powder and mixed with water, produced a deep, vibrant red. Spanish explorers brought cochineal back to Europe, where it quickly became one of the most valuable trade commodities in the world. ![Close-up of a bright red, oval-shaped insect with segmented, ridged body and fine hair-like structures, resting on a white surface.](https://quilthistory.com/wp-content/uploads/2026/05/cochineal-212x300.jpg)Cochineal insect By the 17th century, dyeing cloth “in the wood” (meaning at the fiber stage, before spinning or weaving) was introduced in England: logwood, fustic, etc. In the 18th century a method of bleaching linen with kelp was introduced in Scotland, a Swedish chemist discovered chlorine destroys vegetable colors and the French began to recommend chlorine water for commercial bleaching. Indigo began to be grown in England, and Cudbear, a natural dye prepared from a variety of lichens, is patented. Another natural dye, Quercitron, from the inner bark of the North American oak, is patented in 1775. See [The Red Dyes : Cochineal, Madder, and Murex Purple : A World Tour of Textile Techniques](https://amzn.to/42Z4jS5) By the 1800’s, Prussian Blue and Sulphuric acid are available commercially. Prussian blue was formed from prussite of potash and iron salt, making it one of the earliest known chemical dyes. In 1856, William Henry Perkin, while experimenting with coal tar in hopes of finding an artificial quinine as a cure for malaria, discovered the first synthetic dye stuff which he called “Mauve”. The color quickly became a favorite of the royal family, and a new industry was begun. See [Mauve: How One Man Invented a Color That Changed the World](https://amzn.to/4tY3jcR) In 1869, the red dye found in madder was the first natural pigment to be synthetically duplicated, which began the steady decline of dyes produced from natural sources. (See: [Turkey Red: The Brilliant Dye that Traveled the World](https://quilthistory.com/turkey-red-the-brilliant-dye-that-traveled-the-world/)) In 1905, the Nobel Prize in Chemistry was awarded to Adolf von Baeyer for discovering the molecular structure of indigo and developing a process to produce it synthetically. The manufactured version quickly replaced natural indigo, ending what had been one of the oldest agricultural industries in the world. ![A child’s dress with short puffed sleeves, gathered bodice, and flared skirt. The fabric is dark blue with a small gold floral pattern and lace trim at the sleeves, waist, and skirt. Displayed on a white mannequin.](https://quilthistory.com/wp-content/uploads/2026/05/wool-indigo-dress-1850-boy-or-girl-the-met-243x300.jpg)c. 1850 Childs indigo dress courtesy of The Met ## Types of Natural Dyes Natural dyes can be sorted into three broad categories: natural dyes obtained from minerals such as ocher, those obtained from animals such as cochineal, and those obtained from plants such as indigo. ### Natural dyes obtained from minerals Mineral-based dyes include ocher, which comes from iron-rich clay. It is a dye obtained from an impure earthy ore of iron or ferruginous clay, usually red (hematite) or yellow (limonite). Hematite produces red; limonite produces yellow. In addition to being the principal ore of iron, hematite is a constituent of a number of abrasives and pigments.Because these dyes are inorganic, they do not break down the way plant and animal dyes do, which is why traces survive in ancient archaeological sites. ### Natural dyes obtained from plants Plant-based dyes were the most commonly used throughout history, simply because plant material was the most available. Madder, from the roots of the madder plant, produced the famous “Turkey red” that was so popular in the 19th century — brilliant, rich, and considered exotic. The plants are dug up, the roots washed and dried and ground into powder. During the 19th century, the most widely available fabrics were those which had been dyed with madder. Weld produced yellow; logwood and fustic came into use in the 17th century for darker tones. Woad, a shrub that grew abundantly in Europe, was the primary source of blue dye until indigo took over. Until the Middle Ages, Europeans used woad to create a blue fabric dye. The woad was a shrub that grew abundantly in parts of Europe. The coloring was in the leaves, which were dried and ground, mixed with water and made into a paste. This dye was supplanted by indigo, an ancient shrub well known to the Egyptians and Indians. Like woad, its color lay in its leaflets and branches. The leaves were fermented, the sediment purified, and the remaining substance was pressed into cakes. ### Natural dyes obtained from animals Animal-based dyes include cochineal and kermes from insects and a Tyrian purple from sea snails. Cochineal is still harvested and used today, including as a food coloring. Cochineal produces a brilliant red dye produced from insects living on cactus plants. The properties of the cochineal bug was discovered by pre-Columbian Indians who would dry the females in the sun, and then ground the dried bodies to produce a rich, rich red powder. When mixed with water, the powder produced a deep, vibrant red coloring. Cochineal is still harvested today on the Canary Islands. In fact, most cherries today are given their bright red appearance through the artificial color “carmine”, which comes from the cochineal insect. ## Mordants A mordant is an element which aids the chemical reaction that takes place between the dye and the fiber so that the dye is absorbed. Containers used for dying must be non-reactive (enamel, stainless steel.) Brass, copper or iron pots will do their own mordanting. Not all dyes need mordants to help them adhere to fabric. If they need no mordants, such as lichens and walnut hulls, they are called substantive dyes. Indigo is a substantive dye. If they do need a mordant, they are called adjective dyes. Silk and wool can often be dyed with little or no mordanting, while cotton and linen require more preparation because plant fibers hold dye less readily than protein fibers. Common mordants are: ALUM (potassium aluminum sulfate), usually used with cream of tartar, which helps evenness and brightens slightly; IRON or COPPERAS (ferrous sulfate) which saddens or darken colors, bringing out green shades; TIN, usually used with cream of tartar, which blooms or brightens colors, especially reds, oranges and yellows; BLUE VITRIOL (copper sulfate) which saddens colors and brings out greens and TANNIC ACID used for tans and browns. An important and often overlooked feature of mordants is that they can change the final color, not just fix it. The same dye bath can yield quite different shades depending on which mordant is used. ## Synthetic Dyes Synthetic dyes were introduced in the 19th century, which reduced the use of natural dyes because they were harder to produce on a large scale, more expensive, and less consistent in color. Today, however, interest in natural dyes is growing again. Quilters, fiber artists, and textile designers are returning to plant and insect dyes for their subtlety, their connection to history, and their gentler environmental impact. For anyone working with fabric, understanding natural dyes means understanding the roots of the craft itself. ## Bibliography - [The Red Dyes : Cochineal, Madder, and Murex Purple : A World Tour of Textile Techniques](https://amzn.to/42Z4jS5) - Purple : A World Tour of Textile Techniques - [Mauve: How One Man Invented a Color That Changed the World](https://amzn.to/4tY3jcR) - Natural Dyes & Home Dyeing (by Rita J. Adrosko, paperback, Dover) Classic recipe book. Good general information, accessible to beginners. Some historical background, recipes arranged by color, especially good for cotton-dyeing. 154 pages - Art & Craft Of Natural Dyeing (by J. N. Liles, paperback, UTN) Traditional recipes for modern use—most complete book available. Brief history, procedures & precautions, mordanting & dyeing—for cotton, linen, wool & silk. 223 pages - The Craft of Natural Dyeing (by Jenny Dean, paperback, SRC) An elegant introductory-level book. Vivid photos of dye plants, processes, and resulting colors. Text covers all the main topics,and gives step-by-step method for dyeing a skein of yarn. 64 pages. - The Dye Pot (by Mary Frances Davidson paperback MFD) Straight-ahead instructions and recipes. Preparation of wool, mordanting and dyeing with various materials. Useful notes and suggestions. 53 pages. - Natural Dyes and Home Dyeing. - Lichens for Vegetable Dyeing (by Eileen M. Bolton paperback R&R) Concise and accurate book, the classic source of information on the subject. By a self-educated English naturalist; with the author’s charming botanical paintings. 43 pages - Craft of the dyer; color from plants and lichens - Balfour-Paul, Jenny. _Indigo: Egyptian Mummies to Blue Jeans._ London: British Museum Press, 1998. - Cannon, John and Margaret. _Dye Plants and Dyeing._ Portland: Timber Press, 1994. - Cardon, Dominique. _Natural Dyes: Sources, Tradition, Technology and Science._ London: Archetype Publications, 2007. (The definitive modern reference.) - Goodwin, Jill. _A Dyer’s Manual._ London: Pelham Books, 1982. - National Center for Biotechnology Information (NIH/PMC). “Natural Colorants: Historical, Processing and Sustainable Prospects.” [https://pmc.ncbi.nlm.nih.gov/articles/PMC5315675/](https://pmc.ncbi.nlm.nih.gov/articles/PMC5315675/) - Faribault Mill. “The History of Textile Dyes.” [https://www.faribaultmill.com/blogs/the-thread/the-history-of-textile-dyes](https://www.faribaultmill.com/blogs/the-thread/the-history-of-textile-dyes) --- --- title: "Stain Removal Guidelines for textiles and other items" url: "https://quilthistory.com/care-preservation/stain-removal-guidelines-for-textiles/" lang: "en-US" type: "page" description: "compiled by Kris Driessen from information discussed on the Quilt History List. Before attempting to remove a stain, please be sure to determine that you really need to. Read this article first. Some stains are better off left alone. Keep in mind you" last_modified: "2026-08-01T18:47:36+00:00" custom_fields: iawp_total_views: 35 --- # Stain Removal Guidelines for textiles and other items compiled by Kris Driessen from information discussed on the Quilt History List. Before attempting to remove a stain, please be sure to determine that you really need to. Read [this article](https://quilthistory.com/cleaning-antique-quilts/) first. Some stains are better off left alone. Keep in mind you may damage your item irrevocably. If it is an important piece, seek the advice of a professional first. We recommend that you use products containing the ingredient Sodium Percarbonate. This is a white, free flowing granular chemical used in the formulation of laundry products and many other cleaning products. Sodium Percarbonate consists mainly of hydrogen peroxide and soda, and functions as a bleaching agent, alkali provider and water softener at the same time. It it contains a high percentage of active oxygen which provides an excellent washing and bleaching effect.  It is environmentally compatible as it will break down into water, oxygen, and soda ash. Unlike chlorine based bleaches, sodium percarbonate is non-toxic and biodegradable. Sodium Percarbonate is sometimes referred to as an Oxygen bleach. Oxygen bleaches are found in products designed to remove organic stains (such as coffee, tea, wine, fruit juices, foods, sauces, grass and blood.)  Products containing an oxygen bleach can be used in any place in or around the house to remove stains and odors.  They are efficient, safe and economical. If the odor problem persists, try putting several pieces of activated charcoal near the offending item. ## Specific Stains and removal suggestions: **Acids** If the item is washable, spread dry baking soda on the area and dampen with water.  Rinse thoroughly in warm water. If the item cannot be washed, hold the stained area over a bowl of household ammonia.  The fumes can neutralize the acid. Rinse well.  Beware: ammonia can stain.  **Adhesive Tape** _See grease_ **Alcohol** Rinse thoroughly with warm water as soon as the stain is discovered.  If the item can be washed, presoak it before washing in warm water.  Do not dry in a dryer or use an iron until you are sure the stain has been removed.  Bleach may be used on white cotton fabric.  **Baby Oil** See Grease stains **Bleach** Treat immediately with Anti-clor, Bleach Stop or a chlorine free oxygen bleach like OxyBoost.  If not available, rinse the fabric in copious amounts of cold water and rinse thoroughly. Be aware that full strength bleach will destroy silk and wool.   **Blood** _See Protein Stains_. **Butter, Cream & Fatty Stains** _See grease stains._ **Chocolate & Cocoa** _See protein stains _ **Coffee & Tea** _See Protein Stains_ **Crayons** See wax **Deodorants & Antiperspirants** _See perspiration_ **Dyes & Running Colors** No one treatment is successful in all cases. If the item is still wet when the running dye is discovered, force water through the area to remove as much dye as possible. Wash with a laundry detergent containing an oxygen bleach.  White cotton and linen may be bleached.  [Synthropol](https://phoebemoon.com/how-to-use-bubble-jet-set-to-treat-fabric-for-photos/) will often remove loose dye. Store the wet item in the freezer if synthropol is not immediately available.   ![Two clear plastic bottles with white caps are shown. The left bottle is labeled Synthrapol, and the right bottle is labeled Retayne. Both are dye-related fabric care products from G&K Craft Industries.](https://quilthistory.com/wp-content/uploads/2026/04/retayne-and-synthrapol1.webp) **Fruit Juices & Berries** See protein stains **Gum** _See wax_ **Glue** Some glues are water-soluble.  Try washing in cool first.  If that doesn’t work, you may need to use a spirit solvent such as wood alcohol or amyl acetate.  Some glues can be dissolved using nail polish removed blotted on with a paper towel. **Grease and oil** If the item is washable, blot with paper towels to remove as much as possible.  Use an oxygen based presoak designed for removing grease stains before washing in warm water and a powdered laundry detergent which contains an oxygen bleach. OxiClean works well.   Dawn dishwashing detergent will break up light oil, such as sewing machine oil.  Wash badly stained textiles using small loads and a full water level. Do not overload washer. If the item is not washable, again blot with paper towels to remove as much as possible.  Sponge it with a spot stain remover or drying cleaning fluid. Do not use dry cleaning fluid, on carpets or fabrics with rubberized backing.  On upholstery and carpets, sprinkle with a mixture of cornflower and an oxygen based cleaning powder.  Remove with a vacuum and shampoo the area.   As a last resort, kerosene will dissolve grease.  However, it leaves an oily stain behind which must be removed using the above methods.  **Ink** If the stain is still wet, blot up as much as possible using a paper towel. If you have some, apply an absorbent (loose chalk, talcum powder, starch or salt) to absorb excess ink and stop it from spreading.  If the stain is ballpoint pen ink, try saturating the material with an alcohol-based hair spray. The alcohol content in the hair spray will break up the ink, allowing it to be blotted up with a paper towel.  If the stain is a water based ink, it should come out in the wash. **Iodine** Rinse immediately in cool water.  If the stain is old, try applying a solution of 1 tsp. sodium thiosulphate mixed 1cup warm water. Rinse well and launder as usual.  Another suggestion: Pour ammonia on the fabric (with a towel under it of course) and watch it disappear. You MUST do this before water ever touches the stain or it will become permanent. **Medicines** Treat according to ingredients. Where contents cannot be determined proceed as for “Unknown Stain”. **Mold & Mildew** Mold, fungus, and mildew are vegetative growths which are caused by spores in the air. They thrive in warm, damp, dark poorly ventilated environments.  To prevent the spread of mildew, you must kill the spores.   If you have a mildewed textile, treat as soon as discovered, before the mold has time to weaken the cloth. Slight, fresh stains can often be removed by washing with your usual laundry product and air drying. Chlorine bleach may be used for white untreated cottons and linens. Rinse thoroughly before washing. Vinegar added to the final rinse will help remove any traces of smell remaining from the bleach. If the fabric is not white, an oxygen bleach should be used. Bleach will kill mold and mildew on contact, but is extremely caustic to textiles and other porous surfaces. For non porous surfaces, mix one part of chlorine bleach with 3 parts of water, allow to stand on surface for 10 to 15 minutes, agitate with a soft scrub brush, rinse with water and allow to air dry.  On porous surfaces, use a disinfectant cleaner designed for this purpose. The amount of time on a surface increases the effectiveness of these products. To get rid of musty basements smells, try putting charcoal in bowls around the basement. Buy moisture absorbing “rocks” from local hardware and put them around the basement, too.  Spray a bleach/water solution on all surfaces that can take bleach without being bleached.  Use dehumidifiers, and fans to circulate air. Odoban (a commercial product available at Sam’s Club) will also absorb odors.  [More about mildew on other surfaces](https://web.archive.org/web/20200803213216/http://www.hytechsales.com/mildew.html). **Mud** See protein stains **Mustard** See protein stains **Musty Odors** Start by cleaning away the mildew.  _See mildew stains_. If your carpets are musty after having become wet, try sprinkling them with baking soda or 20 Mule Team Borax to absorb the odors, then vacuum.  If that doesn’t work, wash them using a SteamVac and a soap formulated to clean odorous carpeting.  Commercial carpet cleaners may have a drying room you can use.  To get rid of musty basements smells, try putting charcoal in bowls around the basement. Buy moisture absorbing “rocks” from local hardware and put them around the basement, too.  Spray a bleach/water solution on all surfaces that can take bleach without being bleached.  Use dehumidifiers, and fans to circulate air. Odoban (a commercial product available at Sam’s Club) will also absorb odors.  If you have a smelly quilt (smoke odors, etc.), first try airing it outside.  Put it on a line on a sunny day with a light breeze.   try closing it in a plastic bag with a cake of Lava or Dial Antibacterial soap.  That may absorb the odor.   **Nail Polish** Acetone and amyl acetate (nail polish removers) will remove nail polish from surfaces, but take care with synthetic fibers, as both of these dissolve some type of rayons. If the item is washable, follow up by laundering with an oxygen based laundry detergent. Otherwise, rinse area well.  **Ointment** See grease stains **Pencil Marks (lead)** Try a soft eraser (Art Gum) for unwashable garments. Use a quality laundry powder or liquid on lead pencil marks, but never for indelible pencil. Soft pencil marks may be removed with a mixture of equal parts Dove liquid and Clorox 2 powder in warm or hot water. Soak thoroughly. Do not rub. Rinse completely.  Formula 409 sprayed on, gently rubbed in with a soft cloth or toothbrush, then rinsed will also work.  For fresh pencil marks, try this: - 1/4 cup water - 3/4 cup rubbing alcohol - 7-8 drops of Palmolive liquid detergent Mix and apply with a toothbrush Another suggestion:  To remove pencil marks there is a recipe of 1 cup water, 2 tbs alcohol and 1 drop clear dishwashing liquid. I have had students tell me that the new clear Windex also works. General Cleaning solution, also good for household cleaning: 3 tablespoons of household ammonia to a squirter bottle (1 quart) full of water. **Perspiration Stains including Antiperspirant and Deodorant stains** Use an oxygen based presoak on the area before washing.  If odor remains, soak in a 50% vinegar and 50% water solution. Dry cleanable fabric such as wool and silk can be freshened by sponging with a ammonia diluted 50% with water, however, that may also damage the color.  Test on an inconspicuous area first.  **Protein Stains (coffee, fruit juice, blood, vomit, tobacco etc.)** Blot with paper towels to remove as much of the stain as possible  before washing with cool salted water (1tsp to 1 pint water).  Rinse with clear water.  If the stain remains, presoak using with an oxygen based product before washing again with a granulated laundry powder. Do not use hot water, dry the item in a dryer or use a hot iron as this will set any remaining stain.  Coffee and tea stains on cottons and linens can also be removed by soaking in borax and water (1 Tbsp. borax in 1cup of warm water). Wine and fruit juice respond well to be cleaned with a 1 part water, 1 part ammonia solution. If a tobacco stain is stubborn, try applying a solution of 1 tsp. sodium thiosulphate mixed with 1cup warm water. Let soak and wash as normal.  If the item cannot be washed, sprinkle with pepsin powder or spread with a thick paste of corn starch and water, let dry and brush off. Repeat if necessary.   Stains on wool, rayon  and silk should be taken to the dry cleaner for spot treatment.  Often home attempts to remove the stain will remove the protein stain but leave a water stain, which is harder to remove. In a pinch you can hold the affected area in the steam from a rapidly boiling kettle or steam iron taking care that no droplets of water reach the item. Shake well and restore the nap by rubbing with a cloth of similar fabric.  Another suggestion for blood: If the fabric can be moistened: put regular old 3% Hydrogen peroxide on it & dab off the bubbly material (red blood cells being destroyed by the peroxide) and repeat as necessary. Dark cottons made fade. **Rust** If it difficult to remove rust stains from fabric without damaging colors.  Be aware you may do more harm than good. Light stains may be treated by sprinkling the area with salt, rubbing with lemon juice and placing in the sun.  If the stain is so bad the item is ruined anyway unless it is removed, try this: mix 4 tsp cream of tartar in one pint of water in a large saucepan and bring to a boil.  Immerse textile in that liquid and let soak until stain is removed.  Rinse thoroughly.   **Scorch** Scorch marks, like bleach damage, are actual changes in the composition of the fiber.  They generally cannot be removed.  If the damage is light, try immediately washing the textile.  The fabric itself will still be damaged but the color change may be removed.  **Shoe Polish** See grease stains **Soot & Smoke** For washable items, readers have recommended the original PineSol in the washing machine as well as Wisk and Odor Out (available in gallon jugs at Wal-marts or Sams Club.)  For carpets and other unwashable items, sprinkle with cornstarch,  talcum or loose chalk. Leave overnight, then vacuum off. Repeat if necessary. A spray on dry cleaner will work also.  **Tar & Asphalt** This is almost impossible to remove.  On fabric, pre-treat with a laundry pre-soak and wash as normal.  Do not dry in a dryer.  You may have some success pre-soaking with a petroleum jelly like Vaseline, then washing in hot soapy water.  This works well on non textiles as well, as does dry cleaning solution. **Tarnish** If the stain if from a metal object rubbed against a textile, a light solution of lemon juice should be used as a pretreatment before the item is washed.  If that doesn’t work, lightly dab on a dry-cleaning solution.  Rinse thoroughly. If the stain is on a metal fabric, and that fabric can be washed, boil in salt water.  (2 Tbsp. to 1 pint of water).  **Unknown** Treat carefully.  Start with non invasive procedures such as simply rinsing with water.  If this doesn’t work, and the item can be washed, pretreat with an oxygen based bleach.  Wash and rinse thoroughly.  If the stain persists, try dabbing on a dry-cleaning solution or ammonia.  Beware: this can damage colors.  **Vomit** _See protein stains_ **Wax** Candle wax and chewing gum can be handled in a similar manner. Scrape away as much as possible first. Placing the object that has been stained into a freezer or rub it with ice until the staining agent is quite hard, and brittle, then the material can be literally shattered off the object that has been stained.  If wax remains, placed the stained item between clean white paper towels and press with a hot iron, changing the towels as they become stained. The color left behind by crayons can usually be removed through repeated laundering of the item using an oxygen based bleach. If the material is washable, soak in kerosene and wash in hot soapy water. For unwashable articles, use dry cleaning fluid. Several applications may be necessary. **Wine**  _See protein based stains._ **Wood sap** Mix a solution of 1 part enamel paint thinners to 4 parts dishwashing liquid formulated to remove grease. Pretreat with this solution, then wash in hot water.   **More information** may be found at [www.s](https://web.archive.org/web/20200803213216/http://www.stainexpert.co.uk/)[t](http://www.stainexpert.co.uk/)[ainexpert.co.uk](http://www.stainexpert.co.uk/)  --- --- title: "A Civil War Quilt Finds its Home" url: "https://quilthistory.com/people-stories/a-civil-war-quilt-finds-its-home/" lang: "en-US" type: "page" description: "Published in The Virtual Quilt #26, August 1998 \"For several weeks I had seen an old crazy quilt hanging in the window of Antiques, Crafts, Inc., 405 Piedmont Ave., Rockmart, GA 30152. Finally, I couldn't stand it any longer and" last_modified: "2026-07-20T20:57:18+00:00" custom_fields: iawp_total_views: 37 --- # A Civil War Quilt Finds its Home Published in The Virtual Quilt #26, August 1998 “For several weeks I had seen an old crazy quilt hanging in the window of Antiques, Crafts, Inc., 405 Piedmont Ave., Rockmart, GA 30152. Finally, I couldn’t stand it any longer and went in.” Thus begins the first entry, dated February 11, 1995, in Diane Lockwood’s journal recounting her odyssey with what she and her husband Jim would come to call the “Civil War Quilt.” The quilt would eventually lead this California couple, with family connections in Georgia, to Civil War battlefields, the Atlanta Historical Society, and through these into the absorbing world of textile history and preservation — as well as into the private lives of the family who produced the quilt. Diane’s account continues: “The note attached to the quilt read ‘This crazy quilt goes back to the mid 1800s. It is lined with feed sacks from Atlanta. Made from men’s clothing it is a treasure that can not be found today. Belong to the Crow family in Dallas, GA. Made by Hazel Crow’s great grandmother. $125.00.'” Diane convinced the owner of the shop to remove the quilt from the window, where it had been fading. It had a rough-hewn quality, which Diane describes as follows: “The quilt does not have a batting inside and is very roughly done. It is made from several different weaves of brown wool and a few of grey wool. There are two small dark blue wool pieces. The stitching is large. The pieces are held together on the front with crude chicken track stitches. The stitching goes all the way through. It is not a thing of beauty or skill. It seems to have been made as a utilitarian quilt. . . just to keep someone warm.” Diane didn’t buy the quilt that day, or for several weeks to follow. But it drew her repeatedly back to the shop, where she slowly elicited the story of the local family who owned the quilt out of the store owner, Miss Pauline: “Hazel and Sam Crow had lived in Dallas, GA. They were unable to have children so adopted a boy, David. David was very bright and played piano or organ as a child at church. He went on to get 2 or 3 degrees from college. At about age 35, he brutally murdered a manager at Home Depot. He was tried and convicted and is presently on death row in a Georgia prison. This was about 7 years ago. “The murder and trial were too much for Hazel. She died. Sam had also died but I don’t know when or why. Hazel was a big, husky red-headed woman. Miss Pauline claims to have been a good friend of Hazel. Miss Pauline is helping to sell off the Crow estate so legal fees can be paid. She said there were about 15 or 16 quilts that have been sold. This old crazy quilt was found in a trunk in the basement. Miss P claims that Hazel’s great- grandmother made the quilt and had come from Chattanooga. Hazel’s mother’s name was Pearson. Miss P said that Sam and Hazel had lived on hwy 92, half-way to Douglasville near New Hope.” Eventually, in November 1994, the Lockwoods bought the quilt. Further visits to the shop after that didn’t yield very much more information about the Crow family, except that Mrs. Crow’s sister apparently still lived in the Dallas, Georgia area. With the intention of doing more research in newspaper morgues and libraries, Diane and Jim coincidentally visited the Pickett’s Mill Battlefield Historic Site in Dallas, a small town near Atlanta. Their tour guide, Karen, was so knowledgeable and full of details that it occurred to them that the historical staff at the park might be a good source of information about the quilt and its fabrics. In February of this year Diane called the park and asked Karen if they could bring the quilt to be examined. Karen was excited and mentioned that her boss Chuck was more experienced in textiles than she and would also like to have a look. “Chuck laid the quilt over all his work on his desk so they could examine it,” Diane wrote. “He was pretty closed-mouth about committing himself about stating that some of the fabrics might be Confederate and Union uniform scraps until he spotted the little patches of dark blue wool! He said that the blue was Union uniform fabric. He was most definite about this identification. He and Karen got a Union uniform jacket from the museum for comparison. The uniform was made from reproduction fabric in the same weave as the original fabric . . . it is called Federal Sack twill flannel. We could see that the weave was the same. Our little piece in the quilt had had all its flannel worn off and was severely moth-damaged. They also brought in the a Confederate jacket and pants for comparison. Our grey pieces looked similar but the immediate recognition as with the blue was not there. Both fabrics are twill. Chuck explained that there had been several fabric manufacturing mills in the south so not all uniform fabrics will be identical. Karen examined the heavier, brown “basket weave” fabric in the quilt and said it was ‘shot with silk’ and may have been a man’s overcoat. Both he and Karen stated that the fabrics in the quilt were vegetable dyed. “At this time, Chuck casually mentioned that his wife, Laura, is a textile historian and he’d like to call her to come and see the quilt. He called her. One of the office clerks drove him home to watch the kids so his wife could come. This action made me feel that the quilt was of historical value. “While he was gone several of the office ladies came in and examined the quilt. I had mentioned the story of how I’d found the quilt. One of the ladies, Martha Jo Thompson, said that she had known Hazel, though not well. She knew who Hazel’s sister was, too. She got on the phone with someone connected with New Hope church and came back with the information that the sister’s name is Zephia Pierson (Pearson?) Mathews . . . and lives on the Buchannan highway. Hazel and Zephia’s mother’s name was Lydia Brintle Pearson who died in 1984 at age 96. Their grandmother’s name was Millie Caroline Leveritt Brintle. She was married to Oliver Brintle. Turns out that Martha Jo is distantly related through the Brintles! Martha Jo also came up with a genealogy written out by Zephia in 1991. “When I mentioned the part of Miss P’s story that the great-grandmother (and quilt?) had come from Chattanooga, Chuck had explained that eastern Tennessee had Union loyalties that were stronger than Confederate loyalties. That may explain why there are patches of Federal uniform in the quilt. “Laura arrived and could hardly contain her excitement. She thought that the quilt could have been made from a man’s wardrobe after his death . . . [possibly] by the widow of a Civil War veteran. There is fabric from suit pants and jackets as well as from heavier garments like an outer jacket and an overcoat. She felt strongly that the fabrics were from the mid-1800s and whether the quilt was made then or in the late 1800s wasn’t relevant to the historic value. Laura also felt that the binding may be silk. It has deteriorated badly. She speculated that the binding had been made from the suit jacket lining. Laura thought that maybe there was no batting because after the War, supplies of any kind were scarce.” An examination of the back of the quilt revealed that it was made not from feedsack but from fertilizer sacks from Atlanta. Diane’s account describes the sacking: “The most legible sacking reads: ‘100 lbs., ADAIR AND MC CARTY (these letters are open block letters in black with the inside of each letter red.), A & M Old Reliable (this part is printed on a flag logo), trademark, 4-8-6, Manufactured by ?.D. Adair & McCarty Bros, Inc., Atlanta, Georgia, Mente-Savh.’ The other sacking is very faded but some info can be made out: “100 lbs. Net, Swift’s, Plant Food, 4-8-6, Guaranteed Analysis, Nitrogen 4.00%, Acid 8.00%, Potash 6.00%, Manufactured by Swift (?) Company, Atlanta, GA, 4-8-6.’ The other Swift’s sack still has some of the logo between ‘Swift’s’ and ‘Plant Food.’ It appears to be a large red bull with the words “Red ??? Br???” (my guess is Red Bull Brand).” ![A close-up view of a quilt, showing a faded fabric label that reads L.D. ADAIR AND McCARTY and ATLANTA, GEORGIA. The quilt appears old and hand-stitched, with visible seams and stitching.](https://quilthistory.com/wp-content/uploads/2026/04/cwquilt4.gif)The fertilizer sacks used to back the quilt yielded some clues as to its age and origin. Laura provided the Lockwoods with some references about conserving antique fabrics and recommended they take the quilt to be examined by Betsy Wayburn, Curator of Costumes and Textiles at the Atlanta History Center. When they called for an appointment, Betsy welcomed them and asked if Gordon Jones, Curator of Military Collections, could join them. “Betsy and Gordon took us into a conference room and pushed together three tables on which to spread the quilt,” Diane wrote of their meeting. “Both were professional and gentle handling the quilt. They examined it very closely. They felt that the two blue patches were U.S. military. The weave was consistent with the Federal sack flannel in the fatigue blouse worn in the Civil War. (Later we saw the statistic that 5.5 million of these fatigue blouses were made during the Civil War). “Neither Betsy nor Gordon could be sure the grey fabric had been from a Confederate uniform. Gordon pointed out two patches that he was willing to say that if any were from a Confederate uniform, those two were it. (One is a long skinny piece; the other, on the other side of the quilt, appears to be part of a pocket flap). They are distinguished by cotton warp and wool fill. Gordon told us that there were many mills in The South producing fabric for uniforms and there would be some differences. Also, some of the fabric made for uniforms was also sold to civilians for domestic use. Technically, such fabric would be uniform fabric that was just never made into uniforms. Some of our grey is woven so tightly (double woven?) that the warp cannot be seen. Gordon couldn’t tell if the warp is cotton (authentic) or wool (not uniform). “Neither Betsy nor Gordon were willing to commit themselves but seemed to be excited about the quilt. To better understand what they thought, I asked if the quilt were something they would want in their museum. They both said, ‘YES!.’ From their reaction, we feel the quilt is of historical significance. I asked how they would display it. Betsy said that it might never ‘go on display’ but would be kept in their quilt collection and used by other textile historians as a learning tool. Gordon’s department could use it in the Civil War displays and also for research on military fabrics.” During the process of authenticating the Civil War Quilt Diane and Jim learned a good deal about the preservation of textiles. The folks at the Atlanta History Center showed them the application of a product known as “crepeline” used to keep old fabrics from disintegrating. “Crepeline looks like a finely woven net fabric,” Diane wrote. “It is made from silk and is available in varying shades and in quantity from Talas Conservation Materials in New York. Betsy suggested we use this product to protect the disintegrating silk binding on our quilt as well as on some of the moth-eaten patches. “It comes in light, medium and dark colors but when placed on the item being repaired, it seems to disappear. A piece is cut to just larger than the spot to be protected, the edges pinned under and then, using silk mink thread (used by furriers in sewing pelts together) appliqued. Betsy said that the museum used Orvus soap when necessary on their fabrics.” After this visit, the Lockwoods returned to their home in Pollock Pines, California, taking the quilt with them. They intend to pursue its mysteries further as they have the time. “I thought I would go to the Dallas newspaper (The Dallas New Era), Diane wrote. “They have bound volumes of newspapers going back 7 years at the office. Older issues are on microfilm at the library. We have not yet gone to the library. It is my intention to get copies of Hazel’s and Sam’s obituaries and of David’s trial.” In addition the Atlanta Historical Society staff recommended a way to pursue dating the quilt: “Gordon suggested that we go to the Atlanta library to research the names of the fertilizer companies printed on the back of the quilt. He thought we should start in 1880 and work back through the old city directories. If we could pinpoint the dates the name of the companies appeared and disappeared, we could more closely date the time the quilt could have been made.” In the meantime the Lockwoods are getting great pleasure from the quilt and the history and lore it has brought into their lives. Eventually, though, they plan to return it to Georgia. “The quilt really belongs in the south and I expect to return it after we enjoy it for a while,” Diane writes.In 1995 TVQ published an article about an old Georgia quilt found in a thrift shop in the small town of Rockmart, a couple of hours northwest of Atlanta. A rough-hewn utility quilt made of woolens and suitings, it caught the eye of Diane and Jim Lockwood, who lived a part of each year at Jim’s family’s homestead in Rockmart. After a few weeks of admiring it in the window of the store, Jim and Diane dickered with the store owner and purchased the quilt for $85. During their “courtship” with the quilt, the Lockwoods spent a good deal of time talking to the store owner and others in an attempt to reconstruct its history. As they were drawn deeper into the quilt’s story, and that of the family to whom it belonged, the more fascinated they became. It emerged that the quilt was probably made in the Chattanooga, Tennessee area sometime in the late 19th century. Despite its rough materials, its style is that of a crazy quilt, with chicken track stitching around irregular shaped pieces, many of which showed their origins as sleeves, pocket-flaps, or pantslegs. It has no batting, and is backed with fertilizer sacks. ![Three people examine a large, dark-colored textile laid out on a table. One person is standing at each side, while another leans over the fabric. Cabinets and red chairs are in the background.](https://quilthistory.com/wp-content/uploads/2026/04/cwquilt1.gif)Diane Lockwood (right), Betsy Weyburn, and Gordon Jones admire the quilt. Having reconstructed part of the quilt’s provenance, or history, the Lockwoods took the process a step beyond informal oral history and showed it to historians and textile experts at Pickett’s Mill Battlefield Historic Site in Dallas, Georgia. These experts immediately recognized some of the material in the quilt as being from a Union uniform from the civil war. There were also swatches of gray in the quilt which the historians suspected were from Confederate uniforms, but this could not be proven conclusively. The folks at Pickett’s Mill recommended the Lockwoods take the quilt to the Atlanta History Center, a well-resourced museum and restoration staffed with professional historians. There they met Betsy Weyburn, Curator of Costumes and Textiles, and Gordon Jones, Curator of Military Collections. Betsy and Gordon confirmed the findings of the Pickett’s Mill experts and were quite excited about the quilt. When asked if they would be interested in having such a quilt in their collection they enthusiastically said “yes!” Gordon and Betsy provided the Lockwoods with some ideas on how to further pursue the quilt’s provenance, and Diane and Jim were on their way back to their permanent home in California. But Diane resolved that some day, “after enjoying it for a while,” she would donate the quilt to the History Center, returning it to its home in Georgia. ![A woman with short curly hair, glasses, a blue top, and a patterned skirt is standing indoors, holding and spreading out a large patchwork quilt with diagonal lines and various shades of brown.](https://quilthistory.com/wp-content/uploads/2026/04/cwquilt3.gif)Diane loved the “old dear,” as she called the quilt, but was happy to donate it to the History Center. I didn’t hear from Diane, with whom I’d corresponded by e-mail about the quilt, for some time. Then a few weeks ago she wrote me to say she and Jim were about to wrap up their homestead business in Georgia and that the time had come to give the quilt, the “old dear,” as she called it, to the History Center. Lynn and I ware honored to be invited to the informal ceremony, which took place August 13. So this past Thursday a small entourage of the quilt’s admirers met at the History Center to participate in the ceremony. Included were Jean Ann Eitel, editor of Quilt Magazine, Dawn Young-Schaeffer and Clare Gilliland of the Lavender Mountain Quilt Guild (where Diane belongs) my wife Lynn and myself, and Lynn’s parents, Bob and Barbara North. As well, of course, as Jim and Diane. ![Three women are standing indoors, engaged in conversation. One woman holds folders and wears a lanyard with a badge. They all appear to be smiling or talking pleasantly.](https://quilthistory.com/wp-content/uploads/2026/04/cwquilt.gif)Jean Ann Eitel (left) editor of Quilt magazine, attended the ceremony. We were met in one of the Center’s classrooms by Betsy and Gordon and the quilt was removed from its acid-free box, separated from its acid-free tissue, and spread out on several tables for examination and photos. Since the History Center doesn’t allow photographs of its quilts, this was our last opportunity to get pictures. Although I wrote the earlier article about the quilt, this was the first time I had seen it, and found it to be more beautiful than the photo I had seen. It was clearly made as a utility item, for keeping folks warm in their beds in homes not blessed with central heating, and it must have performed that function quite well. But because of its lowly nature it was not highly valued by the family which made it. While other more decorative quilts were valued and preserved by the family (and eventually sold), this quilt was found in the basement of their home. It took the appreciative eye of the Lockwoods to recognize its potential historical significance. Betsy Weyburn and Gordon Jones of the History Center were clearly happy that the Lockwoods were donating the quilt. Gordon acknowledged the great value of this quilt, not just for itself, but for the provenance that came with it. “We get a great many quilts and textiles with no provenance whatsoever,” he said. “What we know about this quilt and its origins makes it quite remarkable, particularly for a utility item of this type.” Usually such quilts are simply used up by those who make them. Asked about the History Center’s textile collection, Betsy said it contains thousands of items, including costumes and uniforms, as well as about 200 quilts. “We have lots of crazy quilts and an extensive collection ranging from the early 19th to the mid-20th century.” The quilts are not on permanent display but some are rotated into a variety of special exhibits. Currently the Center is featuring the Roland Freeman African-American quilt exhibition “Communion of the Spirits” which is touring the country. It is quite a moving exhibit if you plan to be in the Atlanta area in the next few months. In November the Center plans an exhibit of some 80 historic quilts documented by the Georgia Quilt project. As most quilters know, many families have no idea of the value of the quilts that were made by great-grandmothers and they often end up in a heap at the estate sale. Unless an appreciative quilter comes along and rescues them, they may be lost. Even if the quilts are preserved, the origins of many are lost to memory because of a lack of documentation. The importance of even a simple label with the name of the maker and the date can’t be overstated. Beyond this, since many of us don’t have the knowledge, know-how, or facilities for the proper preservation of textiles, donating valuable quilts to local historical centers is something we should all consider. If you have an “old dear” that you suspect is historically valuable, have an expert look at it. Then, after you’ve enjoyed it for a while, be sure that it goes to a safe home where it can be studied and appreciated by all of us who value quilts. --- --- title: "Fact or Folklore?" url: "https://quilthistory.com/facts-or-folklore/" lang: "en-US" type: "page" description: "As in all topics in history we need to do the best we can to discern between fact and fiction. Myths about quilt history are a part of our culture and many have romantic appeal. We can enjoy the myths" last_modified: "2026-05-12T19:58:37+00:00" custom_fields: iawp_total_views: 28 --- # Fact or Folklore? As in all topics in history we need to do the best we can to discern between fact and fiction. Myths about quilt history are a part of our culture and many have romantic appeal. We can enjoy the myths but need to remember they are tales sometimes passed through generations. As you explore this site on America’s quilting history you will find the truth is often more fascinating than the myth. ## MYTH: **Quilting was a common task in a woman’s life in Colonial America.** While quilting was done by those who could afford to buy imported fabric, ordinary women in early America spent their days spinning, knitting and sewing just to keep their families in clothing. Lower grades of imported linen and wool were available to almost everyone but the silks and cottons used for quilts were expensive. It wasn’t until there was widespread production of affordable textiles around 1840 that more women found time and plentiful fabric for quilt making. I believe this Colonial quilting myth was encouraged during the Colonial Revival and renewed interest in quilting that occurred during the early 20th century. Many magazines and books of that period wrote about Colonial quilting as if it were a fact. ## MYTH: **Specially designed quilts were used as signals by the Underground Railroad.** Although the idea of quilts being used as secret guides to help slaves escape from the south has great romantic appeal, Underground Railroad research has found no evidence that such a practice occurred. For more information [New Jersey’s Underground Railroad Myth-Buster](https://web.archive.org/web/20210126171132/http://historiccamdencounty.com/ccnews11.shtml) covers several UGRR myths including the one about quilts. He has also written a critique of the book, “Hidden in Plain View. For an indepth background on the Underground railroad go to Putting it in Perspective: The Symbolism of Underground Railroad Quilts. On the other hand many quilts have been made commemorating the Underground Railroad. To view some of these stunning quilts go to [Threads of Freedom:](https://www2.oberlin.edu/external/EOG/threads_of_freedom/threads2.html) The History of the Underground Railroad Story in Quilts. [Read more about the Underground Railroad block](https://web.archive.org/web/20201109215513/http://www.womenfolk.com/quilt_pattern_history/underground_railroad.htm) (also called a Jacob’s ladder block) here. There is so much more to African American quilting history than the idea that quilts might have been used in the UGRR. Consider finding other sources of information about Black American quilting than the Underground Railroad quilt myth. I encourage you to visit [African American Quilts: A Long Rich Heritage](https://web.archive.org/web/20210126171132/http://www.womenfolk.com/quilting_history/afam.htm) to learn more. ## MYTH: **Quilting originated in early America and is purely an American craft.** Quilting has a long history back to the time of ancient Egypt and earlier. Quilted clothing has been worn for centuries. Decorative quilted petticoats were worn during the 17th century in Europe, Great Britain, America and beyond. Even today quilting is popular in countries all over the world. See [A Short Introduction to Quilting in Europe.](https://quilthistory.com/quilting-in-europe/) ## MYTH: **In the old days women did all their quilting at gatherings called quilting bees.** Quilting bees would have been unlikely in colonial days as very little quilting was done. We know that women who had the money and leisure to do quilting at times did sit with friends or family to do their needlework. But they did not have quilting bees like we envision a quilting bee today. Such quilting parties did occur but were less common then we would be led to believe. In truth many women quilted alone at home. Women also quilted with family members or as a part of a church or other organized group. Although many varied gatherings did occur over the years in the early days they were not called a ‘quilting bee’ but more often were referred to as a ‘quilting’. The reason I have included the quilting bee myth here is that the frequency of quilting bees has been exaggerated and quilting was not always done at a quilting bee Some old paintings are examples of an idealized quilting bee. They depict a delightful representation of a gathering of women quilting around the frame while others prepare a dinner. Children and the men folk will enjoy the meal with the women. Such events did occur but often just a few women gathered to quilt. ## MYTH: **Women of the past used scraps for quilting as a frugal measure.** Although some quilters used scraps from clothing in their quilts others bought fabric specifically for the quilts they made. Other times quilts were made with a combination of both. Fawn Valentine points out in her book, [West Virginia Quilts and Quiltmakers](http://www.amazon.com/exec/obidos/ASIN/0821413406/quiltweb), “Although imaginative lore spinners claim that patchwork quilts themselves are made with worn-out cloth it was typically the good pieces (not the worn) that were cut and stitched into patchwork. It would be counter-productive to spend time sewing fabric that was already worn out.” p194 Of course scraps left over after making garments were used in scrap quilts much as we use left over scraps from our quilting projects today when we want a scrappy look. The frugality theory also implies that quilt making was a necessary drudgery. Instead we find that most women enjoyed the creativity involved in making a quilt whether with new fabric or scraps. Although quick and simple quilts were made for everyday use many quilts were far too intricate in the piecing and quilting to have been made just for necessity. This is not to say that women never used scraps to make a quilt in order to save money or to get by because they had no money to spend on fabric. Women did use scraps left over from making clothing. They also made quilts using feedsacks during the years they were available. But the frugal quilter myth implies that most if not all quilting was done out of need to make something frugally. ## MYTH: **Piecing and quilting by hand has always been prized over using a sewing machine.** When the sewing machine became available the possession of one was quite a status symbol. Piecing was often done by sewing machine and a few women even machine stitched their quilting or appliqué. Considering how much harder it must have been to do this compared to using modern sewing machines it certainly wasn’t out of laziness but because of a desire to use the sewing machine. These visible stitches advertised that the quilter was a proud owner of a sewing machine. Sewing the binding by machine was another way to show off machine stitching. During the Colonial Revival during the early decades of the 1800s hand quilting was valued more but this was a part of a movement toward going back to fine handcrafts. During the earlier years when the sewing machine was first available we do not find that most people considered hand piecing and quilting to be the superior method. ## MYTH: **Before electricity women typically quilted in the evening by the fireside.** It was and still is difficult to do fine stitching in poor light. Before modern lighting was available most quilting was done in the daylight, outside if possible. A good deal of quilting was done in the summer due to longer daylight hours. Farm women may have been too busy to quilt during planting and harvest time but they quilted when they could find the time in the lighter months. Sometimes the quilting frame was brought outdoors in good weather so the quilters could enjoy the good light. More likely women worked on things like mending and knitting when the light was too poor to do careful hand stitching. Yet the quilting by the fireside myth persists along with the myth of Colonial quilting. ## MYTH: **Mistakes in antique quilts were made on purpose to demonstrate humility.** This myth has various possible origins. One is from the Greek legend of Arachne the weaver. Most likely the quilting version of this myth came from the belief that Amish and Mennonite women put a mistake in each quilt because only God is perfect therefore it would be prideful to make a perfect quilt. Yet it has been pointed out by some Amish women that making such a mistake would be prideful in itself as it would imply the quilt maker believes herself to indeed be perfect. Though some rare purposeful mistakes may have been for religious reasons it appears for others it was more a matter of superstition. In reality all quilters make mistakes, it’s almost impossible to make a perfect quilt. The purposeful mistake myth prevails though, mistakes in antique quilts are sometimes said to have been made on purpose. A good line to help sell a quilt, I suspect. As making a mistake on purpose was never a common practice a mistake found in an antique quilt is unlikely to be a purposeful one. ## MYTH: **Pioneer women pieced and quilted on their long journey west.** Rarely did a woman work on a quilt while migrating westward. Because everyone, including women and children, walked most of the way quiltmaking was pretty much impossible during the day. Even if one were traveling in the wagon the ride was too rough for fine sewing. In the evening the light was poor and knitting was preferred as it could be done with little light. There are a few examples of pioneer women piecing patches together for a quilt but this was uncommon. [Pioneer Quilts, Comfort Through Hardship](https://web.archive.org/web/20210417090720/http://www.womenfolk.com/quilting_history/pioneer.htm) tells more about quilts and the Overland Trail. Yet the pioneer quilting myth continues today even in reenactments of the journey on the overland trail. ## MYTH: **The presence of cotton seeds in the batting indicates an antique quilt.** Cottonseeds are knobby and about the size of a small pea so they were rarely missed even back when women handpicked the seeds from the cotton to be used for batting. What people mistakenly think of as cottonseeds is debris from cotton hulls. Debris is even found in some modern cotton batting so it would in no way indicate a vintage or antique quilt. Quilt historian, Virginia Gunn introduced her article, “From Myth to Maturity: the Evolution of Quilt Scholarship” in a way that says it so well that I am going to quote it here. “Quilting myths are realities of quilt history. Romantic myths have been combined with historical facts as people interpreted America’s Quilting past. They continue to be accepted as true even when proven to be inaccurate. Myths survive and thrive because they reflect people’s dreams, ideals, and values. They provide images and stories that unite and inspire members of society. Signs of maturity in quilt study, as in other fields of research, involve a willingness to revise past scholarship in light of new knowledge, and an ability to recognize and appreciate myth, without letting them impede interpretations based on accurate and documented facts.” --- --- title: "A Short History of Quilting in Europe" url: "https://quilthistory.com/quilting-in-europe/" lang: "en-US" type: "page" description: "The word \"quilt\" summons a host of images: thrifty pioneer housewives piecing elaborate patchworks for their families; album quilts signed by every member of a community as a gift for a departing mayor or pastor, or perhaps raffled for a" last_modified: "2026-04-28T01:47:28+00:00" custom_fields: iawp_total_views: 68 --- # A Short History of Quilting in Europe ![A white fabric with an embossed floral pattern, featuring a central basket filled with flowers and surrounded by decorative flower clusters along the borders.](https://quilthistory.com/wp-content/uploads/2026/04/Vintage-Trapunto-1024x1024.jpg) The word “quilt” summons a host of images: thrifty pioneer housewives piecing elaborate patchworks for their families; album quilts signed by every member of a community as a gift for a departing mayor or pastor, or perhaps raffled for a worthy cause; perhaps even a wholecloth petticoat worn by a colonial dame as she danced with George Washington, or a brightly colored scrap quilt made by a grandmother or aunt during the Depression. The popular image of the quilt is of the quilt is modern, calico, and American. It certainly isn’t medieval! The problem with this familiar stereotype is that it doesn’t go far enough. Quilting may have reached its apogee in the glorious appliqued quilts of 19th century Baltimore, but it was practiced nearly two thousand years earlier. Quilted garments padded Crusader mail, quilted linens adorned Renaissance bedchambers, and quilted Evangelists were treasured at 15th century monasteries (Colby). The evidence is scattered and sometimes hard to recognize, but quilts and quilting were hardly alien to medieval Europe. ## History The word _quilt_ is derived from the Latin _culcita_, meaning a padded and tied mattress similar to a Japanese futon. _Quilting_ is a needlework technique involving two or more layers of fabric, usually sandwiched with padding of some sort, stitched together in a decorative pattern. It appears to have originated in Asia sometime before the first century C.E. The first known quilted object is a quilted linen carpet dating from that time found in a Siberian cave tomb (Colby 1971). The central motifs (primarily animals, with abstract spirals on the borders) are worked in the backstitch, while the background is diamond quilted in a coarse running stitch. Whether the Siberians developed quilting on their own or learned it from outsiders, its advantages in such a cold climate are obvious: warmth without bulk, strength without stiffness, useable in everything from clothing to saddlecloths, and unusual enough to be traded for luxury goods.That quilted objects were indeed traded is obvious from the next oldest quilted artifact, a spiral quilted slipper found in a rubbish tip in Samarkand, a major stop on the Silk Road between China and Europe (Liddell). The backstitch technique is identical to that used in the funerary rug. Quilting does not appear to have been done in Europe much before the 12th century, and is usually thought to have been brought back from the Middle East by the returning Crusaders (Colby 1971). However, a recent discovery from Germany indicates that quilted objects may have been known during the Dark Ages. A Merovingian tomb from the 5th century contained a wool twill pall quilted with Egyptian cotton (Rogers). Although the pall was obviously a luxury item, and almost certainly imported, it suggests that quilting was established enough in the Mediterranean to be traded to the less civilized north. The next evidence of quilting in Europe appears in a French poem of the 12th century, _La Lai del Desire_. It mentions a “quilt of two sorts of silk cloth in a checkboard pattern, well made and rich” (Colby 1971) adorning a bridal bed. The 13th century German _Parvizal_ also mentions a quilt on a bed in the Grail castle (Eschenbach), suggesting that bed quilts were fairly common in aristocratic circles in at least two countries. There is also a reference in a French inventory of 1297 to a ship captain in Marseilles owning a _courtepointe_, later the French word for quilt (Berenson). Quilting clothing and armor began to appear in the 14th century, with quilted doublets and armor appearing in France, Germany and England (Colby 1971) and quilted tunics in Italy (_Ibid_). Quilted jacks and brigantines, often padded with metal plates, were produced by professional armorers in major cities such as Paris and London (Staniland), while the domestic articles could have been done either by professionals or individual household embroidery staffs. Quilting may have even worked its way down to the lower classes by then; a tiny 14th century Italian ivory shows St. Joseph, traditionally regarded as a peasant or lower class artisan, wearing a diamond quilted tunic (Colby). Quilting had clearly become part of the European needlework tradition. The first surviving European bed quilts are three trapunto (or stuffed) quilts from the same Sicilian atelier. Two, one in the Victoria & Albert Museum in London and the other in the Bargello in Florence, are believed to have been made for a wedding in the 1390’s (Young), while the remains of a third, in a private collection as late as World War II, may have been made for the royal house of Anjou (Loomis). All three show scenes from the Tristan legend, with the Anjou quilt including a border of the Seven Deadly Sins! The trio is worked in the same technique as the Siberian rug of 1200 years earlier: backstitched linen on linen around the decorative motifs, cotton stuffing in the trapunto sections, and running stitch quilting in the backgrounds. A similar quilt, possibly of silk, is shown in the Flemish Bartolomeo Bermejo’s 1450 painting _The Death of the Virgin_, placing quilting in the Netherlands by the 15th century (Lidz), while a German painting of 1500 shows a quilted, pieced tunic in what may well be the first accurate depiction of pieced clothing in western art (Gwinner). These early quilts and quilted objects, and virtually all surviving quilting until the 17th century, were of linen stuffed with raw cotton; if wool flocking was ever used for anything besides perhaps armor, it was far too attractive to moths to survive (Colby). That quilting was not confined to Italy and Germany is evident from two 15th century French references. A Provencal inventory of 1426 mentions bedcovers worked with figures of Alexander and Solomon “in the style of Naples,” almost unquestionably a reference to trapunto. Sixty years later the bedchamber of no less a figure than King Rene of Anjou contained a quilt “stitched with figures of men and women” (Berenson). Although the design of King Rene’s quilt is unknown, the Seven Deadly Sins quilt referenced above featured heavily stuffed fleurs-de-lis, a device used by the House of Anjou. It is just possible that part of King Rene’s quilt survived into this century, and may still be in an Italian castle! The Renaissance brought increased trade with the Eastern countries where quilting originated. The Ottoman Empire had a native tradition of quilted bedcovers and caftans; surviving examples from the courts of 16th and 17th century sovereigns such as Suleiman the Magnificent and Selim the Grim are worked in the running stitch on silk broadcloth and brocade, sometimes in contrasting colors (Tezcan). Court ettiquette dictated that clothing be presented to foreign ambassadors, so it is probable that European diplomats posted to Constantinople returned with quilted caftans in their baggage. This was also the time when European countries established colonies and trading posts in Asia. India had a strong native quilting tradition and quickly began producing export work in cotton and silk (the very word _calico_, later the name of the favorite quilting cotton, is derived from _Calcutta_). Portugal in particular imported “pintadoe quilts” from its Indian possessions (Rae), as well as palampores and unquilted spreads that were later worked up into “colchas” on the Iberian peninsula (Gillow). Many of these mixed European and native design elements with varying degrees of success, and were as popular in Protestant England as in Catholic Portugal; the formidable Elizabeth, Countess of Shrewsbury, owned at least one Bengali quilt of silk and cotton (Levey) in addition to others of unknown provenance. Other quilts appeared in inventories throughout England, and despite a tendency to refer to quilted petticoats as “quilts,” enough of these appear in linen and bedroom inventories that make it clear that these were indeed intended as bed quilts, not garments (Colby, Girouard). Henry VIII, for instance, gave his fifth queen two dozen “gold and silver” quilts from the royal inventories as a sign of favor (Rae). Even given his multiple marriages, it is hard to believe that Henry would have had two dozen quilted petticoats waiting for an owner! These import quilts were so popular that a native European tradition seems to have arisen by the late 16th century. Elaborate whole cloth silk quilts appeared in France, Italy, England, and the Iberian countries. These often featured ships and “exotic” motifs of “Mohammedans” in loincloths, leading to speculation that at least some commemorated the great naval battle of Lepanto (Lidz). Although some were likely made in India, there is evidence suggesting that the chief source was the Mediterranean island of Chios, home to a native silk industry; the silk is not as wide or as fine as the Indian product, and the European design elements are more skillfully handled than in Indian work. A fine example was found in Cornwall in the early 90’s (_Quilt Treasures_), while its near twin surfaced in the Winterthur Museum in Delaware last year (Lidz). Not surprisingly, quilting became very popular among aristocratic circles. Quilts were expensive, beautiful, and warm, all desirable qualities for the upwardly mobile in the Little Ice Age of the late Renaissance. A spectacular 16th century example was made in Germany (a trapunto spread showing fantastic beasts and birds) (Staniland), while the bed chambers of Elizabeth, Countess of Shrewsbury and her ward, Lady Arbella Stuart, contained no fewer than three quilts (in addition to enough pillows, blankets, carpets, and other linens to supply a small town for a year) (Girouard).Keep in mind that Bess of Hardwick was but a dowager countess, albeit a rich one who loved to embroider. It is hard to imagine how any sovereign in Europe, even the luxury loving Elizabeth, could possibly have topped this display. Even Scandinavia had its high quality quilts, with Margareta Leijonhufvud, second queen of Gustav Vasa, owning a silk bedcover with a pieced lining (Wettre). Quilted garments were also made, usually either petticoats or doublets (Kohler). The true heyday of European quilting came in the late 17th and early 18th centuries, when quilted petticoats, waistcoats, bed linens, caps, and even doll clothing (Noble) became wildly popular among the upper and middle classes. By the early 19th century quilting was an established folk art in the United States, Britain, Canada, France, Sweden, and Germany (Gwinner), often with the same patchwork patterns developing independently in two countries (Wettre). American patchwork was perhaps the most elaborate in history, with several thousand documented block patterns in addition to superb trapunto, applique, and “crazy patchwork” (inspired by Japanese _yosegire_ work) (Liddell). Regardless of quilting’s new association with America, its medieval roots are still evident; 19th and 20th century Welsh needleworkers use patterns almost identical to those used on Chios three hundred years earlier (Rae), while the stunning Marseilles work of the 19th century is just as elaborate as the Italian stuffed work of the early Renaissance. Medieval quilting is not as familiar as its later counterparts. Perhaps it is time to restore it to its proper place among the ancient needle arts. ## Techniques In its simplest form, quilting is simply decorative stitching designed to hold two or more layers of cloth and padding together. At least three methods were used to do this: the backstitch, the double running stitch, and the running stitch. Backstitch quilting is the oldest technique, used in the 1st century Siberian rug (Colby). It is surprisingly fast and accurate, and by far the easiest stitch for working with raw cotton wadding It eventually gave way to the daintier running stitch as better materials became common. Double running stitch was used in the Indo-Portuguese and Chiosan silk quilts of the late 16th and 17th centuries. It looked exactly like the backstitch on the top, with the added advantage of being reversible. Several 17th century silk quilts are indeed fully reversible, with the stitching matching the color of the “top.” The most popular combination was a strong cochineal magenta top and an indigo/weld olive green back, with at least one with a pale indigo blue top and light cochineal or madder pink back (Lidz). The running stitch was used in the Siberian rug and the Sicilian wedding quilts, but only in the unpadded background sections; as stated above, it is all but impossible to produce fine, even running stitches through lumpy raw cotton. It became more and more popular as small needles, fine cotton and silk thread, and smooth, carded cotton became available. By the 18th century only the professionals of Marseilles used the backstitch, and that primarily in clothing (Berenson). The running stitch had become the standard quilting stitch and remains so to this day. ## Materials Surviving period quilts are exclusively of either linen or silk, worked in matching thread, and stuffed with cotton. If wool was used, no example has survived. Early examples are natural linen or silk, with motifs outlined in a darker color such as brown or gold; later examples were worked to match the quilt top (Colby). Silk came into vogue in the 16th and 17th centuries, with the Asian trade. The Chios quilts were made from an unusually narrow (27″) silk inferior in quality to the Indian product, which tended to be wider (Lidz). ## SCA Uses There are several uses for quilts and quilted objects in the [Society for Creative Anachronisms](https://www.sca.org/what-is-the-sca/) (SCA). The most obvious, and common, is armor. Although quilting was used for both gambesons and jacks (Gwinner), padded linen jacks cannot be made list legal. However, a finely quilted jack or arming doublet would look spectacular in court, particularly if the wearer’s arms were quilted onto the back. A better choice for a heavy weapons fighter would be a gambeson or a quilted tunic worn over plastic armor in cold weather. The only caution would be to use only cotton batts – _synthetic batts do not breathe, and armor made from them could cause a fighter to overheat and suffer a heat stroke_. Most pre-quilted fabric is made with polyester batts and should be avoided for this reason. Another good choice would be quilted bedding, either pillows (excellent for beginners) or bed quilts. Bed quilts are warm, practical, and be as plain or as fancy as desired. Most fabric stores offer basic quilting classes, by either hand or machine. Machine quilting is obviously not period, but it’s possible to quilt a whole quilt in a day by machine. Virtually all modern quilts are made of cotton broadcloth or calico – again, not period, but washable, cheap, and very practical for camping. And Indian tapestries are so close to period “pintadoe” cloth that a quilted tapestry would make a fine addition to any campsite. And of course there’s always garb. Period choices might include caftans or caps for Middle Eastern personae, doublets or bodices for later Europeans, caps for Elizabethan dames, and underwear _a la Provence_ for Cavalier ladies who want to be complete from the skin out. One warning: quilting is addictive. The calicos used for modern quilting are among the most beautiful cottons being made today, and who can resist beautiful fabrics? So – don’t be surprised if what begins as a single gambeson, or a way to use up scraps, turns into a full blown obsession. “Quilt pox” isn’t period, but it sure is fun…. --- --- title: "Stitched into History – The influence of textiles on 19th century women" url: "https://quilthistory.com/people-stories/stitched-into-history/" lang: "en-US" type: "page" description: "How 19th Century Women's Lives Shaped American Textiles The nineteenth century was a time of expansion for all Americans. As the century turned from 1799 to 1800, Americans were just emerging from the Revolutionary War and exploring their newfound political" last_modified: "2026-08-13T20:23:01+00:00" custom_fields: iawp_total_views: 27 --- # Stitched into History – The influence of textiles on 19th century women ## How 19th Century Women’s Lives Shaped American Textiles The nineteenth century was a time of expansion for all Americans. As the century turned from 1799 to 1800, Americans were just emerging from the Revolutionary War and exploring their newfound political and social independence. Economically, America still relied heavily on trade with Europe, trading fur and old growth lumber for cloth and spices. ## America at the Turn of the Century The United States began the 19th century with 16 states, which stretched along the East Coast from Massachusetts to Georgia. There were five million people, primarily engaged in agriculture. The average [life expectancy at birth](https://blogs.cdc.gov/nchs/2020/11/20/7035/) was less than 40. Women married at about age 22 and went on to have one child every other year for an average of seven or eight children. But one child out of every 10 never made it past childhood. The United States ended the 19th century with 45 states which stretched from coast to coast. The population had grown to 75 million people, now engaged in both agriculture and commerce. The average life span lengthened to more than 50. Women still married at about age 22, but now went on to have three to four children in a span of 10 years. ## Dressed for Endurance: What Women Wore For most of the 19th century, women spent their days in severely restrictive clothing. Even servant class women wore a minimum of four layers of clothing, year-round. A woman’s clothing could weigh up to 40 pounds. It started with the chemise (a slip-type garment which served as a bra) and pantaloons (long underpants with a slit in the middle so a chamber pot could be used without undressing). These were worn under a corset with its corset cover. The hourglass shape was highly desired and no woman would even consider leaving her bedroom in the morning without being tightly laced. Over those went hoops and petticoats, the number depending on current fashion. After all that, the woman dressed in long-sleeved, floor-length dresses depending on her chores for the day. ## From Flax to Fabric: Textiles Before Industrialization [The cotton gin](https://quilthistory.com/the-history-of-the-cotton-gin/) was not patented until 1794 so the majority of fabrics used in clothing in the early 1800’s were [linens, wools and silks](https://quilthistory.com/fabrics/). Fancy printed cloth could be imported from Britain, but its cost was dear. Women were far more likely to spin and weave their cloth using locally grown flax and wool than to purchase cotton from overseas. Wardrobes for most people were necessarily small, not only because of the time needed to weave the cloth, but also due to the fact all clothing was handmade. Gowns of cotton for everyday, or silk for special occasions, had a full skirt which brushed the floor. This required many yards of fabric and extraordinarily long seams. However, the idea that all early quilts were made from worn clothing is a myth. Not to say there weren’t any, but it is far more likely that an early 19th century quilt would be made out of fabric bought for that purpose, possibly to match bed curtains. Generally, quilts in the early 1800’s were made by wealthier women on the Eastern Seaboard who had access to a greater variety of fabrics brought in by ship. They could afford manufactured cloth, and they had the leisure to sit and sew something beautiful. ## A Day’s Work Was Never Done Throughout most of the century, women’s clothing severely restricted their activity. Armholes were cut very high, and the tight clothing of the era prevented women from raising their arms above shoulder level. Despite this, women were expected to do an incredible amount of work every day. Starting before dawn and often ending after midnight, women were responsible for all matters pertaining to running the household. Maintaining the cook stove took a great deal of the 19th century woman’s time. Since the stove had to be kept going all day and all night, it was her responsibility to haul the approximately 50 pounds of fuel necessary for each day’s fire. She cleaned out the ashes every day, too, and kept them for use in outhouses, chamber pots and homemade lye soap. ## Washday and the Weight of Housekeeping Clothing was washed as infrequently as possible. Washing was a long involved process which started with making the soap using lye, lard and ashes, then scrubbing, boiling, rinsing and bluing (a rinse that brightened whites) the clothes in huge outdoor vats of water. Most 19th-century rural homes did not have running water, so the 200 or more gallons of water necessary for washday had to be hand carried by the woman of the household. Clothes were dried by hanging them on lines, over fences, or on bushes. Dyes were often unreliable and sometimes after washing, clothing had to be re-dyed. In upper class homes, fancy dresses (most likely made of silk) were often taken apart and only the dirty parts washed. The dress could then be remade in a slightly different style so that the woman always had a new dress to wear to the next party. In addition to maintaining the wood stove and feeding her family, the early 19th century woman was responsible for keeping the home clean. Without the benefit of indoor plumbing, dishes had to be cleaned with water hauled in from the well, then the dirty sink water hauled back out again. This applied to bathing as well. A Saturday night bath was a luxury. Most women made do with a splash from a water pitcher. Cleaning the gas and kerosene lamp chimneys was a daily chore, too. All this while pregnant or caring for small children. ## Family Size and Women’s Limited Choices The only recourse an early 19th century woman had to restrict the size of her family was to avoid sex. It wasn’t until 1827 that science established the existence of woman’s eggs; up to that point the popular theory of reproduction was that the child was formed from sperm grown in the woman’s body. Contraception, therefore, was focused on avoiding that sperm using withdrawal, douches and sponges soaked in spermicide. In 1839, vulcanization was perfected allowing condoms to be created from rubber. Unfortunately, the social mores of the time forbade the use of condoms for birth control. They were only used to prevent men from catching diseases from prostitutes. There was one method of birth control which women could and often did resort to – abortion. [It was a popular method of birth control](https://www.civilwarmed.org/birth-control/). Although rigorously protested and often illegal, it was not difficult for a 19th century woman to obtain an abortion. Laws, medical opinion, and social attitudes changed during the century. So how did a woman assert her individuality? The sad fact is that many did not. The nonstop work required of most women simply to survive took all their time and energy. ## The Machine That Changed Everything The invention and popularization of the mechanized sewing machine was a major work-saving device for 19th century women. Originally invented in the late 1700’s as a tool to make shoes, it was reinvented in 1846 by Elias Howe Jr. when he received U.S. Patent No. 4,750 for a lockstitch sewing machine. Howe’s rival, Isaac Singer, received a patent in 1851 for an improved sewing machine, and later a foot treadle for hands-free operation, and a carrying case which could double as a stand for the machine. Singer’s primary contribution to sewing machine history, however, were his marketing techniques. An installment plan and a trade-in allowance were included in his clever marketing plan to put a sewing machine in the home of every American woman. ## Quilts in Wartime The Civil War brought a lot of changes to the life of American women. Quilts were often used to communicate the maker’s beliefs, smuggle messages through enemy lines, and raise money for the cause, as in the gunboat quilt raffled to raise money in the South. At least 150,000 quilts were made by the women of the Northern “Sanitary Commission” gathered in local groups, to give to Union troops in the field. [Women on both sides made items for soldiers](https://worldquilts.quiltstudy.org/americanstory/engagement/sanitary) and fundraising fairs. In the North, women worked through local aid societies and the U.S. Sanitary Commission. In the South, some quilts were raffled to raise money for gunboats. ## Mourning, Recovery, and a New Palette ![A vintage illustration of 19th century women in dresses and bonnets, one reading a letter, with a young girl in a blue cape holding flowers. Quilts are draped nearby, evoking the history and charm of outdoor gatherings.](https://quilthistory.com/wp-content/uploads/2026/04/godeys-ladies.jpg) Post-Civil War cotton quilts took on more somber aspects. Women had lost their husbands and sons in the war, Queen Victoria lost her husband Prince Albert and strict mourning protocol was followed. Mourning prints (also called shaker or mourning grays) of black and white, grey on grey, burgundy and deep purple were used with the madder browns (copper browns) dark chocolate, cocoa, double pink and chrome oranges (cheddar) of the period. Rich, deep, vivid colors became popular. Quilts became more utilitarian, often tied rather than quilted as women struggled with day-to-day survival. By 1870, Singer was selling 200,000 sewing machines a year. Godey’s Ladies Book praised the sewing machine as the “queen of inventions,” noting that it would take on the drudgery of sewing so women could spend more time perfecting the beauty of their handwork. Quilts began to take advantage of straight line sewing and it was not uncommon to see a hand-pieced quilt which was machine quilted. A sewing machine was a status symbol. If a woman had one, she made sure to show it off. Frills, flounces, and furbelows started making their appearance even on cotton everyday clothing after Singer’s invention cut dressmaking time down so dramatically. ## The Rise of Decorative Needlework As the 19th century progressed, cloth itself changed the way women made quilts. In the early years, fabric was precious. Good printed cottons were expensive, often imported, and used carefully. A quilt made from new fabric was a sign that the maker had both money and access to desirable cloth. As American textile mills grew and printed cottons became easier to buy, more women could choose fabrics for color, pattern, and design instead of simply making do with what was at hand. Quilts could become brighter, busier, and more varied. ![An old, sepia-toned cover of Godeys Ladys Book from September 1869 features ornate illustrations of women, flowers, and fruit, with the title and editor names prominently displayed in the center.](https://quilthistory.com/wp-content/uploads/2026/05/Godeys-ladies-book-1869-293x450.jpg) Women’s magazines also helped spread ideas. Publications such as Godey’s Lady’s Book showed women the latest fashions, fancywork, household ideas, and patterns. A woman in a small town or on a farm might not see the newest styles in person, but she could read about them, copy them, or adapt them to what she had. Over time, printed patterns, newspapers, catalogs, and mail-order companies helped quilt designs travel far beyond one family or neighborhood. Blocks were often shared by friends and family. I have a box of blocks that was sent to a pioneer family. Each block is labeled with family information, such as “made from Aunt Sukie’s apron.” It is also important to remember that there was no single “19th-century woman’s life.” A wealthy woman on the Eastern Seaboard, a frontier farm wife, an enslaved woman, an immigrant, a mill worker, and a hired servant all lived very different lives. Their access to time, tools, fabric, education, and even personal safety varied greatly. Some women quilted for beauty, some for warmth, some for family, some for an income they could earn from home, and some whenever they could steal a few minutes from housework and chores that never seemed to end. As life improved, the new middle-class women found themselves with more time to spend on needle arts. Women began to take pride in decorating their home with their own hand work. Redwork became popular. [Crazy quilts](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) became a fad. These were quilts made of silk or satin and often carefully embellished with beads, embroidery, commemorative ribbons and hand painted blocks. The coming together of design influences from all over the globe at the [1876 World Exposition in Philadelphia](https://quilthistory.com/telltale-textiles/centennial-prints) had a pronounced influence on the design of quilts. Many quilts and embroidered designs began to show an oriental influence. “Impractical” silk, satin and velvet quilts were created using traditional styles, like the log cabin. ## Women on the Rise Things were looking up for women at the turn of the 20th century. Women who had been forbidden to enter medical school or law school in 1800 were now permitted to attend and were even admitted to the bar by 1900. Education was no longer considered improper for women. It was no longer unusual to see women wearing a special type of garment long associated with men – the cap and gown. In fact, the teaching profession which had been primarily male in the beginning of the century became mostly female by 1900. By 1900, four states (all in the West) and several other countries had given women the vote. Women mill workers had participated in several successful strikes and were now earning reasonable wages for their 10 hour days. Over three million women were now working for wages outside the home. Although there was much room for improvement, American women were on their way. ## Learn More **Women’s daily life and work** - Susan Strasser, _[Never Done: A History of American Housework](https://amzn.to/4ziMdcM)_ — a full history of the chores this article only sketches, and how industrialization changed them. - [Statistics: The Changing Lives of American Women](https://www.gilderlehrman.org/history-resources/teacher-resources/statistics-changing-lives-american-women) (Gilder Lehrman Institute) — the marriage-age and household-size data behind this article’s numbers. **Clothing and textiles** - Valerie Steele, _[The Corset: A Cultural History](https://amzn.to/4fUIniq)_ — a well-regarded, myth-busting look at the garment that shaped 19th century women’s days. - [Woman’s Corset, 1810–1820](https://americanhistory.si.edu/collections/object/nmah_366282) (Smithsonian National Museum of American History) — a real corset with construction notes. **The sewing machine** - [Elias Howe Issued a Patent for the Sewing Machine](https://guides.loc.gov/this-month-in-business-history/september/elias-howe-patented-sewing-machine) (Library of Congress) — the Howe/Singer patent story in more detail than fits here. **Quilts and the Civil War** - [Civil War Quilts: Support from the Homefront](https://worldquilts.quiltstudy.org/americanstory/engagement/sanitary) (World Quilts: The American Story, International Quilt Museum) — more on the Sanitary Commission quilts and how North and South differed. - Barbara Brackman’s _[Civil War Quilts](https://civilwarquilts.blogspot.com/)_ blog — ongoing research on wartime quilts. **Mourning and crazy quilts** - My own [Victorian Mourning Customs](https://quilthistory.com/victorian-quilts/victorian-mourning-customs/) article, for the full story behind the mourning prints and colors mentioned here. - My own [Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/telltale-textiles/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/), which goes deeper into the 1876 Centennial’s influence and crazy quilt symbolism. **Dating and identifying antique quilts** - Barbara Brackman,[ _Clues in the Calico: A Guide to Identifying and Dating Antique Quilts_](https://amzn.to/45vAp9o) — the standard reference for dating heirloom quilts, written by a founding member of the American Quilt Study Group. **Women’s rights and the turn of the century** - [Women’s History Milestones: A Timeline of Key Dates](https://www.history.com/topics/womens-history/womens-history-us-timeline) — for the suffrage and education gains mentioned. --- --- title: "Todays Quilts" url: "https://quilthistory.com/todays-quilts/" lang: "en-US" type: "page" description: "1970s+: Modern Revival The United States Bicentennial in 1976 sparked renewed interest in traditional crafts, folk arts, and quilt history, setting the stage for the modern quilt revival and the growth of the quilt show movement. Centennial and patriotic quilt" last_modified: "2026-05-12T20:03:14+00:00" custom_fields: iawp_total_views: 13 --- # Todays Quilts ![With-Love-Hilda-Panel-Quilt A patriotic quilt features a bald eagle, the American flag, stars, and USA text, accented with red, white, and blue borders. The word “LOVE” and other patriotic symbols decorate the corners.](https://quilthistory.com/wp-content/uploads/2026/04/With-Love-Hilda-Panel-Quilt-897x1024.jpg) **1970s+: Modern Revival** The United States Bicentennial in 1976 sparked renewed interest in traditional crafts, folk arts, and quilt history, setting the stage for the modern quilt revival and the growth of the quilt show movement. Centennial and patriotic quilt themes, which had appeared at every major national milestone since the Revolution, returned once again. This era saw quilting transition from a primarily domestic and utilitarian practice into a recognized art form and organized hobby, with guilds, shows, and publications supporting a new generation of quilters interested in both making and preserving the tradition. ![A colorful patchwork quilt with intricate geometric patterns in blue, orange, green, and pink. The quilt has multiple borders and a central design featuring star and diamond shapes on a white background.](https://quilthistory.com/wp-content/uploads/2026/04/summer-storm-BOM.jpg) --- --- title: "Postwar Quilts" url: "https://quilthistory.com/postwar-quilts/" lang: "en-US" type: "page" description: "1940s--50s: Postwar Revival The postwar years brought significant changes in materials. Satin and sateen, popular since about 1925, remained fashionable as whole-cloth quilt fabrics through roughly 1950. Applique outlined with black thread in a buttonhole stitch was also popular. Machine-made" last_modified: "2026-05-12T20:17:29+00:00" custom_fields: iawp_total_views: 13 --- # Postwar Quilts ![A handmade quilt with a grid of colorful patterned squares, each set within a cream border. The quilt features various pastel and bright fabrics, creating a patchwork effect, and is hanging outdoors in sunlight.](https://quilthistory.com/wp-content/uploads/2026/04/churn-dash-quilt-1024x854.jpg) **1940s–50s: Postwar Revival** The postwar years brought significant changes in materials. Satin and sateen, popular since about 1925, remained fashionable as whole-cloth quilt fabrics through roughly 1950. Applique outlined with black thread in a buttonhole stitch was also popular. Machine-made quilts became available in department stores around 1950, and polyester fabrics and batting were introduced, permanently changing the materials available to quilters. Embroidered “red work” blocks featuring nursery characters, baskets, birds, and flowers had been popular since around 1914 and continued into this era. Blocks colored with crayons and heat-set had been a popular technique since the 1920s. Multi-stranded embroidery thread, introduced in 1925, was by now a standard supply. - Around 1950: Polyester fabrics and batting introduced - 1963: Synthetic threads become available ![Graphic-Quilt A handmade quilt featuring a geometric pattern with triangles in brown, red, blue, and white, bordered by a solid brown edge. Two hands are visible holding the quilt at the top corners.](https://quilthistory.com/wp-content/uploads/2026/04/Graphic-Quilt-1024x832.jpg) --- --- title: "Depression Quilts" url: "https://quilthistory.com/depression-quilts/" lang: "en-US" type: "page" description: "1930s: Depression Era The Great Depression shaped quilt making in immediate and practical ways. Quilters relied heavily on scraps and repurposed materials, particularly feed, flour, and sugar sack prints. Pastel colors dominated, with shades of purple especially prevalent. Applique kits" last_modified: "2026-08-15T18:47:22+00:00" custom_fields: iawp_total_views: 44 --- # Depression Quilts ![A quilt with a pattern of concentric hexagonal rings in pastel colors, including pink, yellow, green, and blue. The fabric appears slightly wrinkled, and each hexagon is outlined with stitching.](https://quilthistory.com/wp-content/uploads/2026/04/GFG-450x375.jpg) **1930s: Depression Era** The Great Depression shaped quilt making in immediate and practical ways. Quilters relied heavily on scraps and repurposed materials, particularly feed, flour, and sugar sack prints. Pastel colors dominated, with shades of purple especially prevalent. Applique kits became popular, scalloped borders were fashionable, and Sunbonnet Sue was born as an enduring pattern character. [Grandmother’s Flower Garden](https://quilthistory.com/grandmothers-flower-garden-quilt-history/) became a favorite design for using up scraps. The revival of printed quilt patterns in newspapers and company brochures had already begun in 1927 and continued through this period, making patterns more accessible to home quilters across the country. **Some Dates:** - 1927–1939: Quilt patterns widely distributed through newspapers and company brochures - 1929–1939: Feed, flour, and sugar sack prints characterize Depression-era quilts - 1930: The Airplane block is introduced ![A vintage magazine page titled “Quilts New and Old” shows a woman holding a quilt with red and white flowers, surrounded by illustrations of five geometric quilt patterns in red, black, and gray.](https://quilthistory.com/wp-content/uploads/2026/04/quilts-old-and-new-article-790x1024.jpg) ![A vintage magazine page titled Quilt Designs New and Old displays black and white illustrations of ten quilt block patterns, each labeled, along with brief text about patchwork magic.](https://quilthistory.com/wp-content/uploads/2026/04/quilt-designs-old-and-new-724x1024.jpg) ![A vintage January 1931 issue of The Farm Journal features a snowy rural scene with a horse-drawn sleigh, bare trees, and rock walls. Headlines include articles on surpluses, garden plants, and quilt patterns.](https://quilthistory.com/wp-content/uploads/2026/04/Farm-Journal-751x1024.jpg) ![A newspaper clipping dated November 6, 1933, features a Squirrel in a Cage quilt pattern with labeled quilt piece diagrams, a small quilt illustration, and a brief description of the patterns history at the bottom.](https://quilthistory.com/wp-content/uploads/2026/04/IMG_2647-845x1024.jpg)Squirrel in a Cage ![Vintage sewing pattern labeled “Necktie” with diagrams showing how to cut fabric pieces: 2 figured squares, 2 light triangles with cut corners, and 2 dark triangles. Includes assembly guide.](https://quilthistory.com/wp-content/uploads/2026/04/IMG_2645-1024x975.jpg)Necktie [![A vintage quilt pattern from 1933 titled Economy, showing labeled fabric cut sizes and a black-and-white illustration of the quilt block design with notes for using fabric scraps.](https://quilthistory.com/wp-content/uploads/2026/08/Economy-Block.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Economy-Block.webp)Economy Quilt Block ![A vintage quilt pattern titled Right Hand of Fellowship with labeled shapes: a large square, two large triangles, and a small triangle, each marked with fabric color instructions. A completed quilt block example appears in the top right corner.](https://quilthistory.com/wp-content/uploads/2026/04/IMG_2649-1005x1024.jpg)Right Hand of Fellowship ![A vintage newspaper quilt pattern labeled Friday 13th with sections marked 4 print, 4 white, and 8 solid color, plus instructions and a small quilt illustration in the corner.](https://quilthistory.com/wp-content/uploads/2026/04/KCS-Friday13-1.jpg)Friday the 13th ![Prairie Queen Laura Wheeler A vintage newspaper clipping titled Todays Quilt Pattern showcases a Prairie Queen quilt design, reminiscent of Depression Era Quilts, featuring four blocks with geometric patterns and a decorative border, along with descriptive text and instructions below the image.](https://quilthistory.com/wp-content/uploads/2026/08/Prairie-Queen-Laura-Wheeler-748x1024.webp)Prairie Queen, Laura Wheeler ![New York Beauty Laura Wheeler A vintage newspaper clipping of a quilt pattern called New York Beauty, featuring a geometric, circular black and white patchwork design with floral motifs and detailed instructions—a striking example of Depression Era Quilts.](https://quilthistory.com/wp-content/uploads/2026/08/New-York-Beauty-Laura-Wheeler.webp)New York Beauty, Laura Wheeler [![Indian Wedding Ring, Laura Wheeler A vintage newspaper clipping titled Todays Quilt Pattern: The Indian Wedding Ring features a black-and-white quilt diagram and text instructions for making the quilt, capturing the timeless style of Depression Era Quilts.](https://quilthistory.com/wp-content/uploads/2026/08/Indian-Wedding-Ring-Laura-Wheeler-771x1024.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Indian-Wedding-Ring-Laura-Wheeler.webp)Indian Wedding Ring, Laura Wheeler ![A newspaper clipping showing a black-and-white quilt pattern called Drunkards Trail, with a description of its history and instructions on how to request more patterns.](https://quilthistory.com/wp-content/uploads/2026/07/Drunkards-Trail-1933-402x1024.webp)Drunkards-Trail-1933 [![Black-and-white quilt block patterns labeled with numbers and colors (white, rose, print) are shown above the caption in this 1946 newspaper clipping titled Steps to the Altar, beautifully reflecting the timeless charm of Depression Era Quilts.](https://quilthistory.com/wp-content/uploads/2026/08/Steps-to-the-Altar.webp)](https://quilthistory.com/wp-content/uploads/2026/08/Steps-to-the-Altar.webp)Steps-to-the-Altar --- --- title: "Victorian Quilts" url: "https://quilthistory.com/victorian-quilts/" lang: "en-US" type: "page" description: "What Makes a Quilt Victorian? For purposes of American quilt history, this site defines the Victorian era as approximately 1870 to 1900. Quilts from these years ranged from practical cotton bedcovers to elaborate silk and velvet parlor throws. Crazy quilting" last_modified: "2026-08-09T00:48:39+00:00" custom_fields: iawp_total_views: 23 --- # Victorian Quilts ![Two colorful patchwork quilts are displayed side by side on a gray surface, with green plants and office cabinets in the background. One quilt has red and white squares, the other features a random pattern of multicolored pieces.](https://quilthistory.com/wp-content/uploads/2026/04/antique-redwork.webp) ## What Makes a Quilt Victorian? For purposes of American quilt history, this site defines the Victorian era as approximately 1870 to 1900. Quilts from these years ranged from practical cotton bedcovers to elaborate silk and velvet parlor throws. Crazy quilting (the quilt on the right above) became the era’s most distinctive needlework fashion during the 1880s and 1890s, but traditional pieced and appliquéd quilts continued to be made throughout the period. Pink and brown color combinations were also characteristic of the period. ## Victorian Quilt History Timeline - 1846–1850s: Elias Howe patented an improved lockstitch sewing machine in 1846, followed by Isaac Singer’s practical machine in 1851. Household sewing machines became increasingly available during the 1850s and 1860s, although their adoption by quiltmakers was gradual. _See _[The Influence of Textiles on the lives of 19th century women ](https://quilthistory.com/textile-influences-on-women/) - 1868–1870s: [William Morris](https://www.vam.ac.uk/articles/willam-morris-textiles) and his associates revived traditional block-printing methods and historical chintz-inspired designs. Morris’s company produced its first block-printed fabrics in 1868, followed by designs such as Tulip and Willow in 1873. - 1876: Quilts and printed fabrics commemorated the American Centennial. The Philadelphia Centennial Exposition also encouraged an interest in decorative needlework and Asian-inspired design that contributed to the crazy-quilt fashion of the 1880s. - Late 1870s–1890s: Mechanized textile production, declining raw cotton prices, improved printing methods, and expanding transportation networks made cotton cloth increasingly plentiful and affordable. Quilters had access to a wider assortment of dressmaking remnants and manufactured cotton prints. [![A large quilt made of small, colorful diamond-shaped pieces is draped outdoors over a railing. A framed black-and-white photograph rests on top. Trees and greenery are visible in the background.](https://quilthistory.com/wp-content/uploads/2026/08/10000-piece-quilt-768x768.webp)](https://quilthistory.com/wp-content/uploads/2026/08/10000-piece-quilt.webp) I bought this from the great-granddaughter of the woman in the picture, who is said to be the maker. The family story is that she pieced the top during her many trips on the train from Schenectady NY to Potsdam NY to visit the man in the picture, her eventual husband. My best guess is that there are about 10,000 half-inch pieces (including the muslin) in this very large quilt. You can only see about 1/3 of it. Although it’s clearly been washed and used, it’s in surprisingly good shape. - 1880s: Crazy quilting became a major Victorian needlework fashion. Silk, velvet, wool, ribbon, and cotton scraps were joined in irregular arrangements and embellished with embroidery. Cigar ribbons also found their way into Victorian quilts and decorative throws. Beginning in the late nineteenth century, women collected the colorful silk ribbons used to bundle cigars and arranged them in Log Cabin, fan, string and crazy-patchwork designs. Their shiny fabric, printed lettering and rich colors suited the fashionable crazy-quilt style, although cigar-ribbon quilts are considered a distinct type of tobacco-premium quilt. - The use of wool and silk in quilts increased during this period and remained popular through about 1925. - [Redwork Embroidery](https://phoebemoon.com/redwork-technique-tips/) became popular during the 1880s and was especially fashionable from the 1890s into the early twentieth century. Designs were embroidered in [Turkey-red](https://quilthistory.com/telltale-textiles/telltale-textiles-turkey-red/) cotton thread on white or cream fabric usually with simple outline stitches like the quilt on the left at the top of the page. Some makers purchased inexpensive preprinted “penny squares,” while others traced designs from magazines and pattern sheets. Flowers, animals, children, household objects and nursery-rhyme figures were common subjects. ![](https://phoebemoon.com/wp-content/uploads/2022/04/Redwork-Splasher.webp)Redwork splasher, collection of the author - 1884–1885: The World’s Industrial and Cotton Centennial Exposition was held in New Orleans. Nine-year-old Lula Redmond’s quilt of 1,233 pieces demonstrates the period’s admiration for intricate workmanship, thrift, and youthful accomplishment. _See _[Nine Years Old and 1,233 Pieces: The Little Alabama Quilter Who Deserved a World’s Fair](https://quilthistory.com/nine-years-old-and-1233-pieces-the-little-alabama-quilter-who-deserved-a-worlds-fair/) - Late nineteenth century: Temperance organizations and other community groups made quilts to raise money and publicize their causes. Some quilts were raffled or auctioned, while supporters sometimes paid to have their names added. Although blue-and-white [Drunkard’s Path](https://quilthistory.com/depression-quilts/the-drunkards-path-that-goes-by-a-dozen-names/) quilts have often been associated with temperance, historians caution that the movement did not officially adopt one particular quilt pattern. - Late nineteenth century: Commercial cloth sacks increasingly replaced barrels for shipping flour, grain, sugar, and other products. These early sacks were generally plain or marked with company names. Dress-quality decorative feed-sack prints did not become widespread until the 1920s and 1930s. _See _[The Feedsack Story](https://quilthistory.com/depression-quilts/the-feedsack-story/) - Late nineteen century: Signature quilts were popular throughout the nineteenth century, especially as friendship, presentation and fundraising quilts. Names might be signed in ink, embroidered or inscribed by one person for the entire group. These quilts commemorated families, churches, communities and special events, or were presented to someone who was marrying, moving away or retiring. By the late 1800s, organizations also charged contributors to have their names included and then raffled or auctioned the finished quilt to raise additional money. - Late nineteenth century: Quilts resembling the Double Wedding Ring are known from this period, but the named pattern became broadly popular after its publication during the late 1920s. ## Learn More [International Quilt Museum](https://worldquilts.quiltstudy.org/americanstory/engagement/temperance): Temperance Quilts [International Quilt Museum:](https://worldquilts.quiltstudy.org/americanstory/engagement/churchfundraisers) Fundraising Quilts [National Museum of American History](https://americanhistory.si.edu/ko/collections/object/nmah_556351): 1876 Centennial Quilt [The T Block and Temperance Quilts: Separating Fact from Folklore](https://quilthistory.com/t-is-for-temperance/) [The Craze for Crazy Quilts](https://www.antiquequiltdating.com/The_Craze_for_Crazy_Quilts_began.html) by Cindy Brick [The Sewing Machine and Quilters](https://www.antiquequiltdating.com/The_Sewing_Machine_and_Quilters_in_the_19th_Century.html) in the 19th Century by Kimberly Wulfert, PhD [Quilting in North Carolina](https://www.ncpedia.org/quilting-part-iii-1880s-1920s), 1880 – 1920. --- --- title: "Civil War Quilts" url: "https://quilthistory.com/civil-war-quilts/" lang: "en-US" type: "page" description: "1861--1865: Civil War Era The Civil War years brought patriotic themes to the forefront of quilt design. Traditional German motifs, spread through immigration, became more widespread, and bouquet-and-urn designs on white grounds were particularly popular. Memorial quilts made from the" last_modified: "2026-06-15T16:22:34+00:00" custom_fields: iawp_total_views: 73 --- # Civil War Quilts ![Handmade quilt featuring rows of small diamond-shaped patchwork blocks in a variety of colors and patterns on a light background, separated by thin, horizontal striped fabric bands.](https://quilthistory.com/wp-content/uploads/2026/04/civil-war-16-patch-1024x768.jpg) **1861–1865: Civil War Era** The Civil War years brought patriotic themes to the forefront of quilt design. Traditional German motifs, spread through immigration, became more widespread, and bouquet-and-urn designs on white grounds were particularly popular. Memorial quilts made from the clothing of the deceased continued a tradition that dated to the Revolutionary War period. **Key dates:** - The sewing machine with a modern lockstitch was developed in 1860 and quickly adopted for piecework, trapunto, and quilting - Commercially packaged dyes had been available since 1863, expanding color options for home quilters - Tan was a popular color choice throughout the 1860s and into the 1880s - Basket patterns began to be made with handles during this period **See**: [The Influence of Textiles on Women in the 19th Century](https://quilthistory.com/textile-influences-on-women/) --- --- title: "Early American Quilts" url: "https://quilthistory.com/early-american-quilts/" lang: "en-US" type: "page" description: "The roots of quilting in America stretch back to European traditions of patchwork, applique, and quilted garments, though these techniques were not yet combined into what we recognize as a quilt. By the colonial era, bed covers were made in" last_modified: "2026-07-26T21:14:07+00:00" custom_fields: iawp_total_views: 49 --- # Early American Quilts The roots of quilting in America stretch back to European traditions of patchwork, applique, and quilted garments, though these techniques were not yet combined into what we recognize as a quilt. By the colonial era, bed covers were made in whole-cloth styles from plain or printed fabrics, or as applique works centered on a large medallion. Most fabric was imported from Europe, and finished quilts were often purchased commercially. If you picture early quilts as a little “quieter” than later Victorian showpieces, you’re on the right track. Early American quilts sit in a transitional period between necessity and decoration. One caution: there was no definitive decorative timeline. Quilters and their quilters were influenced by the events of the day in their area. Transportation between population centers was difficult so ideas may or may not have been shared between communities. Unless a quilt is dated and comes with a proven provenance, the best you can say is that it is “circa” certain dates. Dating clues include fabric (fiber/dye), style and technique analysis. Family history is rarely reliable but, like everything else, there are always exceptions. ## Pre-1800 Quilts Although quilting had long been known in Europe (see [A Short History of Quilting in Europe](https://quilthistory.com/quilting-in-europe/)), fabric was too precious in the colonies to use for quilts. Bed coverings would more likely be coverlets or thin wool blankets used in layers. Some dates are: - 1708: Oldest wholly intact surviving quilt, done in broderie perse mosaic style - 1726: Oldest known American-made quilt - 1782: The eagle is adopted as a national symbol and incorporated into quilt designs - 1783: Roller printing introduced in England, dramatically speeding fabric production - 1793: Invention of the cotton gin spurs the rise of cotton mills in the northeast ## 1800-1850 Quilts ### Construction Styles - [Whole cloth quilts](https://www.metmuseum.org/art/collection/search?q=medallion+quilt) made from a single fabric or joined lengths to look like one piece. The design comes from the quilting stitches, not piecing. Often used expensive fabrics like imported chintz or glazed textiles. Quilted whole cloth petticoats were popular during this time period both for warmth and beauty. - Patchwork becomes more common as fabric availability improves. Simple geometic blocks dominate, such as the nine patch or stars. By around 1800, the Nine-Patch, Grandmother’s Basket, and Pinwheel block patterns had emerged. Quilting bees were an established tradition by 1820. Sashing came into use to frame individual blocks, and American mills began producing cotton calicoes. - Applique emerges, particularly Broderie Perse (cut-out chintz motifs appliquéd onto background). French floral fabrics were a favorite. Broderie Perse was very popular in Mid-Atlantic/Southern states, ca. 1800–1850. Botanical motifs like roses show up on “Botanical Quilts of the Mid-South”. - Medallion and Frame Layouts often featured a central floral or patchwork design surrounded by fabric. They were built from the center out, unlike later quilts which were sewn row-by-row. - Wool or cotton batting: Hold it to light — dark specks are cotton trash. Mechanical cleaning of cotton batting wasn’t standard until after 1900. - Hand piecing, appliqué, and quilting: All stitching is by hand. - Central medallion or frame layouts: Bedcovers 1790–1840 often had a centrally focused design rather than repeated blocks. - Pieced patterns: Star of Bethlehem, Ohio Star, Bear Paw, and geometric “diamond” layouts appear pre-1850. Album/Signature quilts start 1840s–1860. - Wholecloth & quilted petticoats: Some early quilts were cut from imported British quilted silk petticoats, reconfigured with diamond-grid quilting. ### Quilting & Design Motifs - Designs reflect everyday life. They might show household objects (like churns), or botanical forms and simple symbolic shapes - Heavy emphasis on quilting patterns, especially in whole cloth quilts. Intricate stitching used to show skill. Quilting stitches often 8-10 per inch, frequently in linen thread. ![A white quilted textile with intricate stitched patterns, including a central circular motif surrounded by ornate designs. The fabric is rectangular with a notch at the bottom, displayed against a dark background.](https://quilthistory.com/wp-content/uploads/2026/04/DP1427181-1-768x717.jpg)Image courtesy of the Met Museum. Notice the corners cut for a four-poster bed. ### Fabrics & Materials - Natural fibers only, like cotton, linen, or wool easily produced in an agricultural community. It was often homespun or handwoven. - Wealthier families, particularly in seaports, might be able to import chintz or block-printed or copperplate-printed fabrics - Handwoven or early mill cotton + linen: Backings and wholecloth quilts often used linen or linsey-woolsey before cotton became widely available. - Natural dyes only: Indigo for blue, madder root for red, walnut/bark for browns. No synthetic “poison green” or bright “cheddar orange” — those aniline dyes show up ∼1875. - Natural/vegetable dyes such as Madder red, Indigo blue, browns, yellows and muted greens. Synthetic dyes (aniline) don’t expand the palette until later - Limited by natural dyes: Indigo blues, madder/turkey reds, chrome yellows, browns, tea-dyed creams. Colors often faded or shifted. Iron/tin mordants could degrade fabric. - No synthetic brights: If you see emerald green, mauve, or magenta, it’s likely post-1856. - Imported chintzes & calicos: Early 1800s quilts feature finely printed English/French chintzes. By 1820s–1840s, small-scale calicos from New England mills became common [![A vintage sampler features rows of stitched alphabets, names, dates of birth, a marriage date, and decorative motifs on faded fabric with a stitched border.](https://quilthistory.com/wp-content/uploads/2026/07/linen-sampler-768x576.webp)](https://quilthistory.com/wp-content/uploads/2026/07/linen-sampler.webp)Linen Sampler, collection of the author. I believe this was very likely Esther Shedd (or Shead) Davis’s sampler. It accurately records: Esther’s own birth in Plymouth VT and that of her brothers Ranodyne and David. It also accurately records Lensey Davis’s birth in Warren NY, and their subsequent marriage date. The marriage entry suggests that she continued adding family information to the sampler around 1826, possibly just before or soon after the family moved to Bolton NY according to the census. Her brother Randodyne moved to Michigan in 1835 after marrying Phebe Ann Roberson in Bolton in 1834. A FamilySearch family group places David F. Shedd, 1814–1830, directly between Ranodyne and the other children of Samuel Shedd (1785 Ashby MA –1868 Ft Edward, NY) and Esther French (1789–1874.) The New Vermont Cemetery in Bolton Landing lists Esther, “Lindsey”, Samuel and his wife Ester Shedd as being buried there. ### Function & Meaning - Quilts were essential household items. They were primarily utilitarian but not necessarily plain as they also served as one of the few decorative outlets for women. - Bed sizes changed based on who made the mattress and how it was stuffed (usually feathers). See [How Mattress Sizes were Formed and Standardized](https://mllinens.com/blogs/news/a-historical-journey-how-mattress-sizes-were-formed-and-standardized). Early quilts were made for rope beds and are often narrower than modern beds. - By mid-1800s, “Presentation” quilts were made for weddings or to honor people, not just warmth. They might be wedding quilts or dowry items, or memory pieces tied to family and migration - Many were one-of-a-kind - Patterns were shared person-to-person, not published ## TL;DR Pre-1850 quilts are typically hand-constructed from natural fibers using whole cloth, early patchwork, or emerging appliqué techniques. Their colors are derived from natural dyes, resulting in rich but limited palettes. Designs tend to be simple, geometric, or nature-inspired, often arranged in medallion or early block formats. These quilts were primarily functional but also served as important personal and decorative objects, with each piece reflecting the maker’s resources, environment, and community traditions. # Bibliography / Sources - [American Quilt Study Group. _Uncoverings:_](https://amzn.to/3S7pC1P)_ The Research Papers of the American Quilt Study Group_, Vol. 7 (1986). Includes papers like “Roses Real and Imaginary: Nineteenth Century Botanical Quilts” and “Signature Quilts and The Quaker Community, 1840–1860”. - _[American Quilts and Coverlets](https://amzn.to/4vm5O9K)_ Antique Identifier. “How to Identify Valuable Antique Quilts: Patterns and Stitching.”The Metropolitan Museum of Art - [American Quilts in the Industrial Age](https://amzn.to/4ePOJ0T) – American Quilt Museum - _[Clues in the Calico: A Guide to Identifying and Dating Antique Quilts](https://amzn.to/4xPGUB1)_. Brackman, Barbara.  - [Jane McCrae, Burgoyne Surrounded, and the Making of an American Myth](https://quilthistory.com/jane-mccrea-burgoyne-surrounded-myth/) – How a true Revolutionary War tragedy became an enduring American myth. - [National Museum of American History](https://americanhistory.si.edu/) – National Quilt Collection - [National Museum of Women in the Arts](https://nmwa.org/). “Lending Color to Quilts.” Broad Strokes Blog, March 14, 2014. - [National Park Service – Quilt Discovery Experience](https://www.nps.gov/home/planyourvisit/quilt-discovery-experience.htm) - [New Hampshire Historical Society. Object ID 1974.024.01, Quilt made by Polly D. C. Knox, 1805–1844](https://www.nhhistory.org/object/191275/quilt). --- --- title: "Patterns & Techniques" url: "https://quilthistory.com/patterns-techniques/" lang: "en-US" type: "page" description: "Dear Jane - the 225 patterns from the 1863 Jane A. Stickle quilt. Making a Silk Purse out of a Sow's Ear - using those wonderful vintage blocks in a new quilt.  Kris Driessen Stitched in Silk and Secrets: The Victorian Crazy" last_modified: "2026-07-12T19:04:08+00:00" custom_fields: iawp_total_views: 24 --- # Patterns & Techniques [Dear Jane](http://www.dearjane.com/) – the 225 patterns from the 1863 Jane A. Stickle quilt. [Making a Silk Purse out of a Sow’s Ear](https://phoebemoon.com/using-those-wonderful-vintage-blocks-in-a-new-quilt/) – using those wonderful vintage blocks in a new quilt.  Kris Driessen [Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) Victorian crazy quilts were silk, velvet, and embroidery showpieces that revealed a woman’s wealth, skill, and creative voice. [The Craze for Crazy Quilts](https://www.antiquequiltdating.com/The_Craze_for_Crazy_Quilts_began.html) by Cindy Brick **I’m working retrieving information from the old site. These are the articles I hope to get online soon:** Origins of classic blocks (Log Cabin, Nine Patch, etc.) Pattern naming trends and cultural influence Newspaper and catalog pattern distribution Commercial pattern companies Pattern “borrowing” and renaming Regional pattern variations --- --- title: "Repair, Restore, or Conserve?" url: "https://quilthistory.com/repair-restore-or-conserve/" lang: "en-US" type: "page" description: "Do you have a quilt that needs a little TLC? Maybe one that has been passed down through your family or one you rescued at a garage sale? Don't be afraid to make repairs to it. Many damaged quilts can" last_modified: "2026-07-16T14:17:05+00:00" custom_fields: iawp_total_views: 127 --- # Repair, Restore, or Conserve? Do you have a quilt that needs a little TLC? Maybe one that has been passed down through your family or one you rescued at a garage sale? Don’t be afraid to make repairs to it. Many damaged quilts can be repaired or restored using basic sewing skills and careful cleaning. Quilt restoration stabilizes a quilt, extends its life and makes it more pleasing to the eye of the beholder. But not every damaged quilt is worth saving as a quilt. Some are so far gone that quilters call them “cutter quilts,” meaning the best use for them is to cut them up. If a quilt is too fragile, too stained, or missing too much fabric to restore, don’t feel guilty about giving it a second life as a bag, a pillow, a teddy bear, or even a garment like a vest or jacket. This isn’t disrespectful. It’s a practical way to keep the fabric and the maker’s work in use instead of letting it rot in a closet. If you don’t know one end of a needle from another, though, contact a local [quilting guild](https://quiltguilds.com) or [fabric shop](https://quiltweb.com/quilt-shops-in-the-us/). They may know someone who is willing to work on old quilts. If you want to do it yourself, remember restoring an old quilt is a painstaking but rewarding job. Think it through first. Sometimes it is best to just leave a quilt alone, and sometimes it’s best to admit the quilt is a cutter and move on to a new project instead. Successful quilt restoration relies on making a repair that blends invisibly into the body of the quilt and cannot be easily detected. If you have a quilt that is historically important or is a precious family heirloom, you may want to have it professionally restored. Contact a local museum or the [American Institute for Conservation](https://www.culturalheritage.org/home) for conservation information. ## Should You Repair, Restore or Conserve? What is the difference between repair, restoration and conservation? Repairs simply fix the quilt. Replacing a binding with modern fabric or machine mending fraying fabric is a repair. Restoration returns the quilt to a useable state. It still may not be perfect, but it won’t have holes or areas of torn fabric. Normally fabric of the same age and wear pattern is used, although appropriate reproduction fabric may work in a pinch. Conservation preserves the quilt intact. Damage is stabilized so it doesn’t get worse, but nothing is done to the quilt that can’t be undone. ## Start by Assessing the Damage and Repairing Loose Seams Start by looking over the quilt for damage before doing anything else. Watch for spots that show signs of stress. It is possible for another area of a quilt to split or tear because of the stress you are putting on the part of the quilt you are repairing. Repair any loose seams or stitches by gently turning the frayed edge of the fabric under and appliquéing it down using very fine cotton or silk thread. Silk thread melts into your fabric to become practically invisible BUT it is stronger than cotton and may cut the cotton threads in the long run. Practice this technique on muslin before trying it on your quilt. ## To Clean or Not to Clean? Unless your quilt is filthy, you shouldn’t wash it until after you are finished and then only if it really needs it. Try vacuuming it first. Lightly vacuum your quilt on low power using a brush attachment through a screen, if this is appropriate for your quilt. Damaged quilts, samplers, painted and embroidered pictures (as on a crazy quilt), and beaded work should not be vacuumed. Damage can be caused when the suction of even a low power vacuum. If your quilt is just smelly, try airing it by draping it over a railing (on a sheet or large towel) on a breezy day. Do not put it on a clothesline. The stress of hanging over a small piece of rope may cause damage. You could also lay it out on your lawn on a clean sheet, with a clean sheet on top of course, to protect from the sun. Do not wet wash your quilt unless absolutely necessary. Never, under any circumstances, dry clean it. Some stains are better off left alone. Keep in mind you may damage your item irrevocably. If it is an important piece, seek the advice of a professional first. For more information on wet washing your quilt read [The Dirty Truth about Clean Fabric.](https://quiltweb.com/the-dirty-truth-about-clean-fabric/) ## Replacing Missing or Damaged Fabric Is there an area of missing fabric? You can repair small areas by simply appliquéing a patch over the spot. Replace the damaged fabric with vintage fabric if possible, or use a modern reproduction fabric. Try to match the missing piece in value and hue, not necessarily the print. Sometimes the _back_ of a piece of fabric will best match color and wear. Disguise the repair by placing the edges of the patch next to the seam lines of adjacent blocks. Do not remove the fabric underneath. Requilt by following the existing lines. It’s also possible to cover badly frayed fabric with a sheer mesh. Bridal illusion (tulle) or chiffon is an inexpensive alternative to the silk crepeline or Stabiltex (Terelene/Tetex) used by professional restorers. Is there an area where the fabric has simply split? You could try making an upside down bandaid out of Fine Fuse. Slip a bit of the Fine Fuse underneath both sides of the split and gently push the edges of the split back together. Touch just the area necessary with the tip of your hot iron. The Fine Fuse will melt and stabilize the area. Again, practice on muslin first so you are comfortable with this method. It is permanent and cannot be undone. Did you know you can create fabric on your computer? If you just need a little, try making it! Scan the fabric you want to use into your computer. Print it on transfer fabric paper, such as Printed Treasures. Alternatively, use [fabric treated with Bubble Jet Set](https://phoebemoon.com/how-to-use-bubble-jet-set-to-treat-fabric-for-photos/) and ironed onto freezer paper. Do not use a laser printer for this process, it will melt the freezer paper. ## Repurposing a Damaged Section If your quilt is badly damaged, you may be able to cut off one section and use the fabric from that section to repair other parts of the quilt. For example, you may be able to cut off a row of blocks from the top or bottom, or you may make two corner cuts to make a four poster style quilt. You will, of course, have to rebind the quilt to disguise the part that you cut off. [![Patchwork quilt with a stepped, cross-like shape. The quilt features a repeated pattern of small squares in soft beige, brown, cream, and pink tones, bordered by a darker, striped brown edge. The background is light-colored.](https://quilthistory.com/wp-content/uploads/2026/04/four-poster-240x300.gif)](https://quilthistory.com/wp-content/uploads/2026/04/four-poster.gif)Graphic showing a quilt cut for a four-poster bed You could also add a piece of flannel or cotton as a beard guard to cover over the top row of damaged blocks in your quilt. Better a wall hanging that you can enjoy than a quilt in a drawer that makes you sad every time you think of how damaged it is. [![A large, colorful patchwork quilt featuring a variety of patterned and solid fabric squares arranged diagonally, displayed against a wall in an indoor setting. The edges and corners have blue and striped sections.](https://quilthistory.com/wp-content/uploads/2026/04/quilt-with-a-beard-guard-300x239.jpg)](https://quilthistory.com/wp-content/uploads/2026/04/quilt-with-a-beard-guard.jpg)This quilt has a beard guard on the left. If a section of your quilt is too damaged to save as part of the quilt itself, don’t throw it out. The good fabric can start a whole new project. Quilters have long turned cutter quilts into vests, jackets, tote bags, pillow covers, and teddy bears. A worn quilt top can also become a wonderful backing for a smaller, newer piece. You lose the original quilt, but you keep the fabric, the pattern, and a piece of the maker’s history in circulation. ## Replacing Binding and Batting Do you need to replace batting? Keep it authentic. Quilters Dream makes excellent quality cotton batting that is great for restoration. Do you need to replace the binding? This is an easy job, but make sure to match the same [type of binding](https://phoebemoon.com/bias-binding-basics/). As a general rule, straight edge binding was used prior to 1900; bias binding was used afterward. ## Preserve Your Place in History You should document all the work you do on this or any other quilt. [Make a fabric label](https://phoebemoon.com/how-to-make-a-quilt-label/) that includes everything you know about the quilt and as much as possible about the person who made it. Even if you don’t know anything other than “bought at garage sale in Schenectady NY”, it is still better than nothing. Document all the work you did to it, too, and any other information you feel is pertinent. Sew this to the back of the quilt. If you want to include more information on paper – a genealogy, for example – make a pocket out of the label so the history will always be with the quilt. To make a fabric label, iron a piece of high thread count muslin to an 8 x 11 sheet of freezer paper. Roll this through a typewriter (if you have one) and type on it, or type it on the computer and use your ink jet printer to print it out. If you can’t do either one, simply write the information on the fabric with a fabric pen if you have one, a ballpoint pen if you don’t. No excuses now! ## Storing and Displaying Your Quilt Avoid displaying your restored quilt in a room with poor ventilation, high humidity or other temperature extremes. Choose a method of display that distributes the weight of the quilt over the entire quilt such as an unused bed. This assumes you don’t have any cats. Cats are notorious for finding the only antique quilt in the house on which to sleep. Spread a length of muslin or a sheet on top of the quilt to keep off dust when it is not being viewed. If you don’t have a spare bed, you could fold it and place it over a quilt rack or even the back of an unused chair. If possible, pad the folds with acid free tissue paper. Don’t fold it over a sharp surface like a chair rung or table edge. This just invites damage. Every month or so, refold the quilt along different lines. To display a quilt on a wall, sew a [hanging sleeve](https://phoebemoon.com/attaching-a-hanging-sleeve-to-a-quilt/) to the top of the quilt and hang it on a non-wood rod. Suspend this rod from the ceiling using wire or attach brackets to the wall. A hanging sleeve is a four-inch wide tube of fabric sewn along the top back edge with stitches every inch or so through all layers of the quilt. It looks a bit like the casing of kitchen curtains. Make sure the hanging sleeve is sewn securely. Watch for signs of stress. Never use nails, pins or staples to hold a quilt on the wall. Display quilts in areas where light levels are low. Light damage to textiles is irreversible. Both sunlight and artificial light will cause fading. Whether you end up repairing, restoring, conserving, or turning a hopeless cutter into a stack of tote bags, you are keeping a piece of textile history alive. Every stitch you add or fabric you save carries the quilt’s story forward. Take your time, be honest about what a quilt can and can’t handle, and don’t be afraid to ask for help along the way. [![A quilted angel ornament with red and white fabric hangs from a twine loop, showcasing the artistry often celebrated by those who repair, restore, or conserve quilts. The background is a woven wicker surface.](https://quilthistory.com/wp-content/uploads/2026/07/quilted-ornament-448x450.webp)](https://quilthistory.com/wp-content/uploads/2026/07/quilted-ornament.webp)A Quilted Ornament from [Kopper and Kane on Etsy](https://go.magik.ly/ml/3wzao/) ## Learn More [Crafts using Tattered Vintage Quilt Pieces](https://bungalow47.com/crafts-using-tattered-vintage-quilt-pieces/) (blog post) [International Quilt Museum: Care and Conservation](https://www.internationalquiltmuseum.org/collections/care-and-conservation) A very approachable starting point written specifically for quilt owners. It covers handling, storage, display, cleaning and environmental risks, with advice readers can reasonably use at home. [Repairing a Vintage Quilt](https://www.loandbeholdstitchery.com/blogs/lo-and-behold/repairing-a-vintage-quilt-my-experience-things-to-consider), a three part series. Also covers [washing](https://www.loandbeholdstitchery.com/blogs/lo-and-behold/part-2-vintage-quilt-blog-series-care), and [reuse](https://www.loandbeholdstitchery.com/blogs/lo-and-behold/part-3-vintage-quilt-blog-series-reuse) [Smithsonian: How to Store Antique Textiles at Home](https://www.si.edu/faqs/antique-textile-storage) Practical information for family quilts and household textiles, including cleanliness, folding, storage materials and protection from light and dust. [National Park Service: Curatorial Care of Textile Objects](https://www.nps.gov/subjects/museums/upload/MHI_AppK_TextilesObjects.pdf) This is a long and fairly technical PDF, but it is highly authoritative. It covers deterioration, examination, handling, cleaning, storage, display and conservation treatment. [The Cutter Quilt Fad, 1980 to Present:](https://mars.gmu.edu/items/0529bc6f-6724-4b66-b1b4-7b2ca1e591df) A Case Study in Value-Making in American Quilts (thesis) [Smithsonian: Caring for Victorian Silk Quilts and Slumber Throws](https://www.si.edu/stories/care-victorian-silk-quilts) A particularly valuable link if your article discusses silk quilts, shattered silk, weighted silk or fragile decorative quilts. It covers light exposure, handling, display and storage. --- --- title: "Myths & Misconceptions" url: "https://quilthistory.com/people-stories/myths-misconceptions/" lang: "en-US" type: "page" description: "Myths vs Facts by the late Judy Anne Brenneman Putting it in Perspective: The Symbolism of Underground Railroad Quilts Underground Railroad Myths Debunked Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth The T Block and Temperance Quilts:" last_modified: "2026-07-17T13:36:38+00:00" custom_fields: iawp_total_views: 36 --- # Myths & Misconceptions [Myths vs Facts](https://quilthistory.com/facts-or-folklore/) by the late Judy Anne Brenneman [Putting it in Perspective: The Symbolism of Underground Railroad Quilts](https://quilthistory.com/underground-railroad-quilts/) [Underground Railroad Myths Debunked](http://historiccamdencounty.com/ccnews11.shtml) [Jane McCrea, Burgoyne Surrounded, and the Making of an American Myth](https://quilthistory.com/jane-mccrea-burgoyne-surrounded-myth/) [The T Block and Temperance Quilts: Separating Fact from Folklore](https://quilthistory.com/t-is-for-temperance/) --- --- title: "Care & Preservation" url: "https://quilthistory.com/care-preservation/" lang: "en-US" type: "page" description: "Cleaning your Antique Quilt This guide walks you through safe, proven methods for cleaning antique quilts. Learn how to test for bleeding dyes, choose the right mild soap, handle stubborn stains with sodium perborate, and avoid common mistakes that can permanently" last_modified: "2026-06-02T16:59:54+00:00" custom_fields: iawp_total_views: 52 --- # Care & Preservation [Cleaning your Antique Quilt](https://quilthistory.com/cleaning-antique-quilts/) This guide walks you through safe, proven methods for cleaning antique quilts. Learn how to test for bleeding dyes, choose the right mild soap, handle stubborn stains with sodium perborate, and avoid common mistakes that can permanently damage fragile fabrics. These practical tips help you protect an original piece of American history. [Conservation Resources](/conservation-resources/) Find suppliers for antique quilt conservation materials, archival storage, and a professional conservator referral service. Includes a link to the PDF[Preserving Historic Quilts](https://quilthistory.com/wp-content/uploads/2026/05/Caring-for-Quilts-TechTalkSeptember1997.pdf) [Dry Cleaning Historic Textiles](https://quilthistory.com/wp-content/uploads/2026/05/DRY-CLEANING-HANDOUT.pdf) by Colleen Callahan & Newbold Richardson, The Costume and Textile Specialists [Salvage Your Textiles after a flood](https://quilthistory.com/wp-content/uploads/2026/05/Salvage-Textiles.pdf) by Lynn Lancaster Gorges, Historic Textiles Studio [Quilt Care](https://quilthistory.com/quilt-care-practical-tips-for-the-use-and-enjoyment-of-your-antique-quilt/) – Practical Tips for the Use and Enjoyment of Antique Quilts. Learn how to safely display, clean, store, and document antique quilts to preserve their beauty and history for years [Repair, Restore, Conserve](https://quilthistory.com/repair-restore-or-conserve/) – What to do with damaged antique quilts [Stain Removal Guide for Quilts and other Textiles](https://quilthistory.com/stain-removal-guidelines-for-textiles/) --- --- title: "Research & Resources" url: "https://quilthistory.com/research-resources/" lang: "en-US" type: "page" description: "BibliographyState Documentation Books The Quilt Index Images of over 100,000 quilts and counting The Library of Congress. Enter \"quilt\" in the search engine and a great many images and articles will be returned, including WPA interviews with quilters during the" last_modified: "2026-06-02T17:00:25+00:00" custom_fields: iawp_total_views: 45 --- # Research & Resources [Bibliography](/bibliography/) [State Documentation Books](https://quilthistory.com/state-quilt-books/) [The Quilt Index](https://quiltindex.org/) Images of over 100,000 quilts and counting [The Library of Congress.](https://www.loc.gov/search/?in=&q=quilt&new=true) Enter “quilt” in the search engine and a great many images and articles will be returned, including WPA interviews with quilters during the Depression. [Types of Quilt Appraisals](https://quilthistory.com/quilt-appraisers/) **I’m still working on retrieving articles from the old site. These should be coming soon:** - How to research a quilt’s history - Using archives and databases (like Quilt Index) - Reading old pattern publications - Photographing and documenting quilts - Provenance and record keeping - Ethical considerations in research --- --- title: "People & Stories" url: "https://quilthistory.com/people-stories/" lang: "en-US" type: "page" description: "A Red and White Quilt Show \"A Brief History of the 'Feedsack'\" by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed it, too. Learn how" last_modified: "2026-08-07T12:57:16+00:00" custom_fields: iawp_total_views: 54 --- # People & Stories [A Red and White Quilt Show](https://quilthistory.com/a-red-and-white-quilt-show/) [“A Brief History of the ‘Feedsack'”](https://quilthistory.com/a-brief-history-of-the-feedsack/) by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed it, too. Learn how feedbags went from practical necessity to beloved quilting fabric in American history. [The Influence of 19th Century Women’s Lives on Textiles](https://quilthistory.com/textile-influences-on-women/) [Stitched into History](https://quilthistory.com/stitched-into-history/) [The Civil War Quilt,](https://quilthistory.com/a-civil-war-quilt-finds-its-home/) Diane and Jim Lockwood embark on an adventure when they purchase an old Georgia quilt. A thrift shop crazy quilt made from Civil War uniforms leads one couple on a journey through history, battlefields, and a Georgia family’s secrets. [Secrets Hidden in your Vintage Quilt Blocks](https://quilthistory.com/quilt-history-articles/secrets-of-vintage-quilt-blocks/) Found old quilt blocks? Learn how color, fabric, and style can reveal when and maybe even why they were made, from the 1800s through the 1940s. --- --- title: "Fabrics" url: "https://quilthistory.com/fabrics/" lang: "en-US" type: "page" description: "Talking about Textiles Textiles aren’t just fabric. They include anything fiber-based, from woven cloth to things like curtains, towels, and canvas. If it started as fibers, it's a textile. Textiles are as old as human civilization, with early examples traced" last_modified: "2026-05-27T21:51:31+00:00" custom_fields: iawp_total_views: 13 --- # Fabrics ## Talking about Textiles Textiles aren’t just fabric. They include anything fiber-based, from woven cloth to things like curtains, towels, and canvas. If it started as fibers, it’s a textile. Textiles are as old as human civilization, with early examples traced back to ancient cultures such as Egypt and other parts of Africa. Making cloth was one of the first major human technologies. See also [Cotton and Textile Terminology](https://quilthistory.com/cotton-and-textile-terminology/). ## How Textiles are Woven These structures determine how a fabric looks, feels, and performs. [![Weave-Pattern Three fabric weave patterns are shown: plain weave with simple over-under crossing, twill weave with diagonal lines, and satin weave with longer, smooth floats over the threads. Each is labeled above its image.](https://quilthistory.com/wp-content/uploads/2026/04/Weave-Pattern.jpg)](https://www.xcomposites.com/woven)Graphic courtesy of [xcomposites](https://www.xcomposites.com/woven) ### Plain Weave Most quilting cotton is plain weave. Threads go over-under in a simple grid. It is stable, predictable, and easy to cut. It presses nicely and behaves well with a 1/4″ seam. It’s best for quilts because it doesn’t stretch much, it lines up cleanly, and your blocks come out the size you expect. ![plain-weave Close-up of a white, textured fabric with a visible woven pattern and small intersecting threads, creating a grid-like appearance. The material appears natural and slightly uneven in texture.](https://quilthistory.com/wp-content/uploads/2026/04/plain-weave-300x200.jpg) ### Twill Weave Twill is woven on the diagonal, making it stronger and more durable. Since it is on the bias, it has a bit more give. Since it is slightly thicker than quilting cotton, it is ideal for denim clothing, bags, and utility quilts. There are several types of Twill Weave: 3 x 1 Twill Weave; 2 x 1 Twill Weave; Cavalry Denim; Broken Twill; and Herringbone. ![Denim Close-up of blue and white denim fabric showing a diagonal twill weave pattern, highlighting the textured, interlaced fibers and characteristic denim structure.](https://quilthistory.com/wp-content/uploads/2026/04/Denim-300x225.jpg) ### Satin Weave This one is all about smoothness and shine. Long thread “floats” to create that silky surface by passing over several warp yarns (known as harnesses) and under one. It’s less stable and more prone to fraying as well as slippery under the needle. There are several types of satin weave: 4-harness (Crowfoot); 5-harness; and 8-harness. ![satin-weave Close-up of smooth, cream-colored silk fabric with soft folds and a gentle sheen, highlighting its glossy, luxurious texture.](https://quilthistory.com/wp-content/uploads/2026/04/satin-weave-300x197.jpg) ## Types of Textiles ### Woven Fabrics Made by interlacing threads at right angles (warp and weft) Includes the three weaves you already saw: plain, twill, satin Strong, structured, and common in clothing and quilting. Think: quilting cotton, denim, canvas ### Knitted Fabrics Made by looping yarns together (like hand knitting or T-shirts). Stretchy and flexible. Less stable than woven fabrics. For example, jersey, rib knit, sweaters. ### Nonwoven Fabrics Fibers are bonded together instead of woven or knitted. Can be glued, pressed, or felted. Often used for practical or disposable items. For example, felt, batting, interfacing ### Braided Fabrics Strands are intertwined diagonally rather than woven straight across. Very strong and flexible. Used for ropes, trims, and cords. ### Net or Lace Fabrics Have an open, airy structures with holes. Made by looping, twisting, or knotting threads. For example, lace, tulle, or netting. ## Fiber Types Fiber choice affects the softness, strength, and stretch of a fabric, as well as how it behaves under your iron. ### Natural Fibers ![A close-up of a cotton boll with fluffy white fibers, attached to a brown stem, set against a black background.](https://quilthistory.com/wp-content/uploads/2026/04/cotton-boll-1-681x1024.jpg)Cotton Boll ![Close-up of long, wavy, and matted light brown and cream-colored animal fur or wool, with a textured, tangled appearance.](https://quilthistory.com/wp-content/uploads/2026/04/wool-as-fur.jpg)Animal Fur makes wool ![Close-up view of several white silk cocoons with a soft, fuzzy texture. The cocoons are oval-shaped and closely packed together, filling the entire frame.](https://quilthistory.com/wp-content/uploads/2026/04/silkworm-cocoons.jpg)Silk cocoons ![A spool of coarse, light brown twine sits on textured burlap fabric next to a bundle of blonde, wavy fibers, both displaying a natural, rustic appearance.](https://quilthistory.com/wp-content/uploads/2026/04/linen-as-flax.jpg)Linen is made from flax #### Cotton Cotton fabric is made from the cotton plant. It is a stable fabric that holds its shape well. It is soft, breathable, and easy to sew. #### Wool Comes from animal hair (usually sheep). It’s warm, slightly stretchy. warm and forgiving, but not precise. It can felt (shrink and lock together). Great for warmth, but not your go-to for precise piecing unless you enjoy surprises. #### Silk Made from silkworm fibers, it’s smooth, shiny, and strong. A lightweight but slippery fabric. You may need to use tissue paper between the right sides of the fabric. Use a special needle and [silk thread](https://phoebemoon.com/choosing-the-right-thread-for-your-project/), too. #### Linen Linen is made from flax plant fibers. Easy to grow and easy to weave, it is a strong and breathable fabric that dates back centuries. It’s not bad for quilts, but it does wrinkle easily. ### Synthetic Fibers #### Polyester This man-made fiber is durable and wrinkle-resistant but it doesn’t absorb moisture well. Tough and low-maintenance, but not always as pleasant to sew or press. #### Nylon This is another synthetic fiber that is very strong and lightweight. It is often used in outdoor gear because of it’s durabiity. Great if you are making backpacks. --- --- title: "Identify & Date Quilts" url: "https://quilthistory.com/identify-date-quilts/" lang: "en-US" type: "page" description: "A brief essay on dating antique quilts by Kris Driessen A Short Introduction to Quilting in Europe by Lady Sarah Davies. Quilting is older than you think. Discover how it traveled from ancient Asia through medieval Europe long before American" last_modified: "2026-06-02T18:35:14+00:00" custom_fields: iawp_total_views: 45 --- # Identify & Date Quilts [A brief essay on dating antique quilts](https://quilthistory.com/dating-antique-or-vintage-quilts/) by Kris Driessen [A Short Introduction to Quilting in Europe](https://quilthistory.com/quilting-in-europe/) by Lady Sarah Davies. Quilting is older than you think. Discover how it traveled from ancient Asia through medieval Europe long before American patchwork came along. [Arch Quilts: What they are and how to spot them](https://quilthistory.com/arch-quilts-what-they-are-and-how-to-spot-them/) Arch quilts were imported from China in the 1980s and 90s — and now show up mislabeled as antiques. Learn how to identify them. [Early Use of Natural Dyes in Textiles](https://web.archive.org/web/20200917184339/http://www.quilthistory.com/dye.htm) [The History of the Cotton Gin and it’s Impact on Textiles](https://quilthistory.com/the-history-of-the-cotton-gin/) [Old and newer textiles defined in the Oxford English dictionary](https://quilthistory.com/cotton-and-textile-terminology/). Compiled by Patrick Leech [The Smithsonian Quilt Controversy](https://quilthistory.com/the-smithsonian-quilt-controversy) In 1992, Smithsonian-licensed quilt reproductions made in China sparked a nationwide protest. Learn what happened and why it still matters to quilters today. [Top Ten Titles for Antique Quilt Study](/bibliography/) – A compilation of the favorite books from noted quilt historians **I am still working on retrieving information from the old site. These articles are coming soon:** Dating quilts by fabric (prints, dyes, fiber content) Dating by construction techniques (hand vs machine quilting) Pattern identification (Brackman numbers, pattern lineage) Regional naming differences in blocks Common dating myths (and why they won’t die) --- --- title: "Learn Quilt History" url: "https://quilthistory.com/learn-quilt-history/" lang: "en-US" type: "page" description: "Discover resources to learn quilt history, including antique quilts, textile traditions, dating methods, and historical techniques. Be sure to see the Top Ten Titles for Antique Quilt Study - A compilation of the favorite books from noted quilt historians" last_modified: "2026-08-07T12:57:04+00:00" custom_fields: iawp_total_views: 80 --- # Learn Quilt History Discover resources to learn quilt history, including antique quilts, textile traditions, dating methods, and historical techniques. Be sure to see the [Top Ten Titles for Antique Quilt Study](/bibliography/) – A compilation of the favorite books from noted quilt historians --- --- title: "Quilt Study Groups" url: "https://quilthistory.com/people-stories/quilt-study-groups/" lang: "en-US" type: "page" description: "Quilt Study Groups are small groups of quilt enthusiasts who gather on a fairly regular basis to examine each others quilt treasures and share their knowledge of quilt and/or general textile history. These groups are an opportunity for the both" last_modified: "2026-08-01T18:47:10+00:00" custom_fields: iawp_total_views: 72 --- # Quilt Study Groups ![A woman stands holding up a large quilt with a geometric black and white pattern, while several people sit in the foreground observing her presentation.](https://quilthistory.com/wp-content/uploads/2026/04/confburg.jpg) Quilt Study Groups are small groups of quilt enthusiasts who gather on a fairly regular basis to examine each others quilt treasures and share their knowledge of quilt and/or general textile history. These groups are an opportunity for the both the novice and the experienced quilt historian to be able to closely examine and discuss individual quilts, their history, materials and techniques. Generally, quilt study groups also share information on quilt related shows, conferences and other events are going on in the quilt world. Some groups set a theme for each meeting. Most groups are very informal and welcome new members or visitors. For more information on a specific group, contact a member of the group. ## Current Quilt Study Groups - [American Quilt Study Group](http://www.americanquiltstudygroup.org/) - [Antique Fabric](https://www.facebook.com/groups/1833082063572199/) - [Antique Quilt Pattern Names](https://www.facebook.com/groups/2430424830383994/) - [Antique Signature Quilts](https://www.facebook.com/groups/144142459118145/) - [Feedsacks from the farm](https://www.facebook.com/groups/1385228421703544) - [Florida Quilt Study Group](https://www.facebook.com/groups/861387607368392/) - [Iowa/Illinois Quilt Study Group](https://www.facebook.com/groups/1772037139546248/) - [My Favorite Pastime – Vintage Fabrics, Quilts, Buttons, and Notions](https://www.facebook.com/groups/547510928642663/) - [Quilt & Textile History Program Announcements](https://www.facebook.com/groups/437687280958306/) - [Quilt Documentation](https://www.facebook.com/groups/quiltdocumentation/) - [Quilt History South](https://www.facebook.com/groups/2427588900863781/) - [Quilt Restoration](https://www.facebook.com/groups/300873540104902/) - [Quilts](https://www.facebook.com/groups/308626796506113/) - [Quilts Vintage and Antiques](https://www.facebook.com/groups/quiltsvintageandantique/) - [Repiecers](https://www.repiecers.org/) (Southern California) - [Vintage Fabric Dating Club](https://www.facebook.com/groups/VintageFabricDatingClub/) - [Wisconsin Quilt Study Group](https://wqsg.org/) ## Archival Groups These may or may not still exist. I am listing them because they all include notes and pictures of their meetings. Interesting Information here! - [CRQSG -NY](https://web.archive.org/web/20170301152818/http://www.quilthistory.com/study/CRQSG.htm) - [CWQSG – OR](http://cwqsg.blogspot.com/) - [DSQSG -LA](https://web.archive.org/web/20170301101342/http://www.quilthistory.com/study/DSSG.htm) - [ESQSG -MD, VA](https://web.archive.org/web/20160222145738/http://www.quilthistory.com:80/study/ESQSG.htm) - [FVF -MD](https://web.archive.org/web/20170301141646/http://www.quilthistory.com/study/FVF.htm) - [IIQSG -IA, IL](https://web.archive.org/web/20170301111627/http://www.quilthistory.com/study/IIQSG.htm) - [LLQSG -MN](https://web.archive.org/web/20170302154823/http://www.quilthistory.com/study/LLQSG.htm) - [LSQSG](http://www.lonestarquiltstudygroup.org/)– TX - [LVASG](https://web.archive.org/web/20160222150952/http://www.quilthistory.com:80/study/LVAQSG.htm)– PA - [NVDC -VA](https://web.archive.org/web/20170302095048/http://www.quilthistory.com/study/nvdq.htm) - [SCQHG -CA](http://www.repiecers.org/) - [VQSG -ME](https://web.archive.org/web/20160222145318/http://www.quilthistory.com:80/study/VQSG.htm) - [WASQSG -WA](http://wwqsg.blogspot.com/2013/12/bed-turning-eclectic-mix.html) - [WWCQG -MI](https://web.archive.org/web/20160222152522/http://www.quilthistory.com:80/study/wwcqg.htm) - [Museum -AZ](https://web.archive.org/web/20170301121301/http://www.quilthistory.com/study/az.htm) --- --- title: "Quilt Restoration" url: "https://quilthistory.com/care-preservation/quilt-restoration/" lang: "en-US" type: "page" description: "If you are interested in doing your own quilt restoration, read our article Repair, Restore, Conserve; What to do with damaged antique quilts for some helpful tips.  The following people are professional quilt restorers.  No recommendation is implied.  Always check references.  " last_modified: "2026-08-18T15:29:54+00:00" custom_fields: iawp_total_views: 421 --- # Quilt Restoration If you are interested in doing your own quilt restoration, read our article [Repair, Restore, Conserve; What to do with damaged antique quilts](https://quilthistory.com/repair-restore-or-conserve/) [](https://web.archive.org/web/20201112025532/http://www.quilthistory.com/repair.htm)for some helpful tips.  The following people are professional quilt restorers.  No recommendation is implied.  Always check references.   There is also a free referral service to conservators of all sorts available online: [http://www.aic-faic.org/guide/form.html](http://www.aic-faic.org/guide/form.html) Not only can you request specific kinds of conservators but by location as well. There is also storage and conservation information available on line from the National Park Service. The Quilter’s Guild of Dallas maintains a resource list of members who do all kinds of work relating to quilts. To obtain a copy, send a stamped self-addressed business-size envelope to:  Resource Chairman Quilter’s Guild of Dallas 305 Spring Creek Village Suite 508, Box 521 Dallas, Texas 75248  | Nancy C. Boomhower222 South Market St.Girard, Ohio 44420Textile Conservation and Restoration Studio330 545 1936 | | --- | | Robin BrissonQuilter Studio101 Prospect StreetLeominster, MA 01453978-537-2870rbrisson@quilterstudio.com | | Becky Bruce16208 S 2100 RdNevada, Mo 64772 417-667-1909I am the owner of BB’s Stitchinpost, a small business specializing in quilt restoration/repair, as well as offering handquilting/finishing and binding services.   bbstitchinpost@gmail.com | | Eileen DoughtyVienna Quilt Shop109 Park StVienna, VA 22180703.281.4091   800-281-4010 | | Lisa Erlandsonlisa@lequilts.com1920 CR 150Gainesville, TX 76240 | | Mindy Fletcher Heirloom Quilt Restorationrestorequilts@gmail.comWashington, IN 475011-844-358-4337 toll free25+ years of experienced, professional restoration for cotton and silk quilts, 1870s – 1930s. Silk crazy quilts are my specialty. Vintage fabrics used in restorations. I also do antique lace repair, embroidery motif replication (crazy quilt motifs) and antique quilt replicas. Please email or phone for more information and shipping address. | | Margaret (Meg) Geiss-Mooney Textile/Costume Conservator Professional Associate, AICPetaluma, California 707-763-8694Quilts a specialty Lectures & Workshops also offeredWebsite = www.textileconservator.comEmail = meg@textileconservator.com  | | Custom Quilt Repair and Bias Binding Restoration With 40+ years of experience in the quilting field, I can repair and/or restore your antique (or newer) quilt. I also will replace worn out bias binding. Please email me with a picture for a quote and turn-around time. No repair is too difficult. Pricing varies depending on the extent of the repair. All repairs done with hand stitching. Located in Lancaster County, PA.Sharon Ogden PO Box 190 Silver Spring, PA 17575 717 285-3127  | | Textile Conservation Workshop, Inc.  (Patsy Orlofsky, Director)3 Main StreetSouth Salem, NY 10590Email: textile@bestweb.netPhone: 914 763-5805 | | Ruthann ParrishQuilting by Ruthann9341 Shady LaneKingston, IL 60145815-784-5927ruthannptbcnet.com | | Laura PedgeLaura’s Home, LLCPO Box 3395Grand Junction, Co 81502email: laura@laurashome.comSpecializing in Antique quilt restoration, appraisals, hand & machine quilting and quilt history lectures and workshops. I have been restoring quilts for many years and specialize in quilt restoration from 1840 – 1980. I lecture on quilt history, and teach workshops on various quilting subjects both modern and historical. Visit my website for complete details. | | Abbi RabeneckVintage Quilt Restoration412-770-8491 | | Melanie SanfordTextile Preservation Services of TexasPO Box 1339Red Oak, Texas 75154214.995.0696info@conservingthreads.comFull service conservation/restoration of all textiles including quilts. | | Gwen Spicer, Spicer Art Conservation, LLC518-765-2142 FAX: 518 765-2142We are a conservation/restoration studio in Delmar NY specializing in textiles. | | Rebecca StreeterHighland Park, NJchen08904@verizon.net732 339 1272I have training from the FIT gradute program in textile conservation. | | Laura SylerCertified Appraiser of Quilted TextilesTeacher, Lecturer, JudgeRichardson, TX972-345-2787hi-spirit@airmail.net or texasquiltco@airmail.net. | | Betsey Telford-Goodwin’s Rocky Mountain Quilts 130 York Street York Village, Maine 03909  207-363-6800 800-762-5940We use only same date original fabrics in the restoration of our clients’ quilts, c.1780 through the 1980’s. I have been in business over 22 years selling antique quilts, professional restoration using period fabrics, professional appraisals and custom quilting.  Please call or email with any further information needed or with any questions, also please visit my website for complete background, company history, services offered with details, etc. | | Helen S TigerRutherford, NJ 07070201.935.5456Full service conservation/restoration of quilts and various textiles.  Call or e-mail to discuss the specific damage and your quilt. | | Asuman TuncanVienna VA703-278-8297 | | Lori WagnerGranny’s Attic104 North ThirdMcCall, ID 83638(208)634-5313   (800)860-5921   | | Susan WallaceGreat Oaks Quilt StudioTallahassee, Florida 32309850-893-664126 years of quilt making and restoration experience. I love old quilts! | | Ann WassermanChicago IL area | | Drew Watson TextilesConservation, restoration, reweaving, dying, needlework of all kinds, color restoration, fabric procurement…historic flags, quilts, dolls, samplers, folk art, etc.P.O.Box 250270New York, NY 10025skype: dentonwatsons646 462 4552drewwatsontextiles@gmail.com | | Marilyn M. WithrowProfessional Quilt Appraiser, Show Judge, Historian, Speaker, Designer, TeacherChecotah, OKmmw@marilynquilts.com | | Madelin Wolf1025 Carleton St. #12, Berkeley, CA 94710510-644-2063phoebewolf5@hotmail.com | | Madge Ziegler6 Jobs LaneNewark, DE 19711302-234-1394quiltzig@comcast.net | --- --- title: "Quilt Appraisers" url: "https://quilthistory.com/quilt-appraisers/" lang: "en-US" type: "page" description: "Why should you have your quilt appraised? And what is an appraisal, anyway? A quilt appraisal is a written statement of value prepared by a qualified professional after a close examination of your textile. Appraisals are used for insurance coverage," last_modified: "2026-05-15T16:39:49+00:00" custom_fields: iawp_total_views: 89 --- # Quilt Appraisers Why should you have your quilt appraised? And what _is_ an appraisal, anyway? A quilt appraisal is a written statement of value prepared by a qualified professional after a close examination of your textile. Appraisals are used for insurance coverage, estate planning, tax donations, and potential sale — and the type of appraisal you need will determine how value is calculated. In most cases, an appraisal cannot be done from a photograph. The appraiser must examine the actual quilt and will consider factors such as: - The purpose of the appraisal - The current market in the geographic area - Overall appearance and condition, including any repairs or restoration - Construction technique, workmanship, pattern, and embellishments - Provenance, including publications, awards, and the reputation of the maker, if known - In the case of art quilts or wearables, the textile’s visual and artistic qualities Sentimental value is never a factor in a professional appraisal. ![A white quilt with a light blue border, embroidered with large letters X Y Z, the name Ruth Marie Harsh, and the year 1930 in light blue thread.](https://quilthistory.com/wp-content/uploads/2026/05/signature-1930.jpg)Preserve your place in history by signing and dating your quilts. ## Types of Quilt Appraisals ### Fair Market Appraisal A fair market appraisal estimates what a willing buyer would pay a willing seller when both parties are familiar with the relevant facts and neither is under pressure to complete the transaction. This is the appropriate appraisal for someone considering selling a quilt. It is important to remember that a fair market appraisal is an opinion based on the individual appraiser’s knowledge and background and will reflect both the current market and the geographic area in which the textile is to be sold. It does not take into account the replacement cost or sentimental value of the quilt. It is not a guarantee of the selling price! ![A neatly made bed with a light pink quilt in a cozy bedroom. There is a wooden headboard and footboard, a bedside table with a lamp, a dresser with a mirror, and a window with patterned curtains.](https://quilthistory.com/wp-content/uploads/2026/05/pink-and-yellow-quilt.jpg)Wholecloth quilt, pink on one side, yellow on the other ### An Insurance Replacement Quilt Appraisal An **Insurance Replacement Appraisal** is based upon how much it would cost to replace a textile with a similar one. You will hear this called ‘like and kind’. This may mean finding a similar textile on the open market, or it may include the cost of having the textile reproduced with like materials and workmanship. Either way, insurance appraisals typically result in a higher value than a fair market appraisal. Many insurance companies require a written appraisal before accepting textiles as scheduled property on a personal policy. Without one, you may only be reimbursed for the cost of materials or a generic replacement, not the actual value of your quilt. This type of appraisal is also necessary to file a claim if your quilt is lost or damaged. This means an insurance appraisal might find a similar textile on the open market and take that value as its replacement value. Or, an insurance value may include the amount needed to have the textile reproduced with like materials and workmanship. Either way, an insurance appraisal value is likely to be more than a fair market appraisal. You will need this kind of appraisal to file a claim should your quilt become lost or damaged. ![A handmade quilt with a repeating geometric pinwheel pattern in shades of pink, green, tan, cream, and touches of blue—this colorful, intricate design beautifully celebrates quilt history and our quilting heritage.](https://quilthistory.com/wp-content/uploads/2026/04/callscrossingcover.jpg)Call’s Crossing. Purchased from the estate of Anna H. Call, 85, who passed away Oct. 26, 2005. She was born Oct. 18, 1920, in the town of Westford, NY. Since this quilt appears to be pre Civil War, I’d like to believe she inherited it from her parents Frederick W. and Elmina Clapper Hinkleman. It might also have come from her husbands family. She was married Oct. 18, 1942, to Bion F. Call, (9/16/13 – 1/6/04, parents James Call and Evalyn Green. Or she could have purchased it at auction, like I did. There are no signatures on this quilt. ### A Tax Donation Quilt Appraisal This appraisal is for someone who wants to donate a piece or to establish a value for a family for an equitable distribution of assets. This is often the same as a fair market appraisal. It is illegal and unethical for an appraiser to inflate the value of a textile for a tax deduction. If you plan to donate a quilt and claim a tax deduction, or need to establish a value for equitable distribution of an estate, you will need a tax donation appraisal. ![A colorful handmade quilt with various geometric patterns and multicolored fabric pieces lays neatly on a bed with a white comforter in a cozy, sunlit bedroom.](https://quilthistory.com/wp-content/uploads/2026/05/Rail-Fence-Quilt.jpg)A two generation quilt – a top quilted later with added borders. ## What is in a Quilt Appraisal? An appraisal is a formal document that contains detailed information about the textile, the owner and the appraiser. At the minimum, it should contain: - The name and address of the owner - The name and/or pattern name of the textile - Photos of the textile and any special characteristics (such as a label or awards); - A physical description, including size, condition, materials used, construction technique, and workmanship - The story of the quilt. This may be physical (receipts and so on) or simply family lore. It doesn’t necessarily affect the dollar value, but it may affect the emotional value. - Information about the maker and their location, if known. - The purpose of the appraisal and the value given - The signature and qualifications of the appraiser ## Choosing an Appraiser Select an appraiser who is familiar with your type of textile and with the market in which it would normally be sold. An ethical appraiser will tell you if a piece falls outside their area of expertise or does not warrant a formal appraisal. It is considered unethical for an appraiser to charge a fee based on a percentage of the appraised value; standard practice is a flat fee. While it may seem obvious that a textile dealer is a good choice if you intend to sell the textile, this will incur a conflict of interest. Since the value of a textile will fluctuate with market changes, it is a good idea to repeat an appraisal every five years. The following organizations can help you locate a qualified appraiser: - [American Quilters Society appraisers](https://www.americanquilter.com/connect/aqs-certified-appraiser-directory/) - [American Society of Appraisers](https://www.appraisers.org/find-an-appraiser) - [Appraisers Association](https://www.appraisersassociation.org/) - [National Association of Professiona](https://www.professionalappraisers.org/)[l](https://www.professionalappraisers.org/)[ Appraisers](https://www.professionalappraisers.org/) - [Professional Association of Appraisers](https://paaqt.com/) --- --- title: "Quilt Museums" url: "https://quilthistory.com/quilt-museums/" lang: "en-US" type: "page" description: "This is a listing of museums which are primarily quilt museums or businesses that have great quilt collections on display. If you know of any that are missing, or museums that need to be updated, please contact me. The American" last_modified: "2026-06-02T20:25:59+00:00" custom_fields: iawp_total_views: 56 --- # Quilt Museums This is a listing of museums which are primarily quilt museums or businesses that have great quilt collections on display. If you know of any that are missing, or museums that need to be updated, [please contact me.](https://quilthistory.com/about/) - [The American Quilt](http://www.theamericanquilt.com/) - [American Quilt Study Group](https://www.americanquiltstudygroup.org/) - [American Folk Art Museum](https://folkartmuseum.org/) in NYC - [Bluebird Gardens Quilts](http://www.bluebirdgardens.com/) - [Cooper-Hewitt National Design Museum](https://www.cooperhewitt.org/), New York, NY - [Gees Bend Quiltmakers](https://www.soulsgrowndeep.org/gees-bend-quiltmakers) - [Daughters of the American Revolution (DAR) Museum](https://www.dar.org/museum), Washington, DC  - [Handweaving Museum in Clayton NY](https://tiartscenter.org/) - [International Quilt Museum](https://www.internationalquiltmuseum.org/), Lincoln NE - [Historic Deerfield Museum](http://www.historic-deerfield.org/), Deerfield, MA - [Kansas Historical Society](http://www.kshs.org/) - [La Conner Quilt and Fiber Arts Museum, LaConner Washington](https://www.qfamuseum.org/) - [LACMA Costumes and Textiles](http://www.lacma.org), Los Angeles, CA - [Latimer Quilt & Textile Center](https://www.latimerquiltandtextile.com/), Tillamook, OR - [Levy County Quilt Museum, Chiefland, FL](https://levycountyquiltmuseum.com/) - [McKIM STUDIOS](http://www.mckimstudios.com/) - [Museum of the American Quilter’s Society (MAQS)](http://www.quiltmuseum.org/) Paducah, KY - [Metropolitan Museum of Art](http://www.metmuseum.org/) (New York), - [Museum of Fine Arts](http://www.mfa.org/), Boston MA - [Newark Museum](https://newarkmuseumart.org/), Newark NJ - [New York Folklore Society](https://nyfolklore.org/) - [Pikes Peak Weavers Guild](http://www.pikespeakweavers.org/) Pioneer and Historical Society of Muskingum - [Quilt Guilds](http://www.quiltguilds.com/) Find a quilter in your area! - [The Quilt Index](http://www.quiltindex.org/) - [Quilter’s Hall of Fame](https://quiltershalloffame.net/), Marion, IN - [Quilts and Quiltmaking in America](https://www.loc.gov/collections/quilts-and-quiltmaking-in-america/), the Library of Congress - [Reproduction Fabrics](http://www.reproductionfabrics.com/) - [Rocky Mountain Quilt Museum](http://www.rmqm.org/) - [San Jose Museum of Quilts and Textiles, San Jose, CA ](https://sj-mqt.org/) - [Shelburne Museum](http://www.shelburnemuseum.org/), Shelburne, VT  - [Smithsonian ](http://www.si.edu/)in Washington DC - [Smithsonian Quilt Displays](https://www.si.edu/search?edan_q=quilts) - [Thistle Hill Weavers](https://thistlehillweavers.com/) reproduction weaving - [Vintage Quilt Kits](http://www.vintagekitquilts.net/) - [Women of Color Quilters Network](http://www.wcqn.org/) - [Virginia Quilt Museum](https://www.vaquiltmuseum.org), Harrisonburg VA - [Winterthur Museum](http://www.winterthur.org), Winterthur, DE - [Yakima Valley Museum](https://www.yvmuseum.org/) --- --- title: "Dating Quilts – A Brief Overview" url: "https://quilthistory.com/dating-antique-or-vintage-quilts/" lang: "en-US" type: "page" description: "Click on the picture to see it up close Quilts and quilt making are a reflection of the life and times of the women who made quilts. Although the technique of quilting existed throughout history (quilted items have been discovered" last_modified: "2026-05-18T14:40:56+00:00" custom_fields: iawp_total_views: 663 --- # Dating Quilts – A Brief Overview _Click on the picture to see it up close_ [![Cat Mummies wrapped in a log cabin pattern](https://quilthistory.com/wp-content/uploads/2024/04/Cat-Mummy-AN003130461-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/Cat-Mummy-AN003130461.jpg) Quilts and quilt making are a reflection of the life and times of the women who made quilts. Although the technique of quilting existed throughout history (quilted items have been discovered in Egyptian tombs, for example, and French knights used quilted jackets under their armor), quilts as we think of them didn’t start showing up on the American scene until just prior to 1800. I believe the earliest existing European quilts are a pair of whole cloth trapunto ones, telling the story of Tristan and Isolde dating from the early 1400’s.  The oldest quilts in the Smithsonian collection go back to about 1780. ## Early 1800 In colonial America, thread and needles were expensive. Cotton was not readily available – the cotton gin was not invented until 1793 – and so the majority of fabrics used in clothing were linens, wools and silks. What you might have seen prior to 1800 were quilted petticoats, worn for warmth. Quilts were almost always made of wool, unless they were remade from bed curtains or quilted petticoats.  However, the idea that all early quilts were made of worn clothing is a myth. Not to say that there weren’t any, but it is far more likely that a quilt would be made out of fabric bought specifically for that purpose, possibly to match bed curtains.  It might also use the extra fabric left over after making clothes. While it is true that many women were weaving their own fabrics in the early 1800’s, the tremendous time and energy needed to produce hand woven goods was generally not put into a luxury such as a quilt.  A home weaver would be more likely to weave a blanket or coverlet.  Generally, quilts were made by wealthier Americans on the Eastern Seaboard who had access to a tremendous variety of fabrics brought in by ship. Many early quilts still in existence today, therefore, are either made of imported fabric or have some imported fabric along with the American.  Backings were often of linen, which was considered a utility fabric. Early 1800’s quilts were usually large (120 X 120), and often whole cloth quilts, or quilts of whole panels, such as the Tree of Life. It might be a medallion or a stripy style quilt. Sometimes you would find quilts made of plain blocks (such as a simple Ohio star or nine patch) alternating with a plain block. Trapunto (stuffed work) quilts were made until the 1840’s when their popularity waned. [![Vintage Chintz Quilt c 1830](https://quilthistory.com/wp-content/uploads/2024/04/chintz-quilt-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/chintz-quilt.jpg) Glazed fabrics such as chintz (see photo, left), roller prints and pillar prints were popular. Fabrics were glazed with egg whites or honey. Some quilt edges were finished with a fringe, particularly on the East Coast. Quilting was done in straight lines, often with double and triple quilting, although flowers, baskets, feathers and wreathes were not uncommon. [![Madder Quilt](https://quilthistory.com/wp-content/uploads/2024/04/madder-quilt-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/madder-quilt.jpg) Colors were glorious. The dye process was long and involved and colors changed depending on the mordents used. Home dyes used onionskin, nut shells and bark to create yellows, browns and greens, but they were not used as commonly as myth has it.  ## Mid 1800 Reliable permanent dyes were widely available in the mid 1800’s.  However, green was considered fugitive – it often washed out or faded. In the early 1800’s, it was made by overdoing yellow with blue.  Later in the century, the process was reversed, overdying blue with yellow. The applique quilts we now see with blue or tan leaves may have once been green. Another fugitive color, purple, could be made with lichens and seashells. Walnut hulls, hickory nut hulls, clay, or wood chips made brown. A deep brown with warm accents was made using manganese. Sumac, birch, oak, woodshed in general and iron made black.  [![Antique or Vintage Quilt using Turkey Red Fabric](https://quilthistory.com/wp-content/uploads/2024/04/turkey-red-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/turkey-red.jpg) Indigo blue and turkey red were very reliable dyes as they were made by the process for which the color was named. Indigo blue was a deep blue, although Prussian (Lafayette) blue and light blue was also available. Pinks and dark roses were also seen most likely made from a madder dyes.  The picture on the left shows Turkey Red. The mid 1800’s saw more appliqué quilts being made, with more elaborate quilting. Quilts were heavily quilted, often echo quilted or double quilted. Broderie Perse was an early 1800’s fad.  In fact, you could purchase fabric specifically designed to be cut out and appliquéd. A later appliqué fad was were Baltimore Albums, red and green appliqué quilts and album samplers. They were as large as ever, although as the century progressed they tended to become slightly smaller and sometimes had two corners cut out for bedposts. Colors were bright and varied. You often saw deep yellow greens, Prussian blues, turkey reds, madders, double pinks (also called cinnamon pinks), fugitive purples, brilliant yellow/butterscotch, and aqua as well as graded or ombre prints. ![Ombre center of an Ohio Star quilt next to a double purple fabric](https://quilthistory.com/wp-content/uploads/2024/04/ombre.jpg) The picture right shows an ombre print (also called a rainbow print) in the middle of the Ohio Star.  The setting block is a fugitive double purple.  You can see that a little bit better in the picture below. [![Double Purple fabric showing light damage](https://quilthistory.com/wp-content/uploads/2024/04/fugitive-fabric-768x608.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/fugitive-fabric.jpg) ## The Civil War The civil war and its aftermath brought a lot of changes to American women. Men took quilts with them to serve as bedding. If they were killed, they were often rolled in their bedding and buried. Quilts were also used to communicate the makers beliefs (like abolition), smuggle messages and supplies through enemy lines and raise money.  [The idea that quilt blocks were used to communicate Underground Railroad messages in the Virginia Basin has been disproven. ](https://quilthistory.com/underground-railroad-quilts/) The quilts that did come home were often in terrible condition. Some of the finest quilts still extant from this period came from the families of soldier who retrieved them from encampments or purchased them from soldiers who were using them as if they were a common blanket.  One quilt was retrieved from the back of a dead mule!   Recognizing their beauty and value, some were looted  from southern plantations. [![Scrap Quilt](https://quilthistory.com/wp-content/uploads/2024/04/scrap-quilt-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/scrap-quilt.jpg) It was after the civil war that the scrap quilt became popular. Due to the inevitable shortages of war, quilts really were made of discarded clothing at that time.   Silk prices had come down around 1850 due to trading with the orient and many women had at least one good silk dress.  But it was not useful for the hard work and shortages of everyday living most were forced to endure. The silk quilts popular during this period were probably made more out of sentiment and a need to keep busy while the men folk were away.  The scraps of silk dresses and mens wear recalled happier times of balls and parties. ## Sewing Machines The sewing machine, which was really invented in the late 1700’s as a tool to make shoes, was redesigned and patented by Elias Howe, Jr., in 1846.  Howe’s rival, Isaac Singer, received a patent in 1851 for an improved sewing machine, later adding a foot treadle for hands-free operation and a carrying case that doubled as a stand. Singer’s primary contribution to sewing machine history, however, was his marketing techniques.   He was the Bill Gates of the 19th century. [![Antique Treadle Sewing Machine](https://quilthistory.com/wp-content/uploads/2024/04/treadle-sewing-machine-open-300x169.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/treadle-sewing-machine-open.jpg) The installment plan, and a trade-in allowance, was his clever marketing plan to put a sewing machine the home of every American woman, and it did work! By 1870, Singer was selling 200,000 sewing machines a year. _Godey’s Lady’s Book_ praised the sewing machine as “the queen of inventions,” noting that “it will do all the drudgeries of sewing, thus leaving time for the perfecting of the beautiful in woman’s handiwork.”  Quilts began to take advantage of straight line sewing and it was not uncommon to see hand-pieced quilt which was treadle quilted. A sewing machine was a status symbol, if a woman had one, she made sure to show it off. ## Late 1800[](http://www.amazon.com/exec/obidos/ASIN/1574324160/quiltweb/) [![Mourning or Half-Mourning Print Antique Fabric](https://quilthistory.com/wp-content/uploads/2024/04/mourning-print-150x150.jpg)](https://quilthistory.com/wp-content/uploads/2024/04/mourning-print.jpg) Post civil war quilts took on more somber aspects. Women lost their husbands and sons in the war, Queen Victoria lost her husband Prince Albert and strict mourning protocol was followed. [](https://web.archive.org/web/20200807001332/http://www.quilthistory.com/vmc.htm)Mourning and half-mourning prints (Shaker Grays) similar to the one at left, of black & white, gray on gray, burgundy and deep purple were used with the madder browns (copper brown), dark chocolate, cocoa, double pinks and chrome orange’s (cheddar) of the period. Rich, deep, vivid colors became popular.  This period marks the first of reliably colorfast synthetic dyes, making the fabrics of this period easier to wash as they wouldn’t have to be redyed.  Stripes and plaids were also used as well as textured fabrics, shirtings and lead-weighted silks. A lesser quality fabric and homespun (which may or may not have been spun at home) made an appearance, often on the backs of quilts. There was a veritable explosion of reasonably priced, colorfast cotton goods after the war as manufacturers which had geared up during the war sought reasons to keep up production.  The 1876 World exposition in Philadelphia had a pronounced influence on quilts. Many quilts, and embroidery designs began to show an oriental influence. “Impractical” silk, satin and velvet quilts were created using traditional styles, like the log cabin. The silks of that time period were often weighted with lead, to provide the rustle that the ladies loved so much. The more lead the better, since silk was sold by the pound. Unfortunately, it is this lead that causes the deterioration we see in silk quilts today.  Chemical dyes also play a large factor in deterioration.    ## Early 1900 Wool quilts became more common, especially around the turn of the century.  Quilts became more utilitarian – they were often tied rather than quilted. Applique was rare. If they were quilted, it was in large designs such as Baptist fans unless the quilt was being made as a “best” quilt. Mercerized thread, (a thread treated to improve strength) made its appearance in 1859 and began to be mass produced. The type and thickness of thread used to make a quilt is often a clue to its age. As life improved, women found themselves with more time to spend on needle arts. Redwork became popular. Crazy quilts became a fad. These were quilts made of silk and satin and often carefully embellished with beads, embroidery, ribbons and hand painted blocks. [![Vintage Redwork Pillow Topper](https://quilthistory.com/wp-content/uploads/2024/04/redwork-768x486.jpg)](https://phoebemoon.com/redwork-technique-tips/)Picture courtesy of [“Redwork Technique Tips.](https://phoebemoon.com/redwork-technique-tips/)“ The early 20th century saw prints getting lighter and cheerier. Turkey red began to give way to a bluish red. Indigo dyed blues began to give way to simple blue vat dyes. We received Germanys’ aniline dye formulas as part of their war tribute for W.W.I. This meant the 30s and 40s quilts had better dyes, giving them more depth of color. Our greens and yellows improved and pastels became possible again. Purple finally became reliable, as did black. Charming and happy prints as well as delicate solids appeared to contrast the depression. Kit quilts became popular, and it often seems like the majority of quilts made in that time period were Double Wedding Rings, Dresden Plates, Grandma’s Flower Gardens, Floral Appliqué and [Sunbonnet Sue](https://scrapdash.com/here-comes-the-sun/). Redwork Penny Square’s enjoyed continued popularity.  Yo-yo’s were made by everyone and “Colonial Revival” quilts became popular, influenced by Marie Webster who wrote a book which may have inadvertently perpetuated quilting myths.  ## Feedsacks The country entered into a new war and women once again found themselves forced to be resourceful. New quilts were made out of old tops. As a marketing ploy, grain producers began to package feed in print sacks. Men were sent to the store with instructions to buy feedsacks in specific colors and quantities. Three were needed to make a woman size dress.   Novelty feedsacks to make aprons or dolls were available. [![Feedsack Ad](https://quilthistory.com/wp-content/uploads/2024/04/feedsack-quilts1-233x300.webp)](https://quilthistory.com/wp-content/uploads/2024/04/feedsack-quilts1.webp) Sometimes called [feedbags, textile bags and “chicken linen,”](https://quilthistory.com/the-feedsack-story/) these terms refer to the bags that were purchased with products like flour, grain, feed or seed in them. They were also used for flour, salt, sugar and other baking necessities.  Generally  made of cotton or burlap, they might be tightly woven or loosely woven depending on what they carried.  When the product inside was used up the cloth bag was recycled (long before that word was fashionable) into garments, quilts and household articles.[](https://web.archive.org/web/20201114002403/http://www.quilthistory.com/feedsacks.htm) When the war ended, the interest in handmade items waned. Women were joining the work force in unprecedented numbers and had no time to make bedding. Especially when they could now afford to buy it!  It was associated with poorer times.   Interest in quilting was revived in the late 1970’s, with the advent of the Bicentennial and the renewed interest in our life of our forebears. ## Share Your Story Do you have a story or a picture to share? Please send it to quilthistories@gmail.com. Thanks! --- --- title: "Cleaning Antique Quilts" url: "https://quilthistory.com/cleaning-antique-quilts/" lang: "en-US" type: "page" description: "It's finally happened! It seems like forever you have been searching for that perfect antique quilt. Now you have found it. It spoke to you in sweet, melodious tones at a garage sale or auction. It smells a little, and" last_modified: "2026-05-21T18:03:42+00:00" custom_fields: iawp_total_views: 280 --- # Cleaning Antique Quilts It’s finally happened! It seems like forever you have been searching for that perfect antique quilt. Now you have found it. It spoke to you in sweet, melodious tones at a garage sale or auction. It smells a little, and has some odd spots, but what the heck? The colors are wonderful, the quilting sublime, the price exactly right. Now how do you clean it? First, decide how you are going to use it. Are you going to display it folded over a rack, hung on a wall, or on a bed? If you are folding it over a rack, it may not be necessary to clean it at all. It is always best not to subject an antique textile to unnecessary stress, but leaving a quilt dirty is not a good idea either. Dust and dirt can actually cut fibers as they expand and contract with changes in temperature and humidity. Provided there is no active damage such as holes, rips, or frayed seams, and no delicate embellishments like those found on a crazy quilt, simply airing it outside on a nice summer day will remove dust and freshen things up considerably. Lay it on the lawn with a clean sheet under it and over it, or hang it over a wide railing with a sheet protector. You can also vacuum it using the brush attachment of a low-powered vacuum cleaner. If the quilt has elaborate embellishments or existing damage, place a clean, fine mesh screen over it first. ## Should You Wash It? Before you do anything else, ask yourself these questions: - Is any part of the quilt made of silk or velvet? - Is it embellished with yarn, feathers, beads, or inked writing? - Is the fabric fragile? - Does it already have holes, worn spots, frayed seams, or rips? - Is this an extraordinary quilt because of its age or workmanship? - Does the original glaze still appear on the cotton, as though it has never been washed? - Will this fabric bleed? If you answered yes to any of these questions, wet washing is probably not a good idea. It may cause further deterioration of damaged areas or permanently destroy the value of a really special old quilt. If you plan to display your quilt on a bed or wall, you may want to reconsider wet washing. Avoid your neighborhood dry cleaner. Despite the name, the dry cleaning process is anything but dry. Clothing goes into a large washing machine and is washed with chemicals instead of water. A simple vacuuming is often the better choice for quilts that cannot be wet washed. If you do decide to wash your quilt, be aware that you may permanently damage it no matter how careful you are. You may want to seek the advice of a professional textile conservationist first. The American Institute for Conservation at 1717 K St. NW, Suite 200, Washington DC 20006 can provide a list of conservators in your area. ## Test for Bleeding First Before wet washing, always test for bleeding. Using clean cotton balls, dab a little warm water on each of the different fabrics in the quilt. Saturate the fabric enough to get that top layer good and wet, but try not to soak the whole quilt. Rub the cotton ball on the fabric and check whether any color comes off. If it does, there is a very good chance more color will come off in the wash, and it may ruin the quilt entirely. Do not assume that because one red print did not bleed, another one on the same quilt will not either. Test them all. Even after testing, lengthy soaking and exposure to soap can still cause bleeding that did not show up in your spot test. Also consider the age and condition of the quilt. Many 19th century quilts used unstable dyes. Wet washing may cause those dyes to run, change color, or disappear altogether. Some quilt fabrics were produced using iron as a mordant to set the dye, which damaged the fabric so badly that washing causes the dye to vanish and take the fabric with it. This is called dye rot, and it makes your quilt look like it has the measles. ## Washing Your Quilt Do not head for the washing machine. Instead, commandeer the bathtub for the afternoon. This is a simple process, but not a quick one. Since your quilt will be at its most vulnerable, plan to give it the time and attention it deserves. Find either Ivory Soap Flakes (not the same as Ivory powdered detergent) or Orvus veterinary soap, available at feed stores and sometimes quilt shops. Fill the tub about halfway with cold water, swish in the soap, and let it dissolve. Add your quilt and gently push it under water to soak for at least 15 minutes. Do not use any soap that contains bleach or “brighteners.” Both are fine for sturdy modern fabrics but will cause rapid deterioration of fragile antique textiles. If you have hard water or water quality issues, consider using bottled or distilled water. You will need quite a bit of it. After soaking, you need to agitate the quilt gently to work the dirt out. Ideally, recruit a small child to walk back and forth on it for a few minutes. You can do it yourself, but be gentle and watch your footing. On smaller pieces, you may be able to squeeze and swish the fabric by hand. Repeat the process until the water no longer turns dark and the rinse water runs clear. This may take four or five cycles or more, which is exactly why you scheduled the whole afternoon. Rinse thoroughly. Soap left in the quilt will attract dirt faster than clean fabric ever would. ## My Personal Preference I use a washing machine, treating it as a giant wash tub. Fill it with water, hand agitate the quilt, let it soak, and then let the machine spin out the excess water. There is some debate about the stress that spinning puts on wet fibers, but the controlled action of the machine is arguably less stressful than lifting a heavy waterlogged quilt by hand. It also dries faster, which reduces the risk of mildew and drying streaks. Other mild soap options include Ivory Soap Flakes, Fels-Naptha, or equal parts Dove liquid dish soap and Clorox II Powder (the powder form) in warm water. For natural cleaning, try this buttermilk recipe: for every gallon of water, add 1 quart of buttermilk with 1% or less butterfat and 1 tablespoon of lemon juice. Rinse well. For really dirty quilts, an enzyme cleaner such as Axion or Biz works well. There is no need to soak for more than 20 minutes. The actual cleaning agents (surfactants) come in two forms: anionic and ionic (detergent and soap). Each type attracts different types of soil molecules.  Ivory Snow liquid and Dreft are a simple combination of anionic and ionic surfactants with a few enzymes thrown in.  Whatever method you use, be sure the quilt is thoroughly rinsed.  Residual soap will attract dirt. ## Getting It Out of the Tub Drain the tub and let the quilt sit a while so water can drain from it naturally. Gently squeeze out as much water as you can. Do not twist or wring it. The fabric is extremely delicate when wet. You will need a helper and a bedsheet or large towel to get the quilt out safely. Push the wet quilt to one side, lay the sheet or towel under it, and roll the quilt back onto it. Think of it like moving a hospital patient. You do not want to lift the wet quilt directly, as you risk tearing weakened fabric. You and your helper lift the four corners of the sheet and move the quilt on this makeshift stretcher. Lay it, still on the sheet, on your lawn in the shade, then cover it with another clean sheet. If you do not have a lawn, a tile floor works well. Resist the urge to hang it on a clothesline. The stress is hard on wet fabric. To dry your quilt indoors or in the machine-wash scenario, lay it flat over clean towels or a towel-padded surface. Cover with a clean sheet and run a fan on low to circulate air. Turn the quilt periodically so it dries evenly. Check on it regularly to make sure it stays covered and is drying properly. You may need to flip it over, and it may take more than a day to dry completely. Bring it inside at night and continue the next day. And yes, keep an eye on it outside. People will steal a quilt off your lawn. ## Dealing with Stains Antique quilts come with a history, and sometimes that history left a mark. Old quilts are made of natural fibers that absorb easily, which is why white glove ladies at quilt shows are there to protect the cotton from body oils, liquids, and other organic substances. Over time, those invisible stains oxidize into colored ones. Scattered spots called foxing are caused by mold growth. What looks like a blood stain or rust stain is often what remains of a dead bug. These stains are nearly impossible to remove. Brown stains that appear after years of folded storage often look like furniture polish, blood, or rust but are actually caused by dye migration. Changes in temperature can trigger this, and most dye migration stains cannot be removed because the dye has permanently bonded to the adjoining fabric. You can do more damage trying to remove them than by leaving them alone. If your quilt has stains worth treating, spot clean before washing the whole thing. Be aware that you may end up with one area noticeably cleaner than the rest. Trying to decide what kind of stain you have so you can properly pre-treat it is difficult.  Old quilts are made of natural fibers which absorb easily.  That’s why there are white glove ladies at quilt shows – they are there to protect those cotton fibers from body oils, liquids, soils, and other organic substances.  Over time, these invisible stains oxidize to colored stains.  Sodium perborate has been used in textile conservation for many years. It does not bleach past the original color, so if the fabric was originally off-white, it will not go lighter than that. Sodium perborate is the active ingredient in Clorox 2. You can also spot clean with a paste made from Biz, Ivory Snow Flakes, or Shaklee’s Nature Bright. Brush the paste onto the spot, let it dry, and vacuum it off with the brush attachment. To remove pencil marks, try this: mix 1/4 cup water, 3/4 cup rubbing alcohol, and 7 to 8 drops of Palmolive detergent. Apply with a toothbrush. The old home remedies of laying linens on the grass or using lemon juice to bleach stains may brighten things temporarily, but the effect usually reverts to yellow. Whatever cleaning method you choose, make sure the quilt is thoroughly rinsed. Residual soap will attract dirt, and you will be right back where you started. ## Here is a story one of our readers shared with us: > I was not sure if it was safe to hand wash an old comforter made from a seed bag with wool batting. The cover has a square of shiny floral fabric that looks like 1920’s. The fabric of the cover is frail, but both of only two small tears I mended.  Well, I went to a rug shampoo rental shop in town, and after hearing my story, they suggested that I use their “Bissell Carpet Cleaner Self- Cleaning Formula”. I sprayed the cleaner very lightly onto the comforter cover {after testing it for colorfastness} and let it dry, and then vacuumed the cover briskly, according to directions. The colors on the fabric are brighter, and the entire piece is “deodorized” The water spots faded considerably! Anyways, all went well with the cleaning, and I’m glad I did it. So don’t be discouraged!  You own an original piece of American history.  With proper care, your quilt will last a lifetime.  Keep it clean, out of direct sunlight and high humidity areas and most importantly, enjoy it.  ## For More Information The [Bishop Museum](https://quilthistory.com/wp-content/uploads/2026/04/cleaning-quilts.pdf) has prepared this handout for cleaning a quilt from a strict conservation standpoint. You might also be interested in this article from [Cynthia’s Linen Room. ](http://www.antique-linens.com/laundryTips.html) --- --- title: "A Brief History of the Feedsack" url: "https://quilthistory.com/depression-quilts/a-brief-history-of-the-feedsack/" lang: "en-US" type: "page" description: "How Cloth Sacks Replaced Barrels The history of the cloth bag started in the early years of settling what later became the United States. At that time food staples, grain, seed, and animal feed were packed in tins, boxes, and" last_modified: "2026-08-07T13:22:10+00:00" custom_fields: iawp_total_views: 118 --- # A Brief History of the Feedsack ![Three vintage flour sacks with colorful designs and labels are laid side by side on a quilted surface, featuring patterns, brand names, and images such as birds and baking motifs.](https://quilthistory.com/wp-content/uploads/2026/04/three-flour-feedsacks.jpg) ## How Cloth Sacks Replaced Barrels The history of the cloth bag started in the early years of settling what later became the United States. At that time food staples, grain, seed, and animal feed were packed in tins, boxes, and wooden barrels. However, tin cans rusted and barrels wore out, allowing pests to get at the products within. Both of these forms of storage were also awkward to transport. They required a wagon and horses or mules, something many farmers or widows of farmers did not have. How much easier to toss a bag of feed over the back of a horse! The problem, however, was that no one could sew a seam strong enough to hold the contents of the bag. The solution came in 1846 with the invention of the sewing machine, which made it possible to sew seams to make the sacks secure. M. Hurd of Auburn, NY patented a machine for making flour sacks that was cost efficient. ![Martha-White-Flour-Feedsack A vintage Martha White flour sack sits on colorful fabric decorated with bicycles, wheels, and geometric designs. The sack has a blue and yellow label with bakery goods images and a portrait of a woman.](https://quilthistory.com/wp-content/uploads/2026/04/Martha-White-Flour-Feedsack.jpg) ![Dixie-Home-Feedsack A vintage floral feed sack with a central label reading Dixie Home 17% Dairy Feed, featuring a cow illustration and red, green, and blue flower patterns around the edges on a quilted background.](https://quilthistory.com/wp-content/uploads/2026/04/Dixie-Home-Feedsack.jpg) ![Dixie-Home-Dairy-Feed-Feedsack A vintage Dixie Home dairy feed sack with red and gray floral patterns, 17% Dairy Feed text, and a circular logo from Dixie Grain Co., Shelbyville, TN, displayed on a quilted background.](https://quilthistory.com/wp-content/uploads/2026/04/Dixie-Home-Dairy-Feed-Feedsack.jpg) ## The Growth of the American Feedsack Industry Cloth was also scarce until the New England mills began weaving a good supply of American-made fabric in the 1800s. With U.S. manufacturers getting into the field, the American market no longer depended upon costly English and foreign yard goods. With machines to make the seams stronger and U.S. fabric now available, the American textile sack was possible. From about the 1880s through the 1940s the bags, as much as the products they contained, became hotly advertised items. One of the largest bag manufacturers in the nation was the Bemis Brothers Bag Company based in Minneapolis, MN. Today the Bemis bags and, in fact, all cloth bags are important collectors’ items. ![Feedsack Ad Black-and-white vintage newspaper ad for Sunny Valley Flour, promoting its new printed flour sacks—perfect not only for dresses and other items, but also ideal for those interested in Dating Antique or Vintage Quilts. Features text, borders, and product images.](https://quilthistory.com/wp-content/uploads/2024/04/feedsack-quilts1.webp) ![Two women wearing floral dresses sit and stand among large patterned feed sacks. One holds fabric and the other holds an open magazine as they talk, both surrounded by stacks of printed sacks.](https://quilthistory.com/wp-content/uploads/2026/04/feedsack-dresses-national-geographic-1947.jpg) ## Why “Feedsack” Is Not Quite the Right Name The terms “feedbags” or “feedsacks” are not totally accurate. According to Anna Lue Cook in her book [Identification and Value Guide to Textile Bags: The Feeding and Clothing of America](https://amzn.to/494LeBh), the flour industry consumed the largest share of the feedsack market with more than 42 percent, sugar was next with 17 percent, behind that were feed, seeds, rice, and fertilizer. Some people refer to these utilitarian bags as simply textile or cloth bags, chicken linen, or ‘pretties’. The loosely woven early bag was displaced when machinery became available and, as the trend for cloth packaging became more popular, a tighter cotton bag was more commonly used. When the product inside was used up, the frugal housewife, who wasted no scrap of cloth that came her way, was soon recycling the bags. ![Walker-Bag-Company-Article Newspaper article titled WALKER BAG COMPANY HAS INCREASED TRADE IN PRINTING OF SACKS discusses increased cotton and burlap sack printing, new equipment, and use of water from a historical well at the companys Louisville, Kentucky plant.](https://quilthistory.com/wp-content/uploads/2026/04/Walker-Bag-Company-Article-768x932.jpg) ## Novelty Feedsacks and Advertising Characters [![Fabric panel with printed cut-outs for making a Snow White doll, including doll parts, dress, and shoes, with sewing instructions and floral blue, pink, and white patterns.](https://quilthistory.com/wp-content/uploads/2026/07/Betty-Bemis-1024x625.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Betty-Bemis.webp)Betty Bemis – put out by the Bemis company in 1949. It’s featured on the cover of [Rag Darlings](https://amzn.to/4aZzUaP) [![White fabric with a repeating pattern of gray tabby kittens sleeping on pink pillows, surrounded by stitched lines and “Z” shapes to indicate sleep. The design is playful and cozy, suggesting rest and comfort.](https://quilthistory.com/wp-content/uploads/2026/07/Chessie-Feedsack-1024x704.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Chessie-Feedsack.webp)Chessie the Cat was a hugely successful 1933 advertising mascot for the Chesapeake and Ohio Railway (C&O), depicted as a sleeping kitten to promote air-conditioned, comfortable sleeping cars with the slogan “Sleep Like a Kitten and Arrive Fresh as a Daisy” [![Gone with the Wind Colorful vintage-style fabric with scenes of people in old-fashioned clothing, a couple riding in a horse-drawn carriage, others standing in front of a building, and a red train on a bright yellow background.](https://quilthistory.com/wp-content/uploads/2026/08/gonewiththewind.webp)](https://quilthistory.com/wp-content/uploads/2026/08/gonewiththewind.webp)Gone with the Wind Feedsack image ## How Families Reused Feedsacks Feedsacks were far more than inexpensive packaging. They became clothing, curtains, towels, quilts, and sometimes nearly every piece of fabric used in a household. Their cheerful prints also tell a larger story about thrift, home sewing, rural life, and the growing influence women had on product design and marketing. Today, a surviving feedsack, or even a scrap tucked into an old quilt, is a small piece of American social and textile history. Continue with [The Feedsack Story](https://quilthistory.com/depression-quilts/the-feedsack-story/) to learn how manufacturers turned ordinary commodity bags into desirable fabric and how families reused them for clothing, household goods, and quilts. ## Learn More ### Learn More About Feedsacks - [Feed Sacks: An American Fairy Tale](https://www.internationalquiltmuseum.org/exhibition/feed-sacks-american-fairy-tale), International Quilt Museum. This online exhibition includes feedsacks, quilts, clothing, and a virtual gallery. - [The Feedsack Collection at the Museum of Texas Tech University](https://www.depts.ttu.edu/museumttu/collections/clothing-textiles/feedsacks.php). The museum holds nearly 550 printed cotton sacks, more than 4,250 fabric swatches, garments, household items, and promotional booklets. - [From Feed Sack to Clothes Rack: The Use of Commodity Textile Bags in American Households from 1890–1960](https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1731&context=tsaconf), by Margaret Powell. This free Textile Society of America paper provides a more detailed and scholarly history. - [America’s Cotton Feed Sacks: And How They Changed the World](https://hapticandhue.com/americas-cotton-feed-sacks/), Haptic & Hue. This podcast episode includes photographs and a full transcript. It also places feedsacks within the broader history of cotton production, marketing, and reuse around the world. - [For a Few Sacks More](https://trc-leiden.nl/trc-digital-exhibition/index.php/for-a-few-sacks-more?utm_source=chatgpt.com), Textile Research Centre. This digital exhibition explores feedsack clothing, quilts, design, advertising, and identification. ### Books - [_Feed Sacks: The Colourful History of a Frugal Fabric_](https://uppercasemagazine.com/products/feed-sacks-reprint), by Linzee Kull McCray. This beautifully illustrated 544-page book is probably the best all-around choice for someone who wants to go much deeper. A new edition was released in 2025. - [_Feedsack Secrets: Fashion from Hard Times_](https://ctpub.com/products/feedsack-secrets-digital-download), by Gloria Nixon. Available as an ebook, it concentrates on patterned feedsacks, clothing, marketing promotions, and life during the Depression and World War II. --- --- title: "Top Ten Titles for Antique Quilt Study" url: "https://quilthistory.com/bibliography/" lang: "en-US" type: "page" description: "The Best Books for Antique Quilt Study Ask ten quilt historians to recommend the most important books on quilt history, and you'll probably get ten different answers. That is exactly what happened when this survey was first conducted in 2001" last_modified: "2026-08-13T21:40:36+00:00" custom_fields: iawp_total_views: 101 --- # Top Ten Titles for Antique Quilt Study ## The Best Books for Antique Quilt Study Ask ten quilt historians to recommend the most important books on quilt history, and you’ll probably get ten different answers. That is exactly what happened when this survey was first conducted in 2001 on the Quilt History List. Be sure to see [What Would Make the List Today?](https://quilthistory.com/top-ten-titles-for-the-study-of-antique-quilts-the-sequel/) The historians and researchers who contributed to this list had spent decades studying quilts, textiles, quiltmakers, and the stories behind them. Many owned libraries containing hundreds, or even thousands, of books. Yet when asked which titles they considered essential, certain books appeared again and again. Some recommendations were obvious classics. [Patsy and Myron Orlofsky’s Quilts in America](https://amzn.to/4o6rbc3), [Barbara Brackman’s Clues in the Calico](https://amzn.to/4x483PX), and [Ruth Finley’s Old Patchwork Quilts and the Women Who Made Them](https://amzn.to/4fi0bUI) were repeatedly cited as foundational works. Other recommendations reflected specific interests such as textile history, regional quilt studies, African American quilt traditions, oral history, and quilt documentation projects. What I found most interesting were the comments that accompanied the lists. The late quilt historian Cuesta Benberry observed that no one has every quilt book ever printed and encouraged collectors to remain open-minded. Her advice was simple: if it contains information about quilts, collect it. Even books containing outdated or incorrect information can be valuable to future researchers because they document how ideas about quilts evolved over time. Several contributors emphasized that quilt study extends far beyond patterns and bedcovers. They recommended books about fabrics, social history, women’s history, oral traditions, museum collections, and regional studies. As Virginia Gunn noted, quilts are artifacts of material culture. To understand the quilts, we must also understand the people who made them and the world in which they lived. Many contributors also stressed the importance of primary research. The annual Uncoverings volumes published by the [American Quilt Study Group](https://www.americanquiltstudygroup.org/) were frequently mentioned, as were state quilt documentation projects and symposium papers. These works represent the continuing effort to move quilt history beyond family stories and assumptions toward documented scholarship. This list is a snapshot of what respected quilt historians considered essential reading at the turn of the twenty-first century. Some titles have since been supplemented by newer research, while others remain classics more than a century after they were first published. Together they provide an excellent starting point for anyone interested in antique quilts, quilt history, textile studies, or the people whose lives are stitched into these remarkable objects. Whether you are just beginning your research journey or adding to an already overflowing quilt library, these books continue to offer valuable insights into the history, artistry, and cultural significance of quilts. 101 Patchwork Patterns – Ruby McKim A Piece of My Soul A Gallery of Amish Quilts; Design Diversity among the plain people All Flags Flying; The Great American Quilt Contest and Festival Always There: The African-American Presence in American Quilts – Cuesta Benberry America’s Glorious Quilts – Elizabeth Warren & Sharon Eisenstadt America’s Quilts and Coverlets – Carleton Safford & Robert Bishop American Quilts and How to Make Them American Quilts – Elizabeth Wells Robertson American Quilts and Coverlets – Florence Peto American Quilts and Coverlets in the Metropolitan Museum of Art – Amelia Peck An Encyclopedia of Pieced Quilt Patterns – Barbara Brackman Baltimore Album Quilts – Dena Katzenberg Calico & Chintz – (Adamson) Clues in the Calico: A Guide to Dating and Identifying Antique Quilts – Barbara Brackman Crazy Quilts – Penny McMorris Dating Fabrics – Eileen Trestain Encyclopedia of Appliqué – Barbara Brackman English and American Textiles from 1790 to the Present – Mary Schoeser & Celia Rufey Gee’s Bend Hands All Around Hearts and Hands: The Influence of Women and Quilts on American Society – Historic Quilts – Florence Peto Homage to Amanda In the Heart of Pennsylvania: 19th and 20th Century Quiltmaking Traditions – Index of American Design – Erwin O. Christensen Just New from the Mills: Printed Cotton in America – Diane L. Fagan Affleck Keep Me Warm One Night – Harold B. Burnham & Dorothy K. Burnham Mary Schafer and Her Quilts – Gwen Marston & Joe Cunningham New Discoveries in American Quilts North Carolina Quilts – Ruth Haislip Robinson Old Patchwork Quilts and the Women Who Made Them – Ruth Finley Old Quilts – William Rush Dunton Patchwork Quilts – Averil Colby Patchwork Souvenirs of the 1933 Worlds Fair Pieced by Mother Symposium Papers – Jeannette Lasansky (editor) Printed Textiles: English and American Cottons and Linens, 1700-1850 – Quilting – Averil Colby Quilts and Other Bed Coverings in the Canadian Tradition – Ruth McKendry Quilts: Their Story and How to Make Them – Marie Webster Quilts in America – Patsy Orlofsky & Myron Orlofsky Quilts in Community: Ohio’s Traditions – Ricky Clark, George Knepper & Ellice Ronsheim QuiltTreasures of Great Britian: The Heritage Search of the Quilters Guild Shelburne Museum: The Quilt – Kei Kobayashi Soft Covers for Hard Times: Quiltmaking and the Great Depression – Merikay Waldvogel SouthernQuilts Stitching Memories: African-American Story Quilts – Eva Ungar Grudin Textile Designs: 200 Years of European Patterns – Susan Meller & Joost Elffers Textiles in America, 1650-1870 – Florence Montgomery The Quilt Engagement Calendars (series) The Quiltmaker’s Handbook – Michael James The Quilters: Women and Domestic Art – Patricia Cooper & Norma Bradley Buferd The Quilt Digest (Series) – Michael Kile, editor The Romance of the Patchwork Quilt in America – Carrie Hall & Rose Kretsinger The Pieced Quilt: An American Design Tradition – Jonathan Holstein The Quilts of Gees Bend The Freedom Quilting Bee – Nancy Callahan The Quilts of Tennessee The Art of Needle-Work from the Earliest Ages – Countess of Wilton The Quilt Encyclopedia Illustrated The Amish Quilt – Rachel Pellman & Kenneth Pellman Granick The American Quilt – Roderick Kiracofe The Romance of Double Wedding Ring Quilts The Quilt: Stories from the NAMES Project – Cindy Ruskin & Matt Herron The Quilts of the British Isles Traditional Quilting: Its Story and Its Practice – Mavis Fitzrandolph Traditional British Quilts – Dorothy Osler Treasury of American Quilts Twentieth Century Quilts 1900 – 1970; Women Make their Mark Twentieth Century Quilts, 1900-1950 – Thomas Woodward & Blanche Greenstein Uncoverings (series, American Quilt Study Group) White Work --- --- title: "Conservation Resources" url: "https://quilthistory.com/conservation-resources/" lang: "en-US" type: "page" description: "Quilts aren’t just fabric and thread, they’re stories stitched together. And if you want those stories to last, how you store and care for them matters more than you might think. This guide rounds up trusted conservation resources, archival storage" last_modified: "2026-04-28T02:08:14+00:00" custom_fields: iawp_total_views: 23 --- # Conservation Resources Quilts aren’t just fabric and thread, they’re stories stitched together. And if you want those stories to last, how you store and care for them matters more than you might think. This guide rounds up trusted conservation resources, archival storage supplies, and textile care tools to help you protect your quilts without guesswork or crossed fingers. Whether you’re storing a family heirloom, working with vintage fabrics, or just trying not to “love it to death,” these sources will point you to safe, proven materials used by museums and serious quilters alike. If you find a supplier that we don’t have listed, please [send me a note. ](https://quilthistory.com/about/) ## Archival Storage & Textile Care Supplies These are your go-to sources for acid-free, museum-quality storage materials. - Conservation Resources International [https://www.conservationresources.com/](https://www.conservationresources.com/) Archival boxes, tissue, and textile-safe storage materials. - Gaylord Archival [https://www.gaylord.com/](https://www.gaylord.com/) A one-stop shop for museum and quilt storage supplies. - Conservation Support Systems [https://www.conservationsupportsystems.com/](https://www.conservationsupportsystems.com/) Professional-grade conservation and restoration materials. - Foster-Stephens [https://www.foster-stephens.com/](https://www.foster-stephens.com/) Excellent for acid-free boxes and textile preservation supplies. - DEMCO [https://www.demco.com/](https://www.demco.com/) Library-quality storage and display materials. ## Art & Craft Materials (Acid-Free Options) Helpful for conservation-friendly mounting, labeling, and storage. - Dick Blick Art Materials [https://www.dickblick.com/](https://www.dickblick.com/) Acid-free boards, storage materials, and tools. - Daniel Smith [https://www.danielsmith.com/](https://www.danielsmith.com/) High-quality artist materials with archival options. - Earth Guild [https://www.earthguild.com/](https://www.earthguild.com/) Textile and craft supplies, including natural fibers and tools. ## Environmental Monitoring & Lab Supplies For those who want to go full museum-mode with their quilts. - Cole-Parmer [https://www.coleparmer.com/](https://www.coleparmer.com/) Tools for measuring humidity, temperature, and environmental conditions. - Fisher Scientific [https://www.fishersci.com/](https://www.fishersci.com/) Lab-grade equipment and supplies used in conservation settings. ## Fabric & Restoration Sources When you need materials that match older quilts. - Country Creation Antiques http://www.countrycreationantiques.com/ Vintage and reproduction fabrics for restoration projects. ## Professional Conservation Help When a quilt is too valuable or fragile for DIY fixes. - American Institute for Conservation [https://www.culturalheritage.org/](https://www.culturalheritage.org/) Includes a “Find a Conservator” tool to locate trained professionals. --- --- title: "Quilt History Articles" url: "https://quilthistory.com/quilt-history-articles/" lang: "en-US" type: "page" description: "A brief essay on dating antique quilts by Kris Driessen \"A Brief History of the 'Feedsack'\" by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed" last_modified: "2026-08-13T21:20:46+00:00" custom_fields: iawp_total_views: 136 --- # Quilt History Articles - [A brief essay on dating antique quilts](https://quilthistory.com/dating-antique-or-vintage-quilts/) by Kris Driessen - [“A Brief History of the ‘Feedsack'”](https://quilthistory.com/a-brief-history-of-the-feedsack/) by the late Jane Clark Stapel. The founder of the Feedsack Club provides some historical background on this American phenomenon. Feedsacks fed a nation and clothed it, too. Learn how feedbags went from practical necessity to beloved quilting fabric in American history. - [A Short Introduction to Quilting in Europe](https://quilthistory.com/quilting-in-europe/) by Lady Sarah Davies. Quilting is older than you think. Discover how it traveled from ancient Asia through medieval Europe long before American patchwork came along. - [Arch Quilts: What they are and how to spot them](https://quilthistory.com/arch-quilts-what-they-are-and-how-to-spot-them/) Arch quilts were imported from China in the 1980s and 90s — and now show up mislabeled as antiques. Learn how to identify them. - [“](https://web.archive.org/web/20160716173051/http://planetpatchwork.com:80/cwquilt.htm)[The Civil War Quilt,](https://quilthistory.com/a-civil-war-quilt-finds-its-home/)[” ](https://web.archive.org/web/20160716173051/http://planetpatchwork.com:80/cwquilt.htm) Diane and Jim Lockwood embark on an adventure when they purchase an old Georgia quilt. A thrift shop crazy quilt made from Civil War uniforms leads one couple on a journey through history, battlefields, and a Georgia family’s secrets. - [Cleaning your Antique Quilt](https://quilthistory.com/cleaning-antique-quilts/) including a [Stain Removal Guide](https://quilthistory.com/stain-removal-guidelines-for-textiles-and-other-items/). This guide walks you through safe, proven methods for cleaning antique quilts. Learn how to test for bleeding dyes, choose the right mild soap, handle stubborn stains with sodium perborate, and avoid common mistakes that can permanently damage fragile fabrics. These practical tips help you protect an original piece of American history. - [Conservation Resources](/conservation-resources/) Find suppliers for antique quilt conservation materials, archival storage, and a professional conservator referral service. Includes a link to the PDF[Preserving Historic Quilts](https://quilthistory.com/wp-content/uploads/2026/05/Caring-for-Quilts-TechTalkSeptember1997.pdf) - [Copyright, Quilt History Research](https://web.archive.org/web/20210125102557/http://www.illinoisquilthistory.com/CopyrightSummary.html) - [Dear Jane](http://www.dearjane.com/) – the 225 patterns from the 1863 Jane A. Stickle quilt. - [Double Purple, a fading beauty](https://quilthistory.com/telltale-textiles-double-purple/) - [Dry Cleaning Historic Textiles](https://quilthistory.com/wp-content/uploads/2026/05/DRY-CLEANING-HANDOUT.pdf) by Colleen Callahan & Newbold Richardson, The Costume and Textile Specialists  - [Early Use of Natural Dyes in Textiles](https://web.archive.org/web/20200917184339/http://www.quilthistory.com/dye.htm) - [The Feedsack Story](https://quilthistory.com/the-feedsack-story/) by Kris Driessen - [Flooded? Salvage Your Textiles after a flood](https://quilthistory.com/wp-content/uploads/2026/05/Salvage-Textiles.pdf) by Lynn Lancaster Gorges, Historic Textiles Studio (PDF) - [Grandmothers Flower Garden Quilts](https://quilthistory.com/grandmothers-flower-garden-quilt-history/). Learn the surprising history of the Grandmother’s Flower Garden quilt pattern, its many names, and how to spot the era your antique quilt was made. - [The History of the Cotton Gin and it’s Impact on Textiles](https://quilthistory.com/the-history-of-the-cotton-gin/) - [Identifying Printed Textiles in Dress 1740-1890](https://quilthistory.com/wp-content/uploads/2026/08/Identifying-Printed-Textiles-1740-1890.pdf) - [International Sewing Machine Collector’s Society](http://www.ismacs.net/) Vintage sewing machine info, articles, particulars of all types of old machines. - [Jane McCrae, Burgoyne Surrounded, and the Making of an American Myth](https://quilthistory.com/jane-mccrea-burgoyne-surrounded-myth/) How a true Revolutionary War tragedy became an enduring American myth. - [The Library of Congress.](https://www.loc.gov/search/?in=&q=quilt&new=true) Enter “quilt” in the search engine and a great many images and articles will be returned, including WPA interviews with quilters during the Depression. - [Making a Silk Purse out of a Sow’s Ear](https://phoebemoon.com/using-those-wonderful-vintage-blocks-in-a-new-quilt/) – using those wonderful vintage blocks in a new quilt.  Kris Driessen - [Myths vs Facts](https://quilthistory.com/facts-vs-myths/) by the late Judy Anne Brenneman - [Nine Years Old and 1233 Pieces: The Little Alabama Quilter Who Deserved a Worlds Fair](https://quilthistory.com/nine-years-old-and-1233-pieces-the-little-alabama-quilter-who-deserved-a-worlds-fair/) - [Old and newer textiles defined in the Oxford English dictionary](https://quilthistory.com/cotton-and-textile-terminology/). Compiled by Patrick Leech - [Putting it in Perspective: The Symbolism of Underground Railroad Quilts](https://quilthistory.com/underground-railroad-quilts/) Were quilts used as secret codes on the Underground Railroad? The history is more complicated than the popular story suggests. - [Quilt Care](https://quilthistory.com/quilt-care-practical-tips-for-the-use-and-enjoyment-of-your-antique-quilt/) – Practical Tips for the Use and Enjoyment of Antique Quilts. Learn how to safely display, clean, store, and document antique quilts to preserve their beauty and history for years. - [The Quilt Index](https://quiltindex.org/) Images of over 100,000 quilts and counting - [Quiltersbee Comments on Quilt History](https://quilthistory.com/quiltersbee-comments/) Compiled and provided by Christina A. Aubin - [A Red and White Quilt Show](https://quilthistory.com/a-red-and-white-quilt-show/) - [Repair, Restore, Conserve](https://quilthistory.com/repair-restore-or-conserve/) – What to do with damaged antique quilts - [The Smithsonian Quilt Controversy](https://quilthistory.com/the-smithsonian-quilt-controversy) In 1992, Smithsonian-licensed quilt reproductions made in China sparked a nationwide protest. Learn what happened and why it still matters to quilters today. - [Sewing Machine History](https://scrapdash.com/its-national-sewing-machine-day/) – a brief overview for National Sewing Machine Day. - [Stain Removal Guide for Quilts and other Textiles](https://quilthistory.com/stain-removal-guidelines-for-textiles/) - [State Documentation Books](https://quilthistory.com/state-quilt-books/) - [Stitched in Silk and Secrets: The Victorian Crazy Quilt](https://quilthistory.com/stitched-in-silk-and-secrets-the-victorian-crazy-quilt/) Victorian crazy quilts were silk, velvet, and embroidery showpieces that revealed a woman’s wealth, skill, and creative voice. - [Telltale Textiles](https://quilthistory.com/telltale-textiles/) – Bitesize articles on various quilt dating topics like color and dye chemistry, prints and fabric styles, block patterns and naming trends, or how quilting fashions shifted decade by decade. All of it points back to the same goal: helping you look at an old quilt and read its history. - [The T Block and Temperance Quilts: Separating Fact from Folklore](https://quilthistory.com/t-is-for-temperance/) - [The Craze for Crazy Quilts](https://www.antiquequiltdating.com/The_Craze_for_Crazy_Quilts_began.html) by Cindy Brick - [The Influence of Textiles on the lives of 19th century women ](https://quilthistory.com/textile-influences-on-women/) Discover how the daily lives of 19th century American women shaped the textiles and quilts they made. From the heavy, restrictive clothing women wore at the start of the century to the explosion of decorative needlework that followed the invention of the sewing machine, this article traces the connections between women’s work, women’s rights, and the fabrics they created. Part of an ongoing series on the history of American quilting. - [The Sewing Machine and Quilters](https://www.antiquequiltdating.com/The_Sewing_Machine_and_Quilters_in_the_19th_Century.html) in the 19th Century by Kimberly Wulfert, PhD - [Top Ten Titles for Antique Quilt Study](/bibliography/) – A 2001 compilation of the favorite books from noted quilt historians - [Top Ten Titles for Antique Quilt Study – The Sequel ](https://quilthistory.com/top-ten-titles-for-the-study-of-antique-quilts/) includes many digital resources - [Turkey Red: The Brilliant Dye that Traveled the World](https://quilthistory.com/turkey-red-the-brilliant-dye-that-traveled-the-world/) - [Types of Quilt Appraisals.](https://quilthistory.com/quilt-appraisers/)  Includes a list of appraisers.  - [Underground Railroad Myths Debunked](http://historiccamdencounty.com/ccnews11.shtml) - [Victorian Mourning Customs: What to Wear, How Long to Wear It, and Why It Mattered](https://quilthistory.com/victorian-mourning-customs/) ## Archives - [Indispensable Indigo-The Deepest of Blue](https://web.archive.org/web/20090430182108/http://www.oregoncoast.com:80/denisedesigns/indigo.htm) - [The Quilt Projects: 15 Years Later by Shelly Zegart](https://web.archive.org/web/20080512034552/http://www.shellyquilts.com/Quiltprojects.html) - [Quilting and Patchwork in the British Isles](https://web.archive.org/web/20201001134039/http://www.quilthistory.com/ukquilts.htm) - [Quilts, Counterpanes & Throws, a Selection from the National Collection.  Smithsonian Institution,  National Museum of American History.](https://web.archive.org/web/20120625103745/http://americanhistory.si.edu:80/collections/quilts/) - [Marie Webster](https://web.archive.org/web/20211016155151/http://www.practicalpatchwork.com/) - [Southern Quilting](https://web.archive.org/web/20191023200446/http://xroads.virginia.edu/~UG97/quilt/opening.html) — One hundred fifty years of a shared tradition. This historical study of quilting in the south was put on the web by Jamie Leigh, an undergraduate in the American Studies Program at the University of Virginia.  - [Sweet Clara’s Freedom Hidden In Plain View; A Quilted Maze of Skepticism and Controversy](https://web.archive.org/web/20180505131326/http://www.historyofquilts.com:80/bailey.html) - [http://www.womenfolk.com/historyofquilts/](https://web.archive.org/web/20210128045900/http://www.womenfolk.com/historyofquilts/) and [Patches From the Past](https://web.archive.org/web/20190125054913/http://www.historyofquilts.com/)  Explore the history of quilts and the women who created them through links to pictures and brief articles. Very good for beginning quilt history enthusiasts, as well as classroom study. Enjoyable for everyone. Written by Anne Johnson - [Northern Comfort: New England’s Early Quilts](https://web.archive.org/web/20070726184923/http://www.osv.org/pages/Quilt_Index.html) An online exhibit of Old Sturbridge Village’s quilt collection with informative text about the start of textile history in America and early quilts.  --- --- title: "About/ Contact" url: "https://quilthistory.com/about/" lang: "en-US" type: "page" description: "About This Site Thirty years ago, the Quilt History List was a place for scholars, appraisers, and collectors to trade research with each other. Today, QuiltHistory.com carries that research forward for a different audience, the person who inherited a quilt," last_modified: "2026-08-05T16:34:56+00:00" custom_fields: iawp_total_views: 67 --- # About/ Contact **About This Site** Thirty years ago, the Quilt History List was a place for scholars, appraisers, and collectors to trade research with each other. Today, QuiltHistory.com carries that research forward for a different audience, the person who inherited a quilt, found one at a yard sale, or pulled one out of a closet and wants to know: is this old? Is it worth saving? What’s the story here? Our goal is to translate decades of quilt history research into plain-language answers a curious layperson can actually use, and to make sure nobody mistakes a hundred-year-old treasure for a garage rag. The Quilt History List was a forum for people around the world interested in antique quilts and related textiles to discuss the historical aspects of quilting. It existed between 1996 and 2016 as a separate list, then separated into different focus groups. We discussed all aspects of antique quilts, fabrics, design, color, and the stories behind them. We also shared our experiences with the more practical side of finding, washing, researching, restoring, and even reproducing. The primary focus was on learning from each other by exchanging stories, research, tips, and techniques. The group consisted of scholars, writers, teachers, collectors, quilt appraisers, restorers, librarians, museum curators, and other professionals. We reported findings, reviewed books and articles, and shared information about exhibitions, collections, publications, and conferences. Some of the Quilt History List discussions are online. [You can see a list here](https://quilthistory.com/category/quilt-history-list-archive/). The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form below if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged. For more information, contact Kris Driessen at [quilthistories@gmail.com](mailto:quilthistories@gmail.com). P.S. Here is the quilt top that started me on the journey to restore QuiltHistory.com. I found this wonderful Sunbonnet Sue, Overall Sam quilt top that had clearly been used by a mechanic to clean a dip stick or mop up grease. I thought “If only there was a place where someone could have found out that this top had value!” The light went off, the bell rang, and I started restoring the site from backups and the Wayback machine. It’s taking a ridiculously long time because even the platform was extinct but I am getting there! [![Sunbonnet-Sue-Overall-Sam-800 A quilt with twelve squares, each featuring a girl in a dress and hat made from different patterned fabrics. The figures are outlined simply, with no faces, on a white background. Some spots and stains are visible, offering glimpses into the quilt history about its age and use—please contact us for further details.](https://quilthistory.com/wp-content/uploads/2026/07/Sunbonnet-Sue-Overall-Sam-800.webp)](https://quilthistory.com/wp-content/uploads/2026/07/Sunbonnet-Sue-Overall-Sam-800.webp) Get notified everytime we publish a new article. Look for it in your newsletter or sp*m folder. You may need to drag it to your primary folder or mark it as not junk. Email Address By subscribing, you agree to our [privacy policy](https://quilthistory.com/privacy-policy/) and terms of service. --- --- title: "Home" url: "https://quilthistory.com/" lang: "en-US" type: "page" description: "♦ Celebrating 250 Years of American Quilts ♦ Quilt HistoryExplore our Quilting Heritage Every quilt tells a piece of history. This site is here for curious people who love old quilts, even if they do not know a turkey red" last_modified: "2026-08-13T21:34:58+00:00" custom_fields: iawp_total_views: 1179 --- # Home ♦ Celebrating 250 Years of American Quilts ♦ # Quilt History Explore our Quilting Heritage ![chintz-quilt A large bed with a colorful patchwork quilt—reflecting Quilt History - Our Quilting Heritage—features diamond and floral patterns in blue, red, and tan. The cozy room has wooden furniture, a chair, and sunlight streaming through the window.](https://quilthistory.com/wp-content/uploads/2026/04/chintz-quilt-768x576.jpg) Every quilt tells a piece of history. This site is here for curious people who love old quilts, even if they do not know a turkey red from a feedsack. Whether you inherited a family quilt, found one at a flea market, or are just wondering why that old quilt matters, this site will help you look at it with fresh eyes and treat it like the treasure it may be. ## Start Your Quilt Research Here [ ### Identify or Date a Quilt ](https://quilthistory.com/dating-antique-or-vintage-quilts/) [ ### Research a Quilt’s Story ](https://quilthistory.com/quilt-history-articles/) [ ### Repair, Restore or Conserve a quilt ](https://quilthistory.com/quilt-restoration/) [ ### Cleaning and Preservation ](https://quilthistory.com/cleaning-antique-quilts/) [ ### Explore Quilt Myths and Stories ](https://quilthistory.com/myths-misconceptions/) [ ### Find an Appraiser ](https://quilthistory.com/quilt-appraisers/) ## Why Trust This Site? QuiltHistory.com gathers quilt history articles, preservation guidance, research resources, and links to museums, appraisers, study groups, and books. Our goal isn’t scholarly credentialing, it’s making sure nobody mistakes a hundred-year-old treasure for a garage rag. Not sure where to begin? Our [Telltale Textiles](https://quilthistory.com/telltale-textiles/) series tackles one quilt-dating question at a time in short, well-illustrated entries, a quick way to get a feel for how the detective work is done. ## FEATURED QUILT HISTORY GUIDES [![Embossed floral design on fabric, featuring a basket filled with detailed flowers and stems, all in white, creating a textured, raised pattern against a plain background.](https://quilthistory.com/wp-content/uploads/2026/04/trapunto-featured-image-250x250.jpg)](https://quilthistory.com/quilting-in-europe/) ## [A Short History of Quilting in Europe](https://quilthistory.com/quilting-in-europe/) The word “quilt” summons a host of images: thrifty pioneer housewives piecing elaborate patchworks for their families; album quilts signed…[Read More A Short History of Quilting in Europe](https://quilthistory.com/quilting-in-europe/) [![A close-up of a cotton boll with fluffy white fibers, attached to a brown stem, set against a black background.](https://quilthistory.com/wp-content/uploads/2026/04/cotton-boll-1-250x250.jpg)](https://quilthistory.com/learn-quilt-history/the-history-of-the-cotton-gin/) ## [The History of the Cotton Gin and Its Impact on American Textiles](https://quilthistory.com/learn-quilt-history/the-history-of-the-cotton-gin/) Few inventions changed everyday fabric and clothing more dramatically than the cotton gin. Before its invention, cotton was difficult, slow,…[Read More The History of the Cotton Gin and Its Impact on American Textiles](https://quilthistory.com/learn-quilt-history/the-history-of-the-cotton-gin/) [![rolling-stone-quilt-block A close-up of a quilt block featuring green and white patterned fabric, with yellow knotted ties at each corner. The design includes squares and rectangles arranged in a geometric pattern.](https://quilthistory.com/wp-content/uploads/2026/04/rolling-stone-quilt-block-250x250.jpg)](https://quilthistory.com/people-stories/quilt-study-groups/) ## [Quilt Study Groups](https://quilthistory.com/people-stories/quilt-study-groups/) Quilt Study Groups are small groups of quilt enthusiasts who gather on a fairly regular basis to examine each others…[Read More Quilt Study Groups](https://quilthistory.com/people-stories/quilt-study-groups/) Browse by era ## Explore Quilt History by Era Use these era guides to place a quilt in historical context, from early whole-cloth quilts to feedsacks, crazy quilts, kit quilts, and modern revivals. [ Pre-1850 Early American Quilts Whole-cloth, broderie perse, and the first pieced traditions ](/early-american-quilts/) [ 1861–1865 Civil War Era Mourning quilts, fundraising quilts, and Turkey red fabrics ](/civil-war-quilts/) [ 1870–1900 Victorian Era Crazy quilts, silk velvets, and elaborate embroidery ](/victorian-quilts/) [ 1930s Depression era Feedsacks, pastel prints, and the great quilt revival ](/depression-quilts/) [ 1940s–50s Postwar revival Kit quilts, novelty prints, and bold graphic patterns ](/postwar-quilts/) [ 1970s+ Today’s Quilts The quilt revival, art quilts, and a new generation of makers ](/todays-quilts/) Resources ## What you’ll find here 58 In-depth research articles [Browse articles](/quilt-history-articles/) 250+ Years of American quilting history [About this site](/about/) ∞ Stories still to be told [Contribute your story](/about/) --- --- title: "Privacy Policy" url: "https://quilthistory.com/privacy-policy/" lang: "en-US" type: "page" description: "Who we are Our website address is: https://quilthistory.com/. It is our policy to respect your privacy regarding any information we may collect while operating our websites. This Privacy Policy governs your access to and use of QuiltHistory.com. This includes any" last_modified: "2026-07-30T12:34:55+00:00" custom_fields: iawp_total_views: 363 --- # Privacy Policy ## Who we are Our website address is: [https://quilthistory.com/.](https://quilthistory.com/.) It is our policy to respect your privacy regarding any information we may collect while operating our websites. This Privacy Policy governs your access to and use of QuiltHistory.com. This includes any content, functionality, and services offered on or through the website whether as a guest or a registered user. Please read the Privacy Policy carefully before you start to use the website(s). By using the website(s) or by clicking to accept the Terms of Use when this option is made available to you, you accept and agree to be bound and abide by the Privacy Policy. ## What personal data we collect and why we collect it ### Comments When visitors leave comments on the site we collect the data shown in the comments form, and also the visitor’s IP address and browser user agent string to help spam detection. An anonymized string created from your email address (also called a hash) may be provided to the Gravatar service to see if you are using it. The Gravatar service privacy policy is available here: https://automattic.com/privacy/. After approval of your comment, your profile picture is visible to the public in the context of your comment. ### Media If you [send images to me](https://quilthistory.com/about/), you should avoid uploading images with embedded location data (EXIF GPS) included. I do try to strip those, but if I miss one visitors to the website can download and extract any location data from images on the website. ### Cookies If you leave a comment on our site you may opt-in to saving your name, email address and website in cookies. These are for your convenience so that you do not have to fill in your details again when you leave another comment. These cookies will last for one year. ### Embedded content from other websites Articles on this site may include embedded content (e.g. videos, images, articles, etc.). Embedded content from other websites behaves in the exact same way as if the visitor has visited the other website. These websites may collect data about you, use cookies, embed additional third-party tracking, and monitor your interaction with that embedded content, including tracking your interaction with the embedded content if you have an account and are logged in to that website. ## AI Policy We do not publish articles, reviews, or any content drafted by generative AI tools. We never use AI to invent quotes, sources, statistics, or events, or to pass off machine-generated writing as human work. One exception might be an IA generated illustration of an abstract idea or a chart explaining different techniques such as the one in the [Bias Tape Applique](https://quilthistory.com/telltale-textiles/telltale-textiles-bias-tape-applique/) article. ### Limited, Behind-the-Scenes Tools Like most modern publishers, our writers and editors may use everyday software that includes automated features, such as spelling and grammar checkers, or search tools for checking facts and finding relevent links for the “Learn More” section. The words you read are always written by a person. ## For Further Information You may contact us at quilthistories@gmail.com --- --- title: "December 22, 1996 – December 31, 1996" url: "https://quilthistory.com/96022-2/" lang: "en-US" type: "post" description: "Primary topics of this QHL Digest: Restoration vs. conservation debate — the most substantial thread here. One camp argues old quilts should be left untouched, wear and all; another pushes back, arguing quilts were always mended historically and that thoughtful" last_modified: "2026-07-27T13:44:47+00:00" categories: [Quilt History List Archive] tags: [Fabric Identification, Oral History & Documentation, Quilt History Resources, Restoration & Conservation] custom_fields: iawp_total_views: 2 --- # December 22, 1996 – December 31, 1996 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) 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:** - **Restoration vs. conservation debate** — the most substantial thread here. One camp argues old quilts should be left untouched, wear and all; another pushes back, arguing quilts were always mended historically and that thoughtful restoration serves both preservation and enjoyment. Several members share real washing mishaps (dye bleeding) as cautionary tales. - **Textile terminology and technical fabric history** — detailed posts on linsey-woolsey, fustian, and glazing techniques (gum arabic, wax, heat-calendaring, and a debate over whether egg whites were used). - **Preserving and documenting family quilt history** — members discuss making labels, writing down oral history, and storage best practices (cedar chest acid warnings, tung oil finishes, acid-free tissue). - **Feedsack collecting** — Disney-motif feedsacks (Alice in Wonderland, Cinderella) and their collector value, plus a new member’s introduction as a feedsack collector and appraiser. - **Book reviews** — _First Flowering: Early Virginia Quilts_, _No Time on My Hands_ (Grace Snyder autobiography), and the novel _Stitches in Time_. - **WPA quilt pattern project** — a detailed history of a 1930s Works Progress Administration silk-screened quilt pattern series from Pennsylvania. - **Bridal/wedding quilt traditions** — a discussion kicked off by the Rose of Sharon pattern, exploring whether red-and-green and other applique styles were customarily made for brides. - **Practical quilt repair case studies** — detailed accounts of repairing fire-damaged quilts and completing found/orphaned quilt kits. Date: 22 Dec 96 11:39:31 EST From: Rabbit Goody Ok now I am really going to get myself in hot water. Textile fabric names Linsey-woolsey ok what do we really know? Yes cloths coming from Linsey Engalnd were sometimes called linsey as town names were helpful for distinguishing regional fabric production traditions Its use in colonial and post revolutionary America is very confusing. The term was used by deToqueville in his discriptions of traveling in America to mean a coarse home produced fabric with either linen or cotton warp and singles wool filling ( weft) in solids and stripes always in plain weave and without much finishing. The biggest problem I have is that people weaving in their homes at the same time did not use the term “linsey-woolsey” as often as those in the 20th century. Often the referrences to weaving plain cloth of linen and wool were simply called ” mixed stuff” Stuff usually equaling plain weave cloth as opposed to twills, figures, spot etc. The nice thing about using the term linsey-woolsey is that we can know it is plain weave and that it has cotton or linen warp and singles wool crossing it. So it is a good place to communicate but usually I try to find a referrence for a particular decade and its vernacular use, use by those weaving, and descriptive use by dry goods merchants etc. For example the term Fustian changes almost every 10 years between 1700 and 1900. Jean which has never changed in description is a sub set of fustian go figure. The most important thing is that we have so much surviving plain weave mixed cloth in many colors and weights Important though none of the surviving pieces are what I would call irregular or rough textured and when people reproduce it today they often mistake a low count ( warp threads and weft threads per inch) for a lumpy bumpy look for instance in the pieces I have in my collection the counts are usually in the high 30’s to low 40’s unless they are horse blankets which we do find so that would look like a low count sheet not like a lumpy irregular texture usually the yarns are very well spun and the weaving which can be problematic with linen warps is done well. Date: 22 Dec 96 11:39:33 EST From: Rabbit Goody Subject: Re: QHL: fabric sheen I have also heard about egg white glazes on worsted whole cloth quilts and on what we have come to call cotton Chintz of the 18th century. I cannot however find any actual receipes or directions for it as a fabric glaze That doesnt mean it wsnt used – but we do find good information about heat glazing worsteds and gum arabic and wax glazes. I just spent a few minutes in my library ( textile technology collection) and still could only come up with Gum Arabic and various other starch combinations. An introduction to textile finishing, by Marsh. Posselt’s textile library series and the Cyclopedia of Textile Work but these are all 19th century not 18th century. I will keep looking because we are very interested in finding the recipes. The Met has asked us to glaze some worsted and I have been experimenting with gum arabic and wax but I would love to have something easy like egg white to work with. I am curious though if egg whites will need the introduction of a pliable substance to keep the surface from breaking The glazing problem is just that one of keeping the glaze a pliable surface as textile move so much and this is semi permanent. Date: Sun, 22 Dec 1996 15:44:53 -0500 From: QuiltLineaol.com To: QHLcue.com Subject: QHL: Re: QHL-Digest Digest V96 #19 Hi all, I haven’t posted in a while, in fact only a few times since the beginning. I have read intently however all of everyone else’s posts. I am glad to read today that we are encouraging each other in the sharing of quilt knowledge, and hope that the debates that continue on this list, (and I am sure there will be more). One of my favorite things about those who love quilts, is that most of us, don’t mind the sharing of information. It is how we are enriched and can also learn how to enrich others. Perhaps this open forum will encourage those who want to keep all of their knowledge to themselves, to be more open. From the posts that have been made here since the beginning of the list, this is certainly not a threatening environment, and I for one am only here to learn, and appreciative of what has been shared. Debbie Roberts Date: Sun, 22 Dec 1996 19:03:37 -0500 (EST) From: beral26interlynx.net To: QHLcue.com Subject: QHL: linsey -woolsey Hi all, I’ve unlurked to respond to the suggestion that linsey-woolsey is named after a town in England. I am originally from England and have never heard of a town called that- that is not to suggest it does’nt exist – just I’ve never heard of linsey-woolsey in that connection. It is not listed in the Michelin Motoring Atlas of Great Britain & Ireland. I have studied 19th century costume and have some museum experience and always understood the name came from being a mixture of wool and linen/ or cotton. I am really enjoying this list and the discussion. I feel that I can learn a lot from the expertise of you all. I have sewed as long as I can remember, but more of a newbie when it comes to quilting. The history of textiles/quilts fascinates me, as does the history of needlework tools/workboxes. I have been collecting them for twenty-five years. Looking forward to the continuation of the discussion. Happy Holidays……Alma in Southern Ontario. Date: Sun, 22 Dec 1996 20:07:24 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: Re: QHL: Re: shine on fabrics Bev, and everyone, I have in “protective custody” a fabulous Victorian Crazy Quilt which also has a golden brown cotton sateen backing. Wonder if this was common, or just a coincidence?? The quilt was in my MIL’s godmother’s trunk, and we didn’t get it til she passed away, so don’t know who made it. Pretty sure it was made late 1800’s. In very good condition, some fabrics deteriorating. Has chenille work, Kate Greenaway embroidered children, hand painted patches with a bird’s nest & eggs, lots of different embroidery stitches, gorgeous fabrics, etc. Border is a crimson velvet. It has 4 fan blocks in the center, almost gives it a “sun” appearance, and 4 fan blocks, one in each corner. The crazy quilt patches are definitely done in blocks. This is a very organized Crazy Quilt!! The reason I have it in “protective custody” is that my MIL was “storing” it in her attic….just threw it up there. I asked to borrow it for a quilt show, and it had been rained on!! Then, she talked about putting it in a display window (they all face west) at her jewelry store!! She has no idea how fragile this textile treasure is. I have it rolled with acid free tissue paper, then in a cotton sheet, under my bed. Temperature and humidity there are pretty stable. Much better than her attic!! (After 25 years, she still calls what I do “knitting” !!) Can you stand some more book reviews?? I will post them separately. TTFN, Karan Date: Sun, 22 Dec 1996 20:07:39 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Book Review: First Flowerings I was privileged to attend one of the DAR “hands on” quilt lectures in March. If you have a chance, they are WONDERFUL!! I, too, was a tiny bit depressed that I couldn’t take pictures, but getting to handle a real Baltimore Album quilt, also quilts made by relatives of Edgar Allen Poe, Francis Scott Keyes, and Martha Washington, made up for it. I was very careful not to drool on the quilts!! Nancy Tuckhorn, textiles curator, was our workshop presenter, and I asked every question I could think of. Most of the rest of the group was very quiet…in awe of these fabulous, historic textiles. (I figured they could always just ship me back to Iowa!) The first piece we saw was a quilted petticoat from the 1700’s. Nancy explained that due to space limitations, they must evaluate any potential new acquistions, and see how it compares to pieces they already have in the collection. Because of this, they have kept the best of the best, and have a marvelous collection. I found a book in the DAR Museum gift shop, called “FIRST FLOWERING: EARLY VIRGINIA QUILTS” by Gloria Seaman Allen, Curator, based on an exhibit from July to Oct. 1987. This book contains both color and b&w photos of quilts from the exhibit, along with background information. The exhibit, and book, brought together quilts made in northern and eastern Virginia prior to 1840. I purchased this book as a souvenir, because some of the quilts we were shown are included- but there is lots of excellent information included. Also, the price can’t be beat: $5.00!! This is soft cover, 46 pages. Most of the quilts are medallion style, and feature the glazed cotton chintz we have been discussing lately. Sorry to say, I don’t have the DAR Museum phone number, maybe one of you nearer Washington can share that, if anyone is interested. One of the comments that stayed with me from that day, was that the technique we would call “trapunto” today, was called “stuffed work” at the time these quilts were being made. It was fascinating for me to see quilts of this age, when we did the Iowa Quilts Research Project, we saw very few quilts older than 1850 (Iowa became a state in 1846), and none of those older quilts were made in Iowa. This is another reason our discussions are so valuable…although I have seen quite a few 1850’s- 1950’s quilts in the Midwest….I have little experience with quilts from the East or South. So fascinating to learn more about ALL of this!! We can all keep adding little “pieces to the puzzle” as we shed more light on fabrics, quilts and quiltmakers. Karan Date: Sun, 22 Dec 1996 20:07:53 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Book Review: No Time On My Hands No Time On My Hands, by Grace Snyder, as told to Nellie Snyder Yost This is the autobiography of Grace McCance Snyder, told in a style that will remind you of Laura Ingalls Wilder’s series of Little House books. Copyright 1963, reprinted in 1986 by the University of Nebraska Press, ISBN 0-8032-9164-7 I don’t know if this book is currently available, but it is well worth tracking down. Grace tells of her life growing up on the high plains of Nebraska “where, as a child of seven and up, I wished three wishes and dreamed three dreams. I wished that I might grow up to make the most beautiful quilts in the world, to marry a cowboy, and to look down on the top of a cloud. At the time I dreamed those dreams and wished those wishes, it seemed impossible that any of them could ever come true” (but they all did). Grace’s beautiful petit point style “Flower Basket” quilt is shown in color on the cover of my copy, but the one thing (from a quilter’s point of view) lacking in the book is color photos of more of Grace’s quilts. There are family photos, and a few b&w’s with Grace’s quilts in the background. Grace tells how she pieced the Flower Basket quilt, based on a design on a china plate, of “triangle shaped pieces so small, that eight of them sewed together made a “block” no larger than a two-cent postage stamp.” It took 16 months to complete. When the quilt was finished, Grace wrote to the china company to see if she could find out who had designed the pattern. The owner of the company was so impressed with the photo of her quilt, he sent her an entire set of the china! Eventually, she was able to correspond with the German man who had designed the basket motif. Grace was born in 1882, and lived to be 100 years old. What amazing changes occurred over the century she lived. She was one of the quilters interviewed by Molly Newman prior to the writing of the play QUILTERS! and you will recognize some of Grace’s anecdotes in the play! Grace was inducted into the Quilter’s Hall of Fame in 1980. She started as a child, piecing scraps with leftovers from the family’s clothing, but used her “last dollar to buy enough yard goods to piece a quilt top” to take along when she hired out to teach at a prairie school when she was 18. Later, she married a neighbor, Bert Snyder, the cowboy she dreamed of, and they moved to a ranch in the sand hills of Nebraska. Her, Grace filled lonely hours with raising her family and stitching prize-winning quilts. They owned one of the first autos in the sand hills, bought in 1908. This is an enjoyable read, filled with the little everyday happenings, as well as the quilts that Grace “pieced in her spare time”. Hope you find some “spare time” for some stitching during the holidays!! Karan Date: Sun, 22 Dec 1996 21:20:41 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Re: shine on fabrics Love the book reviews by SadieRose..I woul dlike to add to the Grace McCance Snyder one..seveal years ago I hostessed a dicussion table at the AMSG conference in NE..one of my feedsack club members, Linda Winter, of Holdrege, NE invited me to spend a some time with her..while at her home, I was reading the book SadieRose reviewed and Linda told me Mrs. Snyder’s home was not too far from Holdrege..did I want to explore and find it? ARE YOU SERIOUS?? We packed a picnic and off we went..Grace’s daughter tells of the cemetary where immediate family members were buried..WE FOUND IT!! There is one particular plot where the marker has a “bubble frame” picture of the lady buried there..sure enough, there it was..I can;t recall but I think it was an aunt or Grace’s sister..SadieRose would know from the book.also, when Grace’s daughter flew to an exhibit of Grace’s quilts..the quilts rode in the seat next to Grace’s daughter..a place of honor..many thanx, SadieRose for the wonderful review and the memsories it awakened of my visit to ehr home area..we found the area of ehr homne after she was wed but there was nothing there to determine exactly WHICH spot it was..where her home had stood at one time..the lady who was born in a soddy, reared in a soddy, boarded /lived in a soddy when teaching school, and married and tended top her family in a soddy..Jane Date: Mon, 23 Dec 1996 13:38:39 -0600 (CST) From: celmoreksu.edu To: qhlcuenet.com Subject: QHL: Introduction Hi, Quilt Historians, etc. I, too, have been lurking on this listserv because I work as a librarian and have had very little time to be sending messages. Now that all the university students and hopefully some of the professors are now at home instead of in the library I can have a few minutes to pursue other academic interests–quilts. My name is Carol Elmore and my quilt interests are appraising quilts (AQS certified) and collecting fabric, quilts featuring dogs. I am also interested in feed sacks, especially those advertising chicken feed. I just bought an interesting sack at a sale which was one of the recycled sacks having advertising from one company on the front and from another company on the inside. I have several quilts which have fabrics with feed sacks from chicken feed. I recently contacted Jane S. who gave me a couple of contacts for feed sack information. Thank you Jane. I will probably be interested in joining her feed sack club sometime because it sounds like an interesting group. I’m not sure how much I will be able to add to your discussions. It seems like you all do a good job of discussing various topics. It sure is fun reading all the comments. Carol Elmore Manhattan, Kansas Date: Mon, 23 Dec 1996 20:57:45 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Introduction Welcome, Carol..the sack you mention, one advertiser on one side, another on the inside, is VERY unique and adds toit being collectable..several members are going to be quite interested in learning about it..we will be happy to have you with the club but you don’t have to join to avail yourself of help/contacts to gain info/acqurie sacks..and I know all of us will look forward to more posts from you..Jane Date: Tue, 24 Dec 1996 09:24:44 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: January Birthdays I just learned of another quilter on our list with a January birthday coming up (mine is too) …. I am amazed at how many quilters I know (several of them are nationally known) who have January birthdays. If any of you QHL members have Jan. birthdays, please e-mail me privately (don’t hit the reply key!). I don’t have to know the year…just the day. “The weather outside is frightful”…..new snow and wind warnings here. Wishing safe holiday travel to each of you and your loved ones! Karan Date: Tue, 24 Dec 1996 00:48:40 PST From: psierajuno.com (Pam D Siera) To: QHLcue.com Subject: QHL: Re: egg whites I hate to contradict Michele, and perhaps we are talking abut two different things, but I learned to paint with egg tempora by mixing the inner yolk with dry pigment in layers which made the painting translusent and that added the depth. A lot of fruit still lifes are painted this way. I’ve never heard of glazing a quilt though using any medium. Pam in Santa Rosa Date: Tue, 24 Dec 1996 07:06:24 PST From: psierajuno.com (Pam D Siera) To: QHLcue.com Subject: QHL: Re: preserving the history Message-ID: 19961224.072837.3446.7.PSierajuno.com”>19961224.072837.3446.7.PSierajuno.com In my cedar chest are several quilts made by my family. I caught my youngest daughter collecting quilts in her closet and realizing how important they were to her we went through all the quilts and I tried to remember as much history as I could and we wrote down at least that much on paper and pinned it to the quilt. After all the discussion about oral tradition and being the oldest woman in my family at 45, I was thinking, what do you all think about my making labels for these quilts. One in particular is the first quilt my mother made, would be 1930’s with the help of her grandmother, a Sunbonnet Sue. Another is an unfinished solid yellow and white that my grandmother told me her aunt had started, she had worked on it and now so have I and my daughter. It’s hand pieced and my grandmother bought more material so it isn’t an exact match. You see already my grandmother is dead and I can’t verify the story but then how will my daughter ever do better when I make it into a baby quilt if she ever has children? I don’t want to make a mess of them either. Thanks for your thoughts. Pam Date: Tue, 24 Dec 1996 11:03:08 -0500 From: SarahOzaol.com To: QHLcue.com Subject: QHL: Feedsack value Message-ID: 961224110307_35554459@emout07.mail.aol.com”>961224110307_35554459emout07.mail.aol.com HI All! Perhaps someone can answer this question that I’ve been thinking about ever since I picked up a particular feedsack. I’ve been collecting sacks for about 3-4 years. I have a rather large collection most found in Ohio, but I have found some here in the Phoenix area also. My question is, are some sacks worth more than others? While I lived in Ohio I came across, at an antique show, a sack that has Disney’s Alice In Wonderland motif/figures on it. There was only one, and I don’t believe the person selling it saw any worth in it at all considering they only asked a dollar for it. I’m surprised it wasn’t higher in price just because it was a disney/animation item. It is in excellent condition and still is stitched into the bag with the original seams. I haven’t seen since any bags with Disney things on them. Thanks for you help and Happy Holidays! Rose Gray Tempe AZ Date: Tue, 24 Dec 1996 11:24:06 -0500 From: QuiltFixeraol.com To: QHLcue.com Subject: QHL: Seasons Greeting From Toni Message-ID: 961224112405_1289491911@emout19.mail.aol.com”>961224112405_1289491911emout19.mail.aol.com Have a happy and safe Holiday. Wishes for a wonderful new year. I am so happy to be on this list with all of you. Merry Christmas Toni Baumgard QuiltFixeraol.com Date: Tue, 24 Dec 1996 11:24:34 -0500 From: Knutemaol.com To: QHLcue.com Subject: Re: QHL: Re: preserving the history Message-ID: 961224112428_875846066@emout12.mail.aol.com”>961224112428_875846066emout12.mail.aol.com Sounds like you have some treasures. I would definitely make some labels with the information that you know. Good luck, Bet Date: Tue, 24 Dec 1996 11:27:15 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Feedsack value Message-ID: 961224112715_371098922@emout14.mail.aol.com”>961224112715_371098922emout14.mail.aol.com Well, you lucky sacker, you!! GOOD FOR YOU!! It is worth anywhere from $25.00 and UP!! Like anything, the right location, the right person would pat at least $25.00 and a serious collector? $50.00 and up..I have one that unless they held a gun to my head..and that fact that it is in excellent condition, still closed (string still in) make sit VERy COLLECTABLE..These are the ones you would NEVER want to cut up..Yes, Disney appears on numerous ones..I have Alice in Wonderland, Cinderella, Davey Crockette, and there is also a Snow Wshsite..I have PIECES of a Snow White in the petals of a Dressden Plate..she and her Prince Charming are heading to the castle on his white steed..I understand there is a Lil Abner out there..and several members also have Gone with the Wind..Oh, I almost forgot..I have one with Miceky, Donald, and Goofy on it..they are such fun, so glorious in colors (because they were made with dyes we are no longer allowed to use because of the EPA)..so they are sooo colorful..and VERY historical..IF you are going to sell it I know of buyers..so please let me put you in touch with them IF that is the case..If you hold on to it..it can only increase in value..KEEP IT INTACT!! We would love to ahve you with THE FEEDSACK CLUB you would be among 650+ others who buy/sell/trade/collect/exhibit/researchg them..thanx fof sharing..Jane Date: Tue, 24 Dec 1996 11:28:54 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Feedsack value Message-ID: 961224112853_610987958@emout19.mail.aol.com”>961224112853_610987958emout19.mail.aol.com For Rose Gray and her fabulous Cinderella feedsack.. oopps! I forgot to ask..what color is yours? Mine is yellow background and Alice is dressed in green..Jane Date: Tue, 24 Dec 1996 11:30:27 -0500 From: Knutemaol.com To: QHLcuenet.com Subject: QHL: Nice Journal Message-ID: 961224113026_1155286464@emout02.mail.aol.com”>961224113026_1155286464emout02.mail.aol.com Someone just posted the idea of keeping a journal. A friend just gave me a very nice journal for Christmas. It is a very small one and is called THE QUILTER–a notebook. It has blank pages and also some interesting writings on some of the pages with illustrations. Publisher is A Quilter’s Resource publication Museum Quilts. IT is a terrific gift…now If I can remember to write in it. Merry Christmas, Bet in Florida Date: Tue, 24 Dec 1996 08:36:11 -0800 (PST) From: Michele Weise michele@peppertreestudios.com”>michelepeppertreestudios.com To: QHLcuenet.com Subject: QHL: egg whites Message-Id: 199612241636.IAA10792@acme.sb.west.net”>199612241636.IAA10792acme.sb.west.net Content-Type: text/plain; charset=”us-ascii” Yes Pam, you are correct–I mixed up my eggs; sorry, that was a dumb mistake. Yolks in the tempra paints, not whites– but egg whites for glazing fabric. What I was questioning on the original post was whether anyone else had ever seen a glaze on an 18th cent. quilt with egg whites? It is a very different look than the glaze done by pressing. I tend to believe my source and now too bad I can’t contact her to ask her how she got her information as she is away. Just for the fun of it, I’d like to try some egg whites on fabrics that are untreated. I’ll let you know the results. Michele in Moorpark,CA Date: Tue, 24 Dec 1996 13:05:05 -0500 From: PAMIAM6aol.com To: QHLcue.com Subject: Re: QHL: Glad to be aboard Message-ID: 961224130207_371109573@emout11.mail.aol.com”>961224130207_371109573emout11.mail.aol.com I am new to this forum, and am still in shock that there are so many people as addicted to old fabric as myself. I am sitting here transfixed to all of your posts. I have been quilting old quilt tops for 20 years, have worn out my Clues in the Calico, and continually wish that flour and sugar would come in fabric so that I could have some inspiration to bake for Christmas. Also wish that my old quilt tops could talk to me and tell me why that one pink piece was put in that corner. These old tops when quilted add a complete atmosphere to a room that nothing new can do. I know there is a field of thought that these old tops should not be “destroyed” from their originality by quilting, but I know that the makers of those old gems would be glad that someone is finishing what they were not able to. Hopefully someone will finish my cupboard full of old tops that I never will get to. Merry Christmas to you all. Look forward to your messages. Pam Tjelmeland Springfield Il Date: Tue, 24 Dec 1996 23:14:56 -0500 From: “Judy Grow” judygrow@blast.net”>judygrowblast.net To: QHL@cue.com”>QHLcue.com Subject: QHL: Re: Pam,s old family quilts Message-Id: 199612250517.AAA16343@fireball.blast.net”>199612250517.AAA16343fireball.blast.net Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I do not have old family quilts as I am the first person in the history of my family to make quiltsd. I take that back — my mother made two, at my urging. But I collect old quilts and mostly old quilt tops. The tops are more affordable, and I like the idea of finally getting some one else’s UFO finished. Every time I buy a top or a quilt, I ask the present owner to give me all the information they have on the item. Even if it is only the general location in the state, it is more information than I would have if I hadn’t asked. All the info I can garner, and some conjectures as well, along with the date I bought it, how much I paid, and from who and where goes on a card that I pin to the quilt/top. When I complete the quilt, and have the binding on, I transfer all that information to muslin and sew it to the back of the quilt — along with my name and address, date bought, and all the information on what I used to complete the item. There is a tremendous gap in the beginning history of these quilted items, but from the time it comes into my possession it has a real written history. I think Pam should do the same with her family quilts, and should include all the info she has, even if some of it is conjecture. The history starts with you! If you don’t, who will? Judy in NJ judygrowblast.net > Subject: QHL: Re: preserving the history > > In my cedar chest are several quilts made by my family. I caught my youngest daughter collecting quilts in her closet and realizing how important they were to her we went through all the quilts and I tried to remember as much history as I could and we wrote down at least that much on paper and pinned it to the quilt. I was thinking, what do you all think about my > making labels for these quilts. One in particular is the first quilt my mother made, would be 1930’s with the help of her grandmother, a Sunbonnet Sue. Another is an unfinished solid yellow and white that my grandmother told me her aunt had started, she had worked on it and now so > have I and my daughter. I can’t verify the story but then how will my daughter ever do > better when I make it into a baby quilt if she ever has children? Pam Date: Wed, 25 Dec 96 00:49:29 PST From: Sharon Harleman Tandy harleman@micron.net”>harlemanmicron.net To: Quilt History Listserve QHL@cuenet.com”>QHLcuenet.com Subject: QHL: Merry Christmas to All! Message-ID: Chameleon.961225011305.harleman@harleman.micron.net”>Chameleon.961225011305.harlemanharleman.micron.net Content-Type: TEXT/PLAIN; charset=US-ASCII For everyone on QHL, What a wonderful “gift” we have been given and have given to ourselves: to belong to this list where we “speak the same language”, have the same concerns, and where some of us have the answers to the queries of others. Merry Christmas to everyone and Happy Stitches! RE: Pam’s old quilts in her cedar chest. You have all the right instincts to begin preserving what you have, and the information you have. I have always advised people (especially when they say “But I don’t know anything about the history of the quilt.”) that when we register a quilt with no history, “That’s where we must start, ground zero. _Any_ other information we can get is the frosting on the cake, but every quilt starts out with nothing (kinda like being born?) and we can build from there. Plus, we must start somewhere. Quilts I have purchased from auctions, etc. or received as gifts with no info, at least their history from this point on will be recorded. The only thing I would caution is that where you include conjecture, be sure to signify that it _is_ conjecture so that the future historian will be able to discern where the line is. The other point I must make is that bare (unfinished) wood is very harmful to fabrics. Most of us know not to store quilts in plastic (they cannot breathe) or cardboard boxes (high acidity) but few realize that the traditional cedar chest storage is even more dangerous to textiles. All woods are acidic and cedar has one of the highest acid contents. Strange, that’s where so many textiles have been stored. At the very least, line the chest with acid-free tissue; even better, cushion the fold with acid-free tissue, fold with a 100% cotton, white sheet (well-rinsed, over and over, to get out all the remaining bleach, detergent, etc. and _no_ fabric softener). Fold the sheet along with the quilt, not just wrap the quilt in it. That way the sheet can protect parts of the quilt from itself at the same time it protects it from the outside. I need to ask more questions from my friend, the chemist, and my expert at the paint store, but I have read that wood with a good painted su! ! rface is safe for textiles. I have also heard the same thing about clear finishes, but I don’t yet trust that info because of the chemicals in Deft, polyurethane etc. I know when my retired forester DH who is also a good carpenter and woodworker, finishes a new project I cannot stand the smell of it for weeks after the last coat of finish is dry. The one finish I would recommend from my own experience is tung oil. When we first began using this as a permanent finish for our furniture, I read that tung oil is used to coat the inside of some soup cans (have you ever noticed that slightly golden coating inside of them? That’s tung oil; unharmful to us or the foods, so I believe it wouldn’t harm textiles either.) I hope this isn’t too long, I have been accused of being wordy, but then I always worry about leaving out any helpful information. And a Good Night to All, Sharon in warming, melting, somewhat rainy Boise. Date: Wed, 25 Dec 1996 03:59:02 -0500 From: MCarey1670aol.com To: QHLcue.com Subject: Re: QHL: Re: preserving the history Message-ID: 961225035859_1922074146@emout02.mail.aol.com”>961225035859_1922074146emout02.mail.aol.com Dear Pam, I think it’s a wonderful idea to preserve the history that you do know (or even the rumors that you have heard) about your family’s quilts. I think you might want to make a fabric envelope that would coordinate with the quilt in question, and hand-stitch that to the back of the quilt and then put your information about the quilt (and even any unsubstantiated theories about it if they seem pertinent) into the envelope. That won’t really alter the quilt itself in any permanent way, but it will let those who come into possession of it later know what they’ve got. I think you’re really lucky to have any family quilts; I wish I had some! (I guess I just have to be the “ancestor” that hands ’em down to others!) Bye, Mary Ann in Spokane Date: Wed, 25 Dec 1996 09:01:12 -0500 From: AJSNGSaol.com To: QHLcue.com Subject: Re: QHL: Re: Pam,s old family quilts Message-ID: 961225090111_1121837675@emout17.mail.aol.com”>961225090111_1121837675emout17.mail.aol.com Hi, I’ve decided to buy some old quilt tops this coming year and maybe finish them off. I like the fact that they are old, and my quilting will be new! I’ve seen a number of them that I passed up–all very reasonably priced–and now wish I’d bought them. But there will be more…. Merry Christmas, Nancy in Virginia Date: Wed, 25 Dec 1996 09:02:34 -0500 From: AJSNGSaol.com To: QHLcue.com Subject: QHL: Sorry! Message-ID: 961225090233_1590809580@emout15.mail.aol.com”>961225090233_1590809580emout15.mail.aol.com I posted my post to the list instead of to the individual. Sorry! I guess you’ll probably give me a break since it’s Christmas! Nancy in Virginia Date: Wed, 25 Dec 1996 09:12:56 -0500 From: AJSNGSaol.com To: QHLcue.com Subject: QHL: Merry Christmas Message-ID: 961225091254_943059446@emout05.mail.aol.com”>961225091254_943059446emout05.mail.aol.com Hi Everyone, Just a quick wish to say Merry Christmas! I hope all of you are having a wonderful holiday! I love hearing about all the wonderful quilting gifts everyone is getting! Fondly, Nancy in Virginia Date: Wed, 25 Dec 1996 11:18:04 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Post-it Notes and preservation (fwd) Message-ID: 961225111803_1425870634@emout02.mail.aol.com”>961225111803_1425870634emout02.mail.aol.com The following message was posted on QuiltNet and I thought it was worth sharing here. Tomorrow I will be checking my books and magazines, I know I am guilty of using these to mark areas I want to find easily in the future 🙁 my “Clues in the Calico” has lots of Post-It tabs!! Karan Add Post-it Notes to your “things to keep away from a book” list along with paper clips, pencils and pens. The verdict is in on Post-it Notes and similar adhesive markers! Though they are easy to use and may be removed from most paper surfaces, DON’T be tempted to use them in books. These seemingly harmless “markers” leave behind their adhesive, even when removed immediately. They were designed for shortterm application to expendable documents and have no place being used on permanent records and books. The National Archives and Records Administration (NARA) conducted research which determined that even when removed immediately, the adhesive residue remained. Even more dramatic effects result when used on newsprint (some of the ink is removed) or on brittle, fragile paper where removal may result in tearing. The NARA report concluded “these notes will cause increasing preservation problems when used with permanent records and should be avoided.” Think before you “Post-it”! Julie Page Preservation Librarian Univ. of Calif., San Diego jpageucsd.edu Date: Wed, 25 Dec 1996 14:46:40 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Sorry! Message-ID: 961225144639_676915168@emout10.mail.aol.com”>961225144639_676915168emout10.mail.aol.com Shall we forigve her or not? (how can I forgive her, I can’t even spell it) Public flogging? Penance? ORRRRRR, she buys a top, quilts it, and we claim it!! Cast your vote..Jane Date: Wed, 25 Dec 1996 14:48:45 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Merry Christmas Message-ID: 961225144845_35685348@emout07.mail.aol.com”>961225144845_35685348emout07.mail.aol.com Merry Christmas to you, Nancy..you make posts a pleasure to read..and a merry Christmas to our ‘new family forum’..and to Kris who brings us together..BLESSINGS to all..it’s going to be a wonderful 1997..Jane Date: Wed, 25 Dec 1996 15:00:32 -0500 From: AJSNGSaol.com To: QHLcue.com Subject: Re: QHL: Sorry! Message-ID: 961225150032_1222526972@emout19.mail.aol.com”>961225150032_1222526972emout19.mail.aol.com Actually Jane, I think that first quilt (whenever it gets quilted) will probably be framed and sent to my Mom with a note that says “SEE, I can SEW!!!!! and not cuss a blue streak while I’m doing it!” My mother would be so impressed! BTW, this above message is quilt related so I’m not in trouble right Kris? Merry Christmas! Nancy in sunny cool Virginia Date: Wed, 25 Dec 1996 14:18:31 -0700 From: “Mary E Scott” mscott28@cybertrails.com”>mscott28cybertrails.com To: “quilt bee” QuiltBee@Quilter.com”>QuiltBeeQuilter.com, “Interquilt” interquilt@needles.com”>interquiltneedles.com Cc: “Antique quilts” QHL@cuenet.com”>QHLcuenet.com Subject: QHL: RE: My Webb page Message-Id: <199612250717.OAA19722 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I have a BIG appoligy to make to all of you on these lists! I have wondered why no one could see the pictures on my page like I could when I went there. It seems that the problem is not you folks but with me. Like a DUH person I updated my page every weekend. I was so carefull to do everything that my son said to do. Well, almost everything. It seems that I was NOT uploading my page to the internet. So what was happening was that I saw what I had said and was very proud of my work. But it seems as if I was the only one enjoying all of my success. Please give me another try. I think that now you will find all of the goodies that I promised you. I am truley sorry. Sometimes I get more organized than at other times. I guess I had what you might call a “mind slippage.” I now know that I do suffer from CRS syndrom (Can’t Remember S..t) Merry Christmas Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html Date: Thu, 26 Dec 1996 04:55:13 -0500 From: quiltmagmindspring.com (Jean Ann) To: SadieRoseaol.com, QHLcuenet.com Subject: QHL: DAR Museum Message-Id: Content-Type: text/plain; charset=”us-ascii” Sadie….Debby Kratovil has interviewed Nancy Tuckhorn and written an article about the DAR museum for an upcoming issue of QUILT magazine. The main focus of the article is their quilt days and to let the public know about them. Would you be so kind as to allow me to print your personal experiences as expressed in your email with the article. Debby has never been to one of the quilt days so she cannot give a personal testimony. She thinks adding such a personal testimony would add a lot to the article and thought I should do it. However, i have not been to one of the quilt days either. I have only been a special guest at the DAR for an afternoon arranged by the British Embassy for some of their visitors, one of whom is a personal friend of mine…i was sort of a shirt-tail tag along, but it was thrilling because we also went into their vault to see all of the quilts there. I remember standing amongst the 200 or so quilts in the vault and thinking if i am destined to drop dead suddenly of a heart attack…this would be the place! I know this may be a strange thought to have in the DAR quilt vault, but several years ago my very best friend dropped dead in K-Mart. She would have been mortified if she could only have known what she had done…LOL. She was married to a very wealthy man and they belonged to all the best private clubs in Palm Beach, but she was a real thrifty person and bought all her underwear at K-Mart. She would go there 2 to 3 times a year to pull what she called an _underwear raid_, but never told any of her rich friends. Of course, they all found out. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 26 Dec 1996 06:00:35 -0500 From: quiltmagmindspring.com (Jean Ann) To: QHLcue.com Subject: QHL: fabric sheen and eggs Message-Id: Content-Type: text/plain; charset=”us-ascii” hmm…..what about egg tempera painting? My daughter had to make her own egg tempera paints while studying art at GWU. Could it be the same forumla,but without the color pigment? Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 26 Dec 1996 06:19:48 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: DAR Museum Message-ID: 961226061947_811752947@emout14.mail.aol.com”>961226061947_811752947emout14.mail.aol.com SADIEROSE, I hope you are going to give your permission to add to Debbie’s article..OH HOW I WISH Jean was going to add your post about the ‘panty raid’..WHAT A WAY TO START MY DAY!! Who says there’s a let-down the day after Christmas?? Jean, you sure lifted MINE!! and I can’t wait to read the article..Jane Date: Thu, 26 Dec 1996 06:23:43 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: DAR Museum Message-ID: 961226062342237077537@emout13.mail.aol.com”>961226062342237077537emout13.mail.aol.com what I meant to say ‘was add YOUR post, Jean” and for Mary, we are still having trouble contacting your Rip &* Stitch..let us know when it is up and running..Jane Date: Thu, 26 Dec 1996 06:32:25 -0500 From: Baglady111aol.com To: QHLcue.com Subject: QHL: Mary’s rip & stitch site Message-ID: 961226063225_1788793509@emout09.mail.aol.com”>961226063225_1788793509emout09.mail.aol.com It’s there, Mary..and I saw the quilts..which one is feedsack? Jane Date: Thu, 26 Dec 1996 09:13:26 -0500 From: quiltmagmindspring.com (Jean Ann) To: QHLcuenet.com Subject: QHL: my bio Message-Id: Content-Type: text/plain; charset=”us-ascii” here is my bio info for the group: I have been posting a few weeks and have been remiss in sharing it. Jean Ann Eitel, P. O. Box 3295, Marietta, GA 30061 I have been quilting for 35 years. 15 of them seriously. I am a single grandmother living in GA in a cute little cottage that I am fixing up to suit myself. I love it. I have 7 grandchildren. the oldest is 8 years old. A baby a year has turned me into a baby quiltmaking factory. I have five children, three of them have produced all these grandchildren. I am a Deacon in the Episcopal church. When I am not quilting I am working on ministry. I am editor of QUILT magazine. I am almost always quilting, writing articles about quilting, or taking pictures of quilts. I love having a life centered on quilts. I just wish i had more time to sew! Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 26 Dec 1996 10:53:44 -0500 (EST) From: Quilting Heritage ListServ QRS@mail.albany.net”>QRSmail.albany.net To: QHLcuenet.com Subject: QHL: Re: Nancy and Mary Message-Id: 2.2.16.19961226105119.24873674@mail.albany.net”>2.2.16.19961226105119.24873674mail.albany.net Content-Type: text/plain; charset=”us-ascii” Now, Jane, Nancy’s note was fine – I am a little confused, though. She is going to send her mother a quilt to prove she can SEW? Gee, I have a drawer full of UFO’s I would be happy to loan for that purpose… I was able to get to Mary’s page without a problem. The problem may be that y’all need the very latest browser – I _just_ downloaded Netscape 3.0 and now I can see frames and animation and hear music. (http://home.netscape.com/comprod/mirror/subscription/download.html) Mary has picked very appropriate music for Snowflake Arizona. Her son Robert designed the page – he did a nice job. I am impressed. Is today boxing day? If so, happy, happy! Kris Date: Thu, 26 Dec 1996 11:40:46 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Simply Quilts- Shelburne Message-ID: 961226114045_1821525367@emout20.mail.aol.com”>961226114045_1821525367emout20.mail.aol.com Post Holiday Greetings, everyone! Hope you have all survived the holidays!! Now take some time for yourself!! If you have access to HOME & GARDEN television, via cable or satellite dish, the program today was about the Shelburne Museum in Vermont. There was a short tour at the Museum, then back to the studio to stitch a 2 story house block based on one of the quilts. The final segment featured Demetria Zahoudanis, from RJR Fabrics, talking about the new “Sarah Johnson” collection. Very interesting!! I really enjoy the Simply Quilts show, with hostess Alex Anderson. They have different guests from the quilt world. The 1/2 hour show airs on Tuesdays and Thursdays at 9:30 am Eastern time, repeated at 2:30 pm Eastern time. The Tuesday show is repeated on Saturday at 1:00 pm EST, and the Thursday show is repeated on Sunday at 4:30 pm EST. One upcoming show I am really looking forward to will be aired Jan. 14 & - This show is on the Smithsonian quilts, and features Mimi Dietrich, author of “Quilts From the Smithsonian” and “Quilts, An American Legacy”. Hope you will get to see these interesting shows!! TTYL….Karan Date: Fri, 20 Dec 1996 21:21:33 -0600 From: “S. Scruggs” sharon@2access.com”>sharon2access.com To: SadieRoseaol.com CC: QHLcue.com Subject: Re: QHL: January Birthdays Message-ID: 32BB57BD.5A67@2access.com”>32BB57BD.5A672access.com Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Happy Birthday to US…Happy Birthday to US! Happy Birthday..Happy Birthday..Happy Birthday to US! Yep, I am in there, too…January 7th is my day. A capricorn going up the mountains with exuberance I am. Sharon — Jim & Sharon Scruggs sharon2access.com Date: Thu, 26 Dec 1996 14:20:22 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Re: Nancy and Mary Message-ID: 961226142020_1356724964@emout18.mail.aol.com”>961226142020_1356724964emout18.mail.aol.com I LOVE MARY’S PAGE!! I LOV ETHE BLUE AND THE PURPLE COMBO..REALLY IMPRESSIVE!! YOU’RE RIGHT..NANCY SHOULD GET OUR QUILTS FOR PRACTICE!! YOU tell her..J Date: Thu, 26 Dec 1996 16:03:19 -0500 (EST) From: aardvarkime.net (A.A. Harkavy) To: QHLcue.com Subject: QHL: Chinese Coins Quilts Message-Id: 199612262103.QAA29269@ime.net”>199612262103.QAA29269ime.net Content-Type: text/plain; charset=”us-ascii” Delurking for a few minutes to ask a question: I know that the Amish made quilts they called Chinese Coins, and that the horizontally striped motif with strong vertical strips in between horizontally pieced strips have been made by nonAmish as well. I am, however, curious as to how the name Chinese Coins came about. The explanation that comes to my mind is that the horizontally stacked vertical units could represent “stacked” coins. Since that’s just a notion that makes sense to me, based on nothing more than the workings of my mind, I hope someone can shed some light on this. Anybody have any info? Addy aardvarkime.net Date: Thu, 26 Dec 1996 18:19:59 -0800 From: all all@styx.ios.com”>allstyx.ios.com To: QHLcue.com Subject: QHL: Quilt Repair Message-ID: 32C3324F.6C59@styx.ios.com”>32C3324F.6C59styx.ios.com Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I would like to ask the members of this list for some advice on repairing an antique quilt. I recently acquired an old red and while penny square quilt, age and source unknown. Each of the embroidered penny squares has a floral motif. The embroidery is of good but not of outstanding quality. The pieces are sewn together by machine. The quilting work is carefully done, but again is not of great quality. The muslin backing is brought to the front and sewn down by hand to form the binding. It is , overall, a nice quilt, but by no means a museum piece. It was obviosuly done carefully by someone of average ability (probably about as good I as can do). There is one small round hole about a quarter-inch in diameter in the red border, and one of the muslin penny square pieces has a section along one edge where the fabric is “separating”. I don’t know the technical term of this kind of fabric problem, but it is sort of like a run in a stocking — the threads in one direction are more or less intact, while the threads running in the other direction are shredded. The area of damage here is about one-half inch by 3 inches. Otherwise the fabric is in excellent condition and seems quite strong — not at all fragile I would like to repair these two damaged areas and would appreciate your advise on the best way to do these repairs so as to do the least damage to the quilt and give it the most protection. My inclination is to patch both areas with matching fabric, but if there is a better, more acceptable way to make these repairs I’d like to use it. One other thing I should mention is that I do intend to use this quilt. I would not give it any hard use, but I’d like to occasionally put it on a bed as a coverlet or use it for a nap quilt, so I want to make sure that the repairs are strong enough to stand up to some use and an occasional washing. If you would like to reply to me directly, I’ll summarize the responses and post them since I think this is a question that might be of interest to several people. (If anyone would like to guess at a date for this quilt, I’d appreciate your input. As I said, all of the penny squares have a floral motif. If anyone can suggest a book I could hunt down to try to date this quilt, I’d be most grateful.) Thank you. Adelaide (in New York City, where Christmas Day was cold and clear and beautiful and treated us to a magnificent sunset) Date: Thu, 26 Dec 1996 19:51:37 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Re: Rose of Sharon Message-ID: 961226195137_1222667728@emout10.mail.aol.com”>961226195137_1222667728emout10.mail.aol.com I am quite sure that I read some where that there was a tradition, or maybe a superstition, about young girl’s making a Rose of Sharon applique quilt as a hope chest quilt or wedding quilt. What I am remembering is that each one was to modify the design somewhat….not just copy another’s pattern, and this is why there are so many variations of this design. Some applique designs you see frequently, almost identical. But most Rose of Sharon types are each slightly different. Can anyone give me a printed reference with this?? TIA….Karan Date: Thu, 26 Dec 1996 20:18:41 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Re: Rose of Sharon Message-ID: 961226201840_642708017@emout01.mail.aol.com”>961226201840_642708017emout01.mail.aol.com All I can offer on ROSE of SHARON is that no other rose has had as many variations and all have the built up rose, stem, leaves, buds..it took on a political flavor, as did several other desigsn, and became known as the WHIG ROSE & DEMOCRATIC ROSE. In most cases it was the young brides “best quilt” as it was a more involved pattern than the 9 Patch, Hole in the Barn Door, etc..the colors of rose, mauve, reds were most common, pink being the last color used as it was the last color made. Thru time it became difficult to account for all the patterns due to so many variations..It is a popular block in my lectures because all others are pieced and the ROSE of SHARON is a good example of what would be a quilt made for special occassions..Jane From: kmccoyglenerin.com (Kay McCoy) To: QHLcue.com Subject: QHL: Quilt Histories Message-Id: Content-Type: text/plain; charset=”us-ascii” Because of my presence on this list, I started a family fight on Christmas Day!!! Taking to heart that I need to construct some histories for the old quilts I have, I asked my father what year my Mom (who died last year) started a cathedral window–he said about 1955 which I know to be absolutely untrue by about 25 yrs! He’s almost 85 and I tried not to fuss with him too much about it–but his information was not very helpful. Then I asked my 91 yr old aunt (who actually finished the quilt for Mother) and she doesn’t even remember doing it, although a younger aunt and Dad confirmed she did. Then my sister chimed in to say “NO, a lady in our church finished it.”–which I also know to be untrue! Before I knew it, everyone was arguing about this quilt! Boy, these histories sure are difficult!!!!! Katie in Colorado “A Quilting Sew & Sew” kmccoyglenerin.com Date: Fri, 27 Dec 1996 23:21:38 +0000 From: “The Garretts” bgarrett@po.fast.net”>bgarrettpo.fast.net To: QHLcue.com Subject: Re: QHL: machine quilter for chintz repro Message-Id: m0vdqIJ-0003j9C@fast.net”>m0vdqIJ-0003j9Cfast.net Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Beth asked about sources for machine quilting a circa 1800 repro Chintz quilt, which sounds beautiful, by the way. Several thoughts – - Chintz quilts were not machine quilted since they predate 1850, the invention date for the sewing machine. - At the Renwick exhibit in Washington, some of the chintz quilts were summer spreads – just a top and back with no quilting. Especially the ones with intricate piecing and therefore lots of thick seams. Since Beth said this quilt is already heavy, perhaps this might be a compromise. These are just my thoughts. I’m not trying to tell Beth what to do, just providing options to add to the other options she recieves. Barb in southeastern PA (bgarrettfast.net) Date: Fri, 27 Dec 1996 23:52:56 PST From: psierajuno.com (Pam D Siera) To: QHLcue.com Subject: QHL: Re: Chinese Coins Message-ID: 19961228.004200.9742.1.PSiera@juno.com”>19961228.004200.9742.1.PSierajuno.com Could the setting of the chinese coin be I Ching layouts, representing hexagrams? The idea is to take three coins and toss them six times. Each time a solid vertical line or a broken in the middle line is stacked on top of the preceding ones. It would be interesting if they had extra meaning, even if the Amish quilters didn’t realize it. But I don’t know what a chinese coin really looks like even though a nice person tried to draw me a “net” picture. Pam Date: Sat, 28 Dec 1996 10:57:07 -0500 From: JQuiltaol.com To: QHLcue.com Subject: QHL: Help!! the dilemma broadens Message-ID: 961228105707_1688393269@emout18.mail.aol.com”>961228105707_1688393269emout18.mail.aol.com As of Christmas I am now the owner of 3 new quilting history books, “No Time on My Hands” by Grace Snyder, “Legacy, The Story of Talula Gilbert Bottoms and Her Quilts” by Nancilu B. Burdick and “Stitched from the Soul” by Gladys-Marie Fry . I also am the owner of a gift certificate for a purchase of yet another quilting book at our local bookstore. I have a difficult time juggling quilting and computer time during the day and leave reading for bedtime…but these new books are like the Sirens singing to Ulysses,calling him to the rocks… These Siren/books keep sending me haunting, songlike messages from beside my bed…songs like, “Slip into bed and read all day, who will know, we won’t tell”… But I know how long Ulysses got side tracked from returning home… and I fear I will stay in bed reading and calling out to Dominos for Take Out Pizza, until it I become a subject for a Talk Show on Morbid Obesity. I can see me now … on my bed, wrapped in a quilt, clutching my books and empty pizza boxes, being wheeled on to the Sally, Ricky, Geraldo, Montel,,and Rolanda Shows…. Then told, that the only hope is to join some 12 step program for BBPO.. Bed, Books,Pizza and Obesity. I not going to, even mention the Candy Grams that I will be sending myself for dessert. Oh, Oh, it’s too late…the songs are too enticing…I am heading for the bedrooooooo……….m. Jean Laino jquiltaol.com Date: Sat, 28 Dec 1996 10:48:44 -0700 From: “Mary E Scott” mscott28@cybertrails.com”>mscott28cybertrails.com To: JQuilt@aol.com”>JQuiltaol.com, QHL@cue.com”>QHLcue.com Subject: QHL: Re: Help!! the dilemma broadens Message-Id: <199612280343.KAA13721 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit STOP STOP!!! We can’t let you fall into such a life a decandence. I’ll save Your. What about those candy grams? Hmmmmmmmm…. What’s the e-mail address to order them from? Hmmmmmm…. How do I get in contact with Geraldo? Do they buy us all the pizza we can eat???????? I hear the sirens calling…………… Chocolate…………….. Marrrrrrrrrryyyyyyyyyy………. mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html Date: Sat, 28 Dec 1996 12:07:03 -0800 From: “Mimi Dietrich (quilterumbc.edu)” mdietr1@umbc.edu”>mdietr1umbc.edu To: QHLcuenet.com Subject: QHL: Simply Quilts Message-ID: 32C57DE7.DE0@umbc.edu”>32C57DE7.DE0umbc.edu Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi! My name is Mimi Dietrich and I LOVE reading all of the wonderful information on this list. Thanks to SadieRose for letting everyone know about my upcoming show on Simply Quilts about my Smithsonian project. I taped the show in early October. It was great fun and Alex Anderson was so gracious and easy to work with. After it was over I could not remember a thing I said or did. Last week I received a preview copy of the show- what a relief! I hope you all like it! There is a major “Historical” boo-boo in the show, so I will admit it to you all now. The Copp Quilt was made in the late 1800’s- not 1700’s. I’m surprised I could say my name with all the lights, cameras, and action all focused on us! The “Copp Quilt” I have with me was made by a member, Helen Johnston, who was so nice to lend it to me for the book- and she’s the “Cover GirL”. I think you will enjoy the TV close-up shots of the quilt and it’s fabric! Enjoy! Date: Sat, 28 Dec 1996 15:58:52 -0800 From: Michele Weise michele@peppertreestudios.com”>michelepeppertreestudios.com To: QHLcue.com Subject: QHL: family histories Message-Id: 3.0.32.19961228155039.0068f370@mail.west.net”>3.0.32.19961228155039.0068f370mail.west.net Content-Type: text/plain; charset=”us-ascii” To Katie’s post on the family fight on Christmas, I just wanted to say thank you for sharing that. I laughed a lot. I guesss it’s just a typical thing for families to fight over small things…and I think quilt histories are the perfect target. Thanx Katies for letting me know I’m not alone when it comes to family disputes and irritations. Your post sounds like the opening scene in a delightful comedy. I think you probably know more about those quilt histories than anybody–so go for it. Only the next generation will appreciate your work. Michele in 1/2way sunny Calif. Date: Sat, 28 Dec 1996 19:10:56 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Re: Help!! the dilemma broadens Message-ID: 961228191056_1989589107@emout04.mail.aol.com”>961228191056_1989589107emout04.mail.aol.com Ok, Mary, I’ll help too..you grab the pizza boxes and candy-grams so she isn’t embarrassed and I’ll grab the quilt..Jane Date: Sat, 28 Dec 1996 19:19:17 -0800 From: Lynn and Debbie Cupp lcupp@erols.com”>lcupperols.com To: QHLcuenet.com CC: lcupperols.com Subject: QHL: bio and American Memory Collection Message-ID: 32C5E335.261C@erols.com”>32C5E335.261Cerols.com Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello to my fellow list members: Although I joined the list a little while back I am de-lurking to give you a brief bio and share some new stuff I came across. I am Debbie Cupp, a pushing 40 mom, nurse, and quilter. I have very little evidence of quilting in my family but have been collecting antique quilts for a few years. I like traditional patterns but try to be open-mindedin my own quilting. I am active in my local guild–raffle quilt is my 97 project. The history and stories associated with quilting have long been favorites of mine and I collect the books that have the state research projects. DH gave me Lone Stars A Legacy of Texas Quilts, 1836-1936 and Shared Threads, Quilting Together Past and Present for Christmas. If you are interested in reading quilt stories on the web, there is a great site at the Library of Congress. The American Memory Collection has a searchable site. I typed in _quilt_ and there were many stories that were told to WPA workers in the 30’s by the people who lived them. I enjoyed many there but don’t have time to read as many as I would like. If you are interested http://lcweb2.loc.gov Thanks for this list, Kris. Debbie Cupp Virginia Beach Lcupperols.com Date: Sat, 28 Dec 1996 19:25:03 -0500 From: “James M. Welch” hawk@csionline.com”>hawkcsionline.com To: QHLcue.com Subject: QHL: what is this? Message-ID: 32C5BA5F.2702@csionline.com”>32C5BA5F.2702csionline.com Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi, While in Massachusetts last weekend I found what seems to be part of a kit. Its a white background with appliqued red carnations and green leaves with embroidered stems. It is about 3 feet across and 8 feet long. It has the dotted lines for quilting and it does say bottom and Quilt No 7099 on one end. Anyone have any ideas on what it could be besides a kit and any way to tell how old it is? The antique shop that I bought it from had no idea. Debbie in NJ Date: Sat, 28 Dec 1996 19:51:11 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: QHL: Stitches In Time Message-ID: 961228195110_237395209@emout03.mail.aol.com”>961228195110_237395209emout03.mail.aol.com Here is a different sort of book to add to your reading list: ” Stitches in Time” by Barbara Michaels, a novel with an unusual applique album quilt woven through the story. This is one of those “I can’t put it down” type books, the story line is intriguing (if a bit sinister) and the characters are well developed. The story centers around a shop that sells vintage clothing and textiles, and there is some discussion of restoration and repair. The parts of the story which involve quilts and textiles are well done. There weren’t any glaring errors, which I find annoying (when a non-quilting author uses “our” medium inaccurately). The story line also revolves around a voodoo like curse stitched into the quilt, “weaving a fascinating tale of suspense and the supernatural”. Action takes place in the Washington, D.C. area, around Christmas to New Year’s time period, which made my reading it now seem even eerier. I have not read any of Barbara Michaels’ novels before, but according to the book jacket, “Stitches In Time” returns to the same characters and setting of three of her previous books: “Ammie” “Come Home” and “Shattered Silk”. Will have to check the library for these titles, too. Makes me want to chant “I will think happy thoughts as I stitch on each quilt” – just in case!! Happy New Year!! Karan Date: Sat, 28 Dec 1996 19:51:01 -0500 From: SadieRoseaol.com To: QHLcue.com Subject: Re: QHL: Help!! the dilemma broadens Message-ID: 961228195059_1390564104@emout18.mail.aol.com”>961228195059_1390564104emout18.mail.aol.com Jean, Well, there is a way to alleviate all the trial and tribulations you foresee: just read your quilt books whilst you pedal away on your exercise bike!! Then, you will have accomplished two things at once: answered the Book Sirens song….and saved yourself from Richard Simmons at the same time (no, I don’t have anything against RS) Actually, you can burn off enough calories to earn that pizza or maybe a hot fudge sundae!! Or, maybe you can position that exercise bike in front of the computer….then you could read your mail and exercise at the same time. (Don’t know how you would work the mouse, though, but maybe those lunges to move the mouse would be extra exercise). I bet the thigh master would work while you sit at the computer….. This is going down hill fast….time to write about another book to add to your list…… = :0 Karan Date: Sat, 28 Dec 1996 19:54:24 CDT From: josiemtekstar.com To: QHLcue.com Subject: QHL: American Memory URL Message-Id: <199612290154.TAA27479perham> <>. I am afraid I didn’t notice who posted the URL for this fantastic website. Thank you, whoever it was, this is full of the most wonderful WPA writers interviewing real people of the ’30s, telling touching life stories. I will be coming back again and again to read more. I took the advice of the person who posted, went to http://lcweb2.loc.gov/ and in the search line typed in quilts. This site really “bears repeating” for those of you who love to read! And thanks again to the poster, Jo in Minnesota Date: 28 Dec 96 20:55:01 EST From: Rabbit Goody 75444.1037@CompuServe.COM”>75444.1037CompuServe.COM To: “INTERNET:QHLcue.com” QHL@cue.com”>QHLcue.com Cc: Beth qltlady10@aol.com”>qltlady10aol.com Subject: QHL: Re: Storing historic textiles Message-ID: 961229015501_75444.1037_FHQ30-2@CompuServe.COM”>961229015501_75444.1037_FHQ30-2CompuServe.COM Just thought I might add some to the storage pot. I have been in preservation and historic textiles long enough to see people spend a lot of time and money when common sense would have been a better choice. First we need to understand what happens to historic textiles then we can understand how to take better care of them and common sense can rule. Actually even though environmental damage is high on the list the higher two are ultraviolet ( exposure to sunlight) and handling. If the piece is truly a valueable one then handling as little as possible and storing in as large a format totally supported would be most helpful. No exposing a textile to sunlight is very important. The environmental issues are also important but less damaging immediately So storing a quilt in a natural muslin bag or pillow case with no dyes or bleach is excellent if it is in your closet of some place in your house where you live The moisture levels and temperature levels are usually well controled in your living space. Avoid the attic, or basement for obvious reasons. On a shelf is better than a cardboard box Cardboard is made using highly acidic paper and cottons especially dont do well in close proximity but by all means that is better than without a bag Textiles are more fragile than any other parts of our material culture and as such we really need to protect those that we want to keep around but use those which can safely get used up. Ultimately we cannot save them becasue in time they disentigrate anyhow . I personally think putting quilts on a bed fully supported not touching wood in a room without much light where the light can be control and dogs and cats cannot stay too long is the absolute best for quilts from the late 19th century on. I have a little trouble saying that about those which have survived from the 18th and early 19th century but then I do get to play curator alot. Date: Sat, 28 Dec 1996 20:56:52 -0500 From: QRestoreaol.com To: QHLcue.com Subject: QHL: Debatable Re: Washing Quilts Message-ID: 961228205651_1654896887@emout13.mail.aol.com”>961228205651_1654896887emout13.mail.aol.com Well, here I go, I may stir up yet more controversy about washing quilts. . .I must respectfully disagree with the premise that “all textiles”, including quilts, “should never be washed”. We’ve (the QHL list) discussed some of the pros and cons of washing quilts and the proper way in which to do it. I’m reminded of these words by Camille Dalphond Cognac; “Who owns the quilt?” Not all quilts are of museum quality and ultimately each quilt owner must make that decision whether to wash a quilt. As a quilt restorer, my goal is to return a quilt to its owner so that it looks as nearly as it did originally and ensure it be made strong enough for use. No one is suggesting that quilts/textiles with historical significance be repaired, they obviously should not. As Camille mentions in her book “Quilt Restoration A Practical Guide” “Grouping all quilts together as equally precious is a current romanticized view of quilts which denies reality” . . . .and to treat them as if they were of equal quality defies common sense.” Quilts that are tattered, dirty or damaged also speak to our hearts. Many quilt owners are torn and don’t know what to do with them. The quilt may be too damaged to display but our sentimental attachments to them won’t allow us to throw them away. My own personal opinion is that quilts should be enjoyed and shared as much as possible and not stored in a box only to be taken out on special occasions. I see nothing wrong with providing loving care for quilts in need of cleaning or repair so that we may enjoy them. Restoration has always existed in the art and antique world. Whether made of wood, glass, stone or whether a painting, these objects have been restored for cenuturies, this included cleaning surfaces. I believe common sense would tell us that to store or display a quilt that is soiled (not stained) and filthy would only cause more deterioration and damage. There is a difference between conservation and restoration and the quidelines are quite clear as to when these techniques ought to be used. To simply state that “all textiles” should not be washed is not addressing a quilt owner’s dilema about what to do with their sentimental treasures. All of us bear some responsibility to present proper methods when it comes to providing TLC quilts need. I could go on and on . . . just wanted to point out we can agree to disagree. Now I will get down off my soapbox (sigh). Victoria Montgomery QRestoreaol.com Boise, ID Date: Sat, 28 Dec 1996 20:12:27 -0700 From: “Mary E Scott” mscott28@cybertrails.com”>mscott28cybertrails.com To: SadieRose@aol.com”>SadieRoseaol.com, QHL@cue.com”>QHLcue.com Subject: Re: QHL: Help!! the dilemma broadens Message-Id: <199612281308.UAA19641 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit NOW NOW Sadie Rose: Let’s not get obscene mentioning that awful word “exercise.” The next thing you know you will start talking about that ….I can’t even bring myself to say it…. you know the d.. word. D..t. Oh now I’v really gotten myself in trouble. I swore in public. Oh Damn. Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html Date: Sat, 28 Dec 1996 22:46:33 -0500 From: QuiltLineaol.com To: QHLcue.com Subject: QHL: Re: QHL-Digest Digest V96 #26 Message-ID: 961228224633_1524131630@emout15.mail.aol.com”>961228224633_1524131630emout15.mail.aol.com With regards to washing/cleaning antique quilts. Although I have seen many a quilt that can use a good bath, and those that have faired (sp) well, I need to agree that wet washing a quilt can be……a disaster. You have to weigh the pro’s and con’s. Rabbit hit the nail on the head, you can wash 10 quilts without a problem, but the 11th…… For instance, I was helping a friend (antique quilt vendor) at a quilt show recently, a woman who she had sold a quilt top to came in with a complaint. She had been told by this vendor that she could safely wash this top, once it had been made into a quilt, with the batting and quilting technique proper to the time period. She was told to hand wash it in cold water, otherwise using the directions on the Orvis container. To make this long story short, the reds in this 1930’s era top ran all over the place and ruined the quilt. Taking every precaution when attempting to wash a quilt if you must cannot be over stated, including testing for color fastness. If possible try to find a professional quilt cleaner. There are several around, (I know of one in Upland, CA. if interested), and I think they can pretty much judge how wet washing will affect an old quilt. If you can live with it as it is, then live with it as it is. We are all entitled to our opinions, and I am glad that the discussions on this group are so stimulating. I wish to appologize to any one else and again to the person who e-mailed me privately for “shouting” on this list (using all caps). I do this sometimes when I am having a physical difficulty with my left hand and it is hard to reach down to the shift key,(this isn’t a serious anomoly, but painful, it comes and goes). However, apparently using all capitals was offensive at least to one person, and I had no idea that this was against proper ‘netiquette’. If anyone else was disturbed by this, I am truly sorry (would of been all capitalized for expression, but….). I won’t post when I am having this ailment in the future. 🙁 Debbie Date: Sat, 28 Dec 1996 23:02:50 -0500 (EST) From: Quilting Heritage ListServ QRS@mail.albany.net”>QRSmail.albany.net To: QHLcuenet.com Subject: QHL: Linsey Woolsey Message-Id: 2.2.16.19961228230030.51877b46@mail.albany.net”>2.2.16.19961228230030.51877b46mail.albany.net Content-Type: text/plain; charset=”us-ascii” Like Jo, I have spent a few happy hours tonight surfing the web. http://lcweb2.loc.gov/ is _really_ a great site. At the search line type in quilts. I also looked through http://ttsw.com/QuiltHistoryPage.html, which has a lot of very interesting links, including one to Linsey-Woolsey. This is what it had to say: “One of the earliest fabric used in American quilts was linsey-woolsey. This fabric consisted of a linen (or sometimes cotton) warp and a wool weft. The name of the fabric came from the village of Linsey in sussex, England. Flax was one of the larger crops in colonial America and linsey-woolsey was a strong, durable fabric. Linsey-woolsey bed covers were generally whole cloth quilts. As the quilt wore out, usable sections were salvaged and were pieced into other quilts.” Interesting, huh? For those of you who are new to the list, I will cut-and-paste what Rabbit had to say on the subject. > Ok now I am really going to get myself in hot water. Textile fabric names Linsey-woolsey ok what do we really know? Yes cloths coming from Linsey Engalnd were sometimes called linsey as town names were helpful for distinguishing regional fabric production traditions Its use in colonial and post revolutionary > America is very confusing. The term was used by deToqueville in his discriptions of traveling in America to mean a coarse home produced fabric with either linen or cotton warp and singles wool filling ( weft) in solids and stripes always in plain weave and without much finishing. The biggest problem I have is that people weaving in their homes at the same time did not use the term “linsey-woolsey” as often as those in the 20th century. Often the referrences to weaving plain cloth of linen and wool were simply called ” mixed stuff” Stuff usually equaling plain weave cloth as opposed to twills, figures, spot etc. The nice thing about using the term linsey-woolsey is that we can know it is plain weave and that it has cotton or linen warp and singles wool crossing it. So it is a good place to communicate but usually I try to find a referrence for a particular decade and its vernacular use, use by those weaving, and descriptive use by dry goods merchants etc. For example the term Fustian changes > almost every 10 years between 1700 and 1900. Jean which has never changed in description is a sub set of fustian go figure. The most important thing is that > we have so much surviving plain weave mixed cloth in many colors and weights Important though none of the surviving pieces are what I would call irregular or > rough textured and when people reproduce it today they often mistake a low count > ( warp threads and weft threads per inch) for a lumpy bumpy look for instance in > the pieces I have in my collection the counts are usually in the high 30’s to low 40’s unless they are horse blankets which we do find so that would look like > a low count sheet not like a lumpy irregular texture usually the yarns are very > well spun and the weaving which can be problematic with linen warps is done well. > > Kris Date: Sat, 28 Dec 1996 22:37:56 CDT From: josiemtekstar.com To: QHLcue.com Subject: QHL: American Memory URL Message-Id: <199612290437.WAA04130perham> Hello again: In mentioning this Library of Congress Website and describing WPA writers who were writing life stories of Florida squatters, and Oklahomans making their way to California during those terrible dust bowl days maybe some explanation is in order. For you younger sisters (and brothers) who may not know what the WPA was, it was one of the Franklin Roosevelt era New Deal depression recovery programs called Works Progress Administration. It employed people from all walks of life who couldn’t find work in countless projects, and writers were hired to interview people all over the country. John Steinbeck was a WPA writer, as were many of his compadres of that time. I believe his book The Grapes of Wrath came of some of these experiences. Just so you can appreciate this website even more! Jo in Minnesota Date: Sun, 29 Dec 1996 17:13:24 +1100 (EST) From: Li Joo Ng lng@bf.rmit.edu.au”>lngbf.rmit.edu.au To: Posting QHL@cuenet.com”>QHLcuenet.com Subject: QHL: moth balls Message-ID: Pine.OSF.3.95.961229170616.12154B-100000@otto.bf.rmit.edu.au”>Pine.OSF.3.95.961229170616.12154B-100000otto.bf.rmit.edu.au Content-Type: TEXT/PLAIN; charset=US-ASCII Thanks to Peg G for replying to my posting personally and also to Rabbit Goody for sharing tips on storing antique quilts / textiles. I have another question. After storing my antique quilts in pillow cases, is it all right to throw some moth balls around the pillow cases? Or are there better alternatives? I have had several bad experiences with moths. They ate up my rather expensive Italian T-shirt, my favourite face towel and a brand new never-worn pair of shorts. I do not intend to allow any moth to come within a mile radius of my precious antique quilts. Help – all tips and suggestions will be greatly appreciated. Thanks. Date: Sun, 29 Dec 1996 06:43:43 -0500 From: Baglady111aol.com To: QHLcue.com Subject: Re: QHL: Linsey Woolsey Message-ID: 961229064340_270914131@emout13.mail.aol.com”>961229064340_270914131emout13.mail.aol.com Thanks so much for the post on Linsey Woolsey..I knew I had seen the town Linsey on a map somewhere after having been told there was such a place..I added Woolsey to the name as well..maybe that is why Alma couldn’t find it in her search. When you meet the many people I com in contact with at lectures, you begin to wonder if that IS what was said..I seachjed back again in my mind and realized I posted the town as Linsey- Woolsey.that is probably why Alma couldn’t find such a place in her home in England..thanks again for the post..Jane Date: 29 Dec 96 09:28:20 EST From: Rabbit Goody 75444.1037@CompuServe.COM”>75444.1037CompuServe.COM To: “INTERNET:QHLcue.com” QHL@cue.com”>QHLcue.com Subject: QHL: Re: soap box Message-ID: 961229142820_75444.1037_FHQ14-1@CompuServe.COM”>961229142820_75444.1037_FHQ14-1CompuServe.COM it wasnt a big soap box and you certainly are right in saying who does the quilt belong to its just that washing always runs the risk of total distruction. You cannot be sure that when you wash something it will survive so the piece had better be disposable. That is the problem they dont talk and say i can be washed safely. As for torn tattered why cant we display things that are not perfect anymore? why must it look as it did before? If it has age the age should show not be removed. I know this is a radical thought to some but its like dying your hair and getting face lifts pretty superficial to the real essence of a quilt. Wear, stains, tatters are part of what happens to textiles and we can learn more by not restoring and observing than fixing and pretending. Hows that for disagreement and controversy obviously I am taking the extreme view here but someone needs to so think about what the value of maing something look as it did versus understanding it as it is now and acepting it. Date: Sun, 29 Dec 1996 10:17:07 -0500 (EST) From: Quilting Heritage ListServ QRS@mail.albany.net”>QRSmail.albany.net To: QHLcuenet.com Subject: QHL: From a dealers perspective Message-Id: 2.2.16.19961229101442.27af4fc8@mail.albany.net”>2.2.16.19961229101442.27af4fc8mail.albany.net Content-Type: text/plain; charset=”us-ascii” Let me offer a comment on deteriorating quilts from an antique quilt dealers perspective. I had Rabbit’s point of view when I first became a dealer. (Still do, actually.) I felt that damage and age spots and so on were part of the personality of a quilt and I enjoyed the not-so-perfect ones as much as I enjoyed the perfect ones. They certainly _taught_ me more! A damaged quilt teaches you a great deal about sewing techniques, threads, batting, foundation piecing, etc. When I first started out, I tended to prefer this type of quilt. (Probably because I started as a restorer.) The problem is that few people buy them. I very quickly learned that people who want a quilt for it’s monetary value only want something that is perfect. It is QUILTERS who will take a slightly damaged piece and love it as it is, or enjoy the restoration process. Since there are far more imperfect quilts than perfect quilts in the world, my sales focus quickly became “quilters” as opposed to “antiquers”. I have dropped out of the antique show circuit almost entirely now. I only do the ones where I am the more likely to purchase than to sell. I would be interested in other comments on this. Kris, who is trying to remember what Yoda said. “When 600 years old you get, look this good you will not.” (?) At 09:28 AM 12/29/96 EST, Rabbit Goody wrote: > If it has age the age should show not be removed. I know this is a radical thought to some but its like dying your > hair and getting face lifts pretty superficial to the real essence of a quilt. Wear, stains, tatters are part of what happens to textiles and we can learn more > by not restoring and observing than fixing and pretending. Hows that for disagreement and controversy obviously I am taking the extreme view here but someone needs to so think about what the value of making something look as it did versus understanding it as it is now and acepting it. > > Date: Sun, 29 Dec 1996 11:23:41 -0500 From: RLHlink3aol.com To: QHLcue.com Subject: QHL: RE: letting old quilts be old quilts Message-ID: 961229112340_1457729765@emout20.mail.aol.com”>961229112340_1457729765emout20.mail.aol.com Hello! I’m new here and thoroughly enjoying the discussions, including the controversy on what to do with damaged old quilts. My 2 cents worth (and I’m not an expert!): I rather agree with Rabbit. If it’s old, let it look old. [Now, it’s true that I do cover my gray –but I still look old 🙂 ] I inherited a stack of memory quilt blocks done for my Mom upon her marriage to my Dad in the 1920’s –looking all the worse for having been stored all that time –mouse stains etc. I washed them gently, but about 50% of the stains remain. So what? I put them all together, with one additonal block signed by Mom, quilted it, and now am proud to show it off. My current project is backing a 98 yr old, –gorgeous– crazy quilt top from my husband’s side of the family and preparing it for display. It will mean so much to his 86 yr old mother when she sees it finally finished (a late Christmas surprise for her). The velveteens are worn (or deteriorated?) in places. There are a couple of holes (into which I will insert similar colored fabric), but the holes and shabby places will remain –proudly. I understand that many people would not want to “buy” a less than “perfect” piece. Being the perfectionist that I suspect that I am, it took some seious thinking before I came to the conclusions that I have shared. Also, being a penny-pincher, I am very careful about how much I spend on a damaged quilt. Wish I didn’t have to be such a pincher, but my station in life does not leave me many $$$ to spend on such. Question: My next project: I recently found a set of 12 nine-patch blocks –in good condition, nice colors, very old. The fabrics are much lighter weight than the cottons we use today. (Much, much lighter than the cottons used in my Mom’s 1930’s blocks.) What kind of fabric dare I use to set these blocks into a quilt top for display only? I am thinking of alternating plain blocks with the old ones perhaps. Any suggestions anyone? Thanks to you all. Date: Sun, 29 Dec 1996 11:27:52 -0500 From: gridgeesalgorithms.com (Merry May) To: QHLcue.com Subject: QHL: Re: QHL-Digest Digest V96 #26 Message-Id: Content-Type: text/plain; charset=”us-ascii” Re: Debbie’s “What is This?” My best guess is that it’s the bottom border of an applique quilt kit. The kits were common back in the ’30s, and are still available today (i.e., Herrschner’s catalog). Merry Date: Sun, 29 Dec 1996 11:31:49 -0500 From: PAMIAM6aol.com To: QHLcue.com Subject: Re: QHL: From a dealers perspective Message-ID: 961229113149_1189411139@emout11.mail.aol.com”>961229113149_1189411139emout11.mail.aol.com I am listening to all of you with your varying ideas on all of this. I have been quilting old quilt tops for 20 years. Against the advice of our local quilt shop, I put them into the wash machine on gentle and line dry. If they should bleed, etc do it now. Some seams come apart, no big deal they can be fixed. Of couse I am not talking about museum quality tops here, although many have been early l900. My point is I cant work and hand quilt on these things because generally THEY SMELL. I have never had a disaster, but I guess one of these days I may get a surprise. Also quilt tops not being as expensive as a completed quilt if one does disintergrate I guess it would not be as terrible, but I still would not be happy. I love this forum, it keeps me busy reading all your ideas. Pam in Springfield Date: Sun, 29 Dec 1996 12:21:21 -0500 From: QRestoreaol.com To: QHLcue.com Subject: Re: QHL: Re: soap box Message-ID: 961229122119_1222977698@emout07.mail.aol.com”>961229122119_1222977698emout07.mail.aol.com While I certainly agree there are many quilts that are too damaged and/or stained and should be appreciated for their charm, there are just as many that with a small amount of restoration can reduce the advancement of further damage. Are we to ignore past generations of quilters who routinely mended, darned, patched and created their own soloutions to preserving textiles (vintage clothing, linens, quilts, etc.) in order to pass them on to their children, grandchildren, etc? There is alot to be learned from those who so carefully repaired and maintained quilts in centuries past. Quilts made for special occasions or display were seldom used, and are in excellant condition today. However, the majority of quilts made were well used and yes, repaired over and over again, many by the original quiltmaker. Quilts were made to be functional, with scarcely a thought to having it displayed in a museum. Quilts were washed using harsh methods and beaten and we would consider them abused today, but we are smarter today about such methods. How would we want our quilts to be treated years from now? To have someone meticously and carefully repair (not change) a quilt, so that it might be appreciated and seen, not stored, would bring me great joy. Quilts have always been repaired, it is part our their history that has been passed down through generations of families. True restoration does not mean removing age from a quilt, nor does it mean altering or changing a quilt. Perhaps there is a lack of understanding, on the part of some, about what true restoration is. There is admittedly, a huge gap between those who believe conservation is the only correct solution in preserving our quilts and those who believe restoration can be successfully used in maintaining a quilts condition. How can we forget what our ancestors have taught us about preserving and maintaining quilts Date: Sun, 29 Dec 1996 13:34:29 -0500 From: mrbillmagicnet.net (Bill Wohlfart) To: Subject: QHL: GFG quilts Message-Id: <199612291837.NAA13497magicnet.magicnet.net> Content-Type: text/plain; charset=”us-ascii” Hi everyone. Jeanann in Orlando, Fl., here. I love to buy old pieced blocks at antique shows, etc. and finish them as I believe every quilter would have wanted her quilt to be finished and admired. I bought 10 GFG blocks about 5 years ago. They obviously went together as some of the greatly mis-matched fabrics were in other blocks. they were dirty and still even had the newspaper basted on the back of each little hex. Finally, I went to my local quilt shop guru and asked her to teach me how to paper piece so I could make a white on white (antique style) path to connect all the blocks and finish the top. I washed them by hand and laid them on my patio. After the birds anointed them, I washed them again and laid them out covered. I spent about three months (after cutting lots of brown paper hex patterns and lots of cloth circles) hand basting and then whip-stitching everything together. I made a wall hanging with the ten plates staggered in rows. I hand-quilted in each row of the “flowers” and hand-quilted “phantom flowers” in the larger white spaces. It cam out great and it is amazing how good they all look together, even the plaids and stripes and the orange and green hexes. I’m glad I learned the old technique and it was very satisfying to complete the top. Jeanann in Orlando —————————— Date: Sun, 29 Dec 1996 13:54:43 -0500 From: QRestore To: Subject: QHL: Opps! Message-ID: <961229135442_2053773550emout11.mail.aol.com> Sorry. . .Forgot to sign this response to Rabbit Goody’s comments, so will resend it. While I certainly agree there are many quilts that are too damaged and/or stained and should be appreciated for their charm, there are just as many that with a small amount of restoration can reduce the advancement of further damage. Are we to ignore past generations of quilters who routinely mended, darned, patched and created their own soloutions to preserving textiles (vintage clothing, linens, quilts, etc.) in order to pass them on to their children, grandchildren, etc? There is alot to be learned from those who so carefully repaired and maintained quilts in centuries past. Quilts made for special occasions or display were seldom used, and are in excellant condition today. However, the majority of quilts made were well used and yes, repaired over and over again, many by the original quiltmaker. Quilts were made to be functional, with scarcely a thought to having it displayed in a museum. Quilts were washed using harsh methods and beaten and we would consider them abused today, but we are smarter today about such methods. How would we want our quilts to be treated years from now? To have someone meticously and carefully repair (not change) a quilt, so that it might be appreciated and seen, not stored, would bring me great joy. Quilts have always been repaired, it is part our their history that has been passed down through generations of families. True restoration does not mean removing age from a quilt, nor does it mean altering or changing a quilt. Perhaps there is a lack of understanding, on the part of some, about what true restoration is. There is admittedly, a huge gap between those who believe conservation is the only correct solution in preserving our quilts and those who believe restoration can be successfully used in maintaining a quilts condition. How can we forget what our ancestors have taught us about preserving and maintaining quilts. Food For Thought . . . Victoria Montgomery QRestore Boise, ID —————————— Date: Sun, 29 Dec 1996 16:23:59 -0500 From: Baglady111 To: Subject: Re: QHL: Re: soap box Message-ID: <961229162358_643041328emout09.mail.aol.com> Rabbitt, I think I lean to agreeing with you..anytime I have seen stains or soil, any marks, I feel it is part of the charm..it’s there, accept it..I keep thinking of those tops/quilts that my friend soaked for 2 weeks (changing the water every 2 days or so..) I recall ME trying it..and now I wonder..you know how youo flip out the top sheet when you are changing your bed linens?? I wonder if somewhere, that owner of that top I quilted for my friend’s customer..was flipped and PRESTO..became cotton confetti!! I guess it is all what you can live with..it would be most interesting to know HOW the stains occurred..Jane —————————— Date: Sun, 29 Dec 1996 16:29:46 -0500 From: Baglady111 To: Subject: Re: QHL: RE: letting old quilts be old quilts Message-ID: <961229162945_611797335emout10.mail.aol.com> If you decide you want to use feedsacks..let me know..Jane in “can’t make up my mind..cold? Hot? snow? Rain..up and down.”.Pgh. —————————— Date: Sun, 29 Dec 1996 16:33:13 -0500 From: Baglady111 To: Subject: Re: QHL: Re: QHL-Digest Digest V96 #26 Message-ID: <961229163311_677394248emout06.mail.aol.com> I’m wondering if the kit is a PARAGON..that company specialized in alot of the floral kits..there are several members in my Feedsack Club who collect kits..migh be able to trace it down..Jane —————————— Date: Sun, 29 Dec 1996 17:21:20 +0000 From: “The Garretts” To: Subject: QHL: Quilting in the WPA Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Since the writers of the WPA – Works Project Administration – of the 1930s have been mentioned, I wanted to tell you about a quilt project of the WPA. This will be fairly long, but I hope you will learn about something you never knew existed. I am a member of the Variable Star Quilters of Souderton, PA, and in 1988 we began researching a State wide Museum Extension Project of the Works Projects Administration which took place in District 2 (Philadelphia area) of PA, involving quilts. We began because I was fortunate to find at auction 25 silk screened plates of quilt patterns. They are really pretty, and we began investigating them. We learned that there are 30 plates in the entire collection, and they were done in South Langhorne and Croydon, PA. The project began in 1938 or 1939, and appears to be very localized. Less than 5 complete sets are known to be in existance. Funding ended in January 1941, so it was a very short lived project. As was mentioned earlier, about 1/4 of WPA employment was in service projects such as the Federal Writers Project, Index of American Design, and Museum Extension Project. They were all under the Fine Arts Project which employed out-of-work writers, artists, musicians and theater people. The purpose of the FAP was to preserve and celebrate the traditions of American culture of the past. Also printed in addition to the 30 silk screened patterns was a manual entitled “Quilts Pieced and Appliqued: Colonial and Pioneer Patchwork Quilts.” The title page says – A series of thirty color plates of authentic old pieced and appliqued quilts showing working drawings including the cutting size and finished size patches, together with descriptive material necessary for their making. Our research has led us to believe that the designs were based on Ruth Finley’s book, Old Patchwork Quilts and the Women Who Made Them, and that the numerous errors indicate that the writers and artists were not quilters. There is a high degree of comparison between the plates in Ruth’s book and the pictures of completed quilts on the WPA plates. In 1990, the Variable Star Quilters and the Reading Public Library – owners of one complete set of plates – reprinted the set of 30 plates and the manual. The new manual includes history and research about the WPA and this specific project, as well as corrections to the original manual that would allow more satisfactory quilt construction. Members of our group made all 30 of the quilts using the patterns given – there are 16 of us so it was a manageable project – and made the necessary corrections. Copies of the portfolio reprint are still available – shops find it hard to display due to its size – and if anyone would like information about this little known piece of quilt history, please contact me. The Variable Star Quilters are a non profit group and donate all of our money from book sales, show prizes and quilt shows to woman and children’s charities. We meet in members homes so pay no rent, do not have expensive speakers or a newsletter, and no administrative budget. All proceeds do go to charity. Hope somebody found this interesting and/or informative. Happy quilting!! Barb in southeastern PA —————————— Date: Sun, 29 Dec 1996 15:07:36 -0500 From: “jackiem” To: < >, “Quilting Heritage ListServ” Subject: QHL: Re: From a dealers perspective Message-Id: <199612292322.PAA31235ns.ivic.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I like this list, because I am interested in restoration and there are some really good discussions going on here. Thanks to all of you for your input and taking the time to share your expertise. I look at quilts from the value to the owner. Several years ago, someone asked me if I could repair an old quilt that belonged to a woman in her late eighties, who had lost everything when her house burned down. A neighbor rescued two quilts from a dumpster, after the insurance adjusters tossed them out, that miraculously survived with burns & singes on the folds and edges. One was a large Hexagon quilt (1″ hexes in a diamond setting with pink between the diamonds) that was burned on the edges most of the damage ion the corners, required matching a pink fabric that had faded to different colors around the edges of the sides of the quilt. the hexagons were easy to fix, I just made paper pieced new ones, and was able to save the entire quilt. The backing was another thing. But I learned that if you have to repair a back on the quilt, I used an appliqu�d patch is this case, and made sure that all of the appliqu� edges ended at a quilt line, so that it is not obvious. The other quilt was a white with blue embroidered nursery rhymes squares quilt (single size). The fabric used in the embroidered quilt was feedsack and there was not enough fabric, the square was simply pieced to make it the correct size. (I found this particular point made it much easier to repair.) The batting was an old blanket and muslin on the back. This quilt was badly burned on the folds and especially down the middle. A few of the blocks were beyond repair, Basically I removed one row of blocks and used the fabric from these blocks to repair the rest of the quilt blocks. embroidered where necessary and retied the quilt. I did not try to remove all of the scorched fabric, only the fabric that was too fragile and or totally gone. The scorches that were left simply add to the charm of the quilt. I Always save as much of the original embroidery work as possible only cut of the burned part added a piece to the block, then replaced embroidery. Most of the quilts I work on are some that no one wants to touch as they are too far gone. The quilts usually come to me with the question is “Can you do ANYTHING with this?”. I am always up to a challenge, so will usually try. Usually prefer to mend than cut up into smaller quilts. The Hexagon quilt was made by her mother and the embroidered quilt was made by the owner when she was about 8 or ten years old. They are going to her nieces. Sentimental value far exceeded the monetary value. I wash quilts ONLY when necessary (TEST fabrics first.) especially if they have never been washed. Some of the odors that are in an old quilt, disappear with airing. If necessary to wash, I wash after the repairs are made. If stain does not come out with a gentle washing, and I can’t replace the fabric, I leave it, If the quilt is valuable enough to pay to have it repaired or restored. It will still be valuable even with the stain. If I am not sure of a quilts origin or value, I ASK someone before I start. Some quilts cannot be restored and should only be worked on by an expert in that particular type of repair and preservation. Most of us will never come in contact with this type of quilt, but you never know. I learned a lot from these quilts and these quilts started me on the road to restoration. I have saved quilts from the cutting table and can’t bear to see them cut up. I will restore them to the point that they will survive another generation or two and then will someday pass them on to someone who feels the same way I do. When I need an old quilt piece for a project, I will make a piece the size needed then clip, toss it around and abuse it, rather than cut an old quilt up. I hope who ever inherits my quilts will feel the same way and that my quilts as plain or as fancy as they might be, will last for generations. Just a little humor, One of the quilts I have worked of a couple of times is a Double wedding ring quilt that was a wedding gift from the mother-in-law. It has burns on it (cinders from the fireplace?) and they wanted it repaired because MIL is coming to visit and they don’t want her to see it. I aired it in the garage for a couple of weeks, each time I had it, before bringing it in the house to work on it as it smelled like a cigarette. — Jackie Meunier jackiemivic.net jmeunierjuno.com jackiemartlover.com —————————— Date: Sun, 29 Dec 1996 16:10:54 -0500 From: “jackiem” To: < >, “Merry May” Subject: QHL: Re:QHL Debbie’s “What is This? Message-Id: <199612292322.PAA31241ns.ivic.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit About 2 years ago, a local quilter passed away and her husband donated her stash to the local quilt quild not to be sold. Members were given access to these things and were asked to donate to hospice in her name in exchange for anything taken. There were boxes and boxes of scraps, patterns, books and odds and ends UFO’s and yardage, a whole garage full. In one of the boxes I found a piece as you describe that was partially appliqu�d, including a number as is on your and the word top. Mine is a large basket with a small floral in each corner. Rummaging through some of the other boxes, I found a couple of strips that had similar motives that were squares, One square was appliqu�d and another was not and then there were two squares that were not done and were not cut apart. In another box, I found two yellow strips that had 2 strips on them. then in another box, I found all of the appliqu� pieces marked and at this time I noticed that all of these appliqu� designs had flowers with square centers. I took all of this home and laid it out and had a full size quilt with a large white background center piece with a large basket of flowers in the center and flowers in each corner, with a wide yellow border on each side of the quilt and a white square with a floral design in each corner. What a find! All of the pieces of fabric to finish the appliqu� were in tact as whoever started the quilt only cut out the pieces as she needed them. There were 3 missing leaves and a stems missing from one corner of the center block which I was able to get from the scraps. How easy it would have been to not notice all of the centers being the same or not looked trough the box of scraps that nobody was interested in. (I was looking for scraps to save for restoration purposes and I knew that her collection included her mother’s stash.) As the center was nearly finished, I might have just added border or borders and used it for a wall hanging. I finished this Quilt Kit and hung it at our quilt show 2 years ago. Later on while leafing through some of my old quilting magazines, I can never throw one away. I spotted this same quilt, hanging in a booth, in an advertisement which included an overhead view of the Houston Quilt show. I am sure that this would have been from the same company as the markings you described are similar. I have not been able to find out who made the kits yet, but am still working on it. I have another kit that was given to me to finish which is a paragon kit. The picture of the quilt which probably was on the front of the package was in the box when I got it. It was passed around by different people and when anyone saw it they decided they did not want it , so put it away until they found someone else to give it to. When I received it, the Lady said I want to give this to someone who will finish it. The pieces were all cut out and not one missing, but not sorted. The quilt is made in three strips approximately the size you described. all of the strips have the border on top and bottom and 2 of the strips also have the border down the side and are wider than the center strip. There are four large paisley patterns in each strips The border has two rows of scallops and the quilting patterns that are stamped on it are beautiful quilted paisleys. I would never have bought a quilt like this in the first place, but as I was given this, I looked at it as a challenge and then fell in love with it as I worked on it. I am now doing the quilting and hope to have it done for our quilt show the end of January. — Jackie Meunier jackiemivic.net jmeunierjuno.com jackiemartlover.com —————————— Date: Sun, 29 Dec 1996 20:21:30 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: irc channels Message-Id: Content-Type: text/plain; charset=”us-ascii” In addition to quiltchat on the internet there are several other chat channels. I am founder of quilttalk, also on dal.net. However, i dont think this list is the place to promote the irc chat channels, and i have not done so as a deliberate decision. Therefore i found the invite to the quiltchat New Year’s eve party out of place in this mail group. i thought this was quilt heritage. what i have liked about this list is, so far, we have stuck to the topic of the list. Quilt History and Heritage. Can’t we keep it that way. There are many other ways to promote private endeavors other than through email to the Quilt Heritage group. Getting off my soap box and holding up a net to catch the rotten tomatos 🙂 Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Sun, 29 Dec 1996 19:56:40 -0600 From: Rose Marie Mize To: Subject: QHL: URL Message-Id: <199612300156.TAA21662cube.ice.net> Content-Type: text/plain; charset=”us-ascii” I missed the original URL posting for this WPA thread. Would someone please post it again? Rose Marie —————————— Date: Sun, 29 Dec 1996 21:12:54 -0500 From: Ricki Maietta To: Subject: QHL: counterpane Message-Id: <199612300208.SAA08779orbital.cue.com> Content-Type: text/plain; charset=”us-ascii” Rabbit just mentioned calling her new find a “counterpane” – as opposed to “quilt”? I really don’t know the difference – please define, as I read this term often, & the picture just looks like a quilt to me… Ricki in PA, trying to soak up all this wonderful info!!! —————————— Date: Sun, 29 Dec 1996 21:12:51 -0500 From: Ricki Maietta To: Subject: QHL: red & green Message-Id: <199612300208.SAA08775orbital.cue.com> Content-Type: text/plain; charset=”us-ascii” Sadie Rose asked about the Rose of Sharon pattern being a bride’s quilt. Over the years it became obvious to me that an awfully lot of the red & green on white applique quilts from mid-1800s to early 1900 were made by brides, or for brides. Maybe this was already known by others, but it was sort of a “revelation” for me. I tested my theory recently when someone donated a gorgeous Coxcombe applique to our local museum (they were calling it a cactus pattern – but I can document coxcombe over & over) – I asked if they knew the history of the quilt. Yep – made in 1875 by a mother & sister for the other sister’s upcoming wedding! I’m wondering if, like today, applique wasn’t just considered a step above piecing, & it has nothing to do with red & green. What about all those gorgeous blue & white applique quilts – some were in Albany this October at the conference (some were both pieced & appliqued). Anyone know if the blue & whites, or other appliques, were made specifically for brides???? Curious in PA – Ricki —————————— Date: Sun, 29 Dec 1996 20:34:00 CDT From: josiemtekstar.com To: Subject: QHL: Library of Congress Site & Jean Ann’s letter Message-Id: <199612300233.UAA10852perham> The site you are looking for is : http://lcweb2.loc.gov/ and thanks to whomever the original poster was. I get happy with the delete key sometimes and don’t keep info that I might like to. I didn’t get in on the chat line business but I really would like to say this is by far the most interesting of the quilting listservs and would like to see it stay as it is. This list being focused on the historical aspects of quilting provides a most intrigueing spot in the day and has caused me to do research into the WPA , a few old fabrics I have, and two old quilts as well. If I understood Jean Ann’s letter, she too hoped we stayed focused on our quilting heritage. She won’t get any tomatoes from me! Jo in Minnesota Date: Sun, 29 Dec 1996 21:42:09 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961229214209_876491333emout04.mail.aol.com> Pieced quilts were much faster to make and in given areas were usually the ‘utility’ quilts.Time was of the essence and sometimes you will find a quilt ‘in’ a quilt..jsut get a top done, sew it to the other quilt or put the quilt to be replaced inside the newer one..but the applique was quite often a young lady’s “best” quilt..a quilt where time and planning was involved..utility quilts were often scrap quilts..an applique on the other hand might well be fabrics bought just for this quilt..and the quilt would also be a way to show your familyand friends the intricate stitching you could do..after all, it was not polite to brag about your talents..heaven forbid if you would be asked to participate in a ‘show & tell’..but it would certainly be admired if it was on your bed or as was oftenthe case. a special guest/vistitor would be afforded the opportunity to sleep under her ‘best’qujilt. The reds/greens seemed to be very popular at one time..jsut as we have our ‘craze’ periods today..Jane —————————— Date: Sun, 29 Dec 1996 21:43:45 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961229214343_1621144906emout04.mail.aol.com> well, how rude..I got carried away and forgot to answer one of ur questions..in my area of Va. it was customary to go to your wedding with 12 quilts..11 everyday (utility) quitls and the 12th being our ‘best’ quilt and in most cases..applique..Jane —————————— Date: Sun, 29 Dec 1996 21:42:33 +0000 From: “The Garretts” To: Subject: Re: QHL: DAR Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Jean wrote – All I can think of when I hear /read the title DAR is…… Were there any slave quilts in the exhibition? Jean Laino jquilt I was privileged to visit the DAR for their quilt workshop in December, and yes, the docent did talk about the exquisite southern quilts being made by both the mistress and the very talented slaves. Please keep in mind that the quilts shown in these workshops are the “best” quilts that have survived from different time periods – intricate piecing, applique and quilting. If you are referring in your question to utilitarian type quilts made by slaves, I would have to say there were none. But there weren’t any utilitarian quilts made by anyone, since this was not the focus of the workshop. Because the body of work called Antique Quilts is so broad, a museum must of necessity decide where its niche will be, and when viewing quilts for only 1 1/2 hours, one cannot expect to see “all” types of quilts made in the US. I still recommend this workshop to anyone interested in antique quilts and able to get to Washington, DC. Barb in southeastern PA —————————— Date: Mon, 30 Dec 1996 01:00:17 -0500 From: Laurajbr To: Subject: Re: QHL: red & green Message-ID: <961230010016_438875042emout14.mail.aol.com> Hi, I collect red and green floral appliqued quilts from the 1800’s and have histories on many of them, and some indeed were made as wedding quilts. But one of my very favorite quilts, signed and dated March 15, 1850, and presented to the maker’s niece on her wedding, is predominantly orange. It has red and green in it too. It has a heavily quilted white background with orange Baltimore-style Fleur-de-Lis type blocks (see Elly’s books) with red centers and orange oak leaves coming out of them. The four center blocks are more intricate and include green stems and leaves and red flower buds and in the center of two of these blocks are the presentation inscriptions. It is a fabulous quilt. Every time my dear friend from Black Mountain, NC, comes to visit–she is an antique quilt dealer–she tells me to name my price and she will buy it. But I can’t part with it. I found is about 5 years ago in an antique shop in Dade City, which is just north of Tampa. Another interesting story about this quilt: When we were visiting my above-mentioned friend in NC one summer, she took me to meet a friend of hers who also collected antique quilts. As we went through her huge, varied collection, we came across another red, green and orange appliqued quilt signed by the same lady who made mine!!! Her name is Elizabeth Coyle and on my quilt, she crossed out her middle name. I can’t remember if she did that on Kay’s quilt or not. Laura in Tampa —————————— Date: Sun, 29 Dec 1996 22:00:40 PST From: psierajuno.com (Pam D Siera) To: Subject: QHL: Re: Books and labels Message-ID: <19961229.220331.3710.5.PSierajuno.com> Just wanted to share that I found a new copy of “Shared Threads” at the bookstore this weekend for $7.99 20% off. And I bought it because you’all talk about it and i’m sure I’ll enjoy it. One story already brought tears to my eyesl. I had an epiphany about the quilt labels that I’m going to do for my family quilts. A friend has a scanner and I’d been planning on using the family photos, old ones, that I’ve got on disk for a pictorial quilt. Well, the enlightenment was to put photos of the women who made and influenced the quilts on the labels. I’m still working in b/w and that is appropriate for these older quilts. Any thoughts about how those heat bonded transfers onto muslin might not be good for the quilts? Pigma pens sound just as chancy to me but they don’t have glue on them. Letters in envelopes would be great but I really like the idea of labels. TIA Pam in Santa Rosa —————————— Date: Sun, 29 Dec 1996 21:21:16 -0900 From: Opalka To: QHL-Digestcue.com Subject: Feed Sack Message-Id: <3.0.32.19961229212115.00693680alaska.net> Content-Type: text/plain; charset=”us-ascii” I have enjoyed “listening in” to the conversations. My name is Susan, I’ve lived in Alaska since 1975 and I’m originally from Tulsa. I have several quilts, tops and blocks from my Mother’s side of the family. How can I tell which ones are made from feed sacks? I know this probably sounds like a dumb question but, I really don’t know. I do have one top that my maternal Grandmother told me was made from feed sacks. Thank you for any input. I enjoy hearing about the history of quilting and all aspects of quilting. I was lucky enough to receive “Stitched from the Soul” and “Mennonite Quilts” for Christmas. Happy Holidays from Alaska where it is 0 degrees and no new snow this week. —————————— Date: Mon, 30 Dec 1996 01:26:39 -0500 From: RLHlink3 To: Subject: Re: QHL: RE: letting old quilts be old quilts Message-ID: <961230012638_812383602emout08.mail.aol.com> My face is red: I just realized that I did not sign my earlier response (“let old quilts be old quilts”) to Rabbit’s comments. I am enjoying very much, and learning a lot from, these discussions. Thanks to you all. Linda in Redding CA —————————— Date: Mon, 30 Dec 1996 01:42:02 -0500 From: RLHlink3 To: Subject: Re: QHL: Re: Books and labels Message-ID: <961230014200_405324312emout13.mail.aol.com> What a neat idea to put the maker’s photo on the quilt label! I’ll be listening to hear any comments re: adverse effects from the photo process. Linda/Redding CA —————————— Date: Mon, 30 Dec 1996 07:57:04 -0500 From: AJSNGS To: Subject: QHL: Old quilts Message-ID: <961230075704_1524289086emout16.mail.aol.com> Hi, As some of you already know, I am very new to the world of quilting, and relatively new to collecting old ones. I have several very “ratty” looking quilts–in other words they are not perfect and lots of people would not like them. For instance, I recently bought a lovely 1900 Irish chain. It is mostly blue and white with a little bit of red in it. I love the colors in this quilt despite the fact that a good bit of the fabric is plain ol deteriorating, and the part of the quilt that I don’t have showing has a big ole hole in it! But when you walk into the room, there it sits lovely and bright despite it’s imperfections, and obvious age. I hope that I will look like this when I am in my 90s too! Part of what draws me to older quilts is the sense of history behind them. I have heard several of you say (and I agree) “if only they could talk!”. All of these quilts were new once but it is “the life they’ve led” that has brought them to where they are now. Some have led a cushy life, and some have led a life of hard work which is exactly what they were intended to do. I don’t think that we necessarily need to restore all quilts, but sometimes repairs will help keep them around a little bit longer for us to enjoy. Just my 2 cents worth from a newbie. Thanks for listening. Nancy in balmy Virginia —————————— Date: Mon, 30 Dec 1996 08:01:22 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: WPA Thread Message-Id: Content-Type: text/plain; charset=”us-ascii” I missed the original URL posting for this WPA thread. Would someone please post it again? Rose Marie I mussed the orignal too…i am very interested. wwe spend a week every summer in an old CCC camp in NC…it has been modernized, but there is so much up in tha appalachians to do with the wpa and ccc, but not much accessible history that i can find. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Mon, 30 Dec 1996 08:44:19 -0500 From: AJSNGS To: Subject: Re: QHL: WPA Thread Message-ID: <961230084419_1591393533emout01.mail.aol.com> Jean Ann, Where is the old CCC camp? How do you find out about places like that? I live in Virginia and the CCC built the Skyline Drive in the mountains here. I’m very interested in all of this too. Please e-mail me if you can help me out with information. Thanks, Nancy in Va. —————————— Date: Mon, 30 Dec 1996 08:52:53 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961230085251_2020323907emout20.mail.aol.com> Laura, that is amazing..where did you find YOUR quilt made by the same lady? It’s amazing where fabrics and quilts have traveled..and I was surprised about the mix of red and orange..to heighten how what was poular at the time..wasn’t there a period where purple was the rage? Mid or late 1800″s?? And the Crazy quilt was oh so popular for awhile as well..I can’t recall who posted about crazy quilts but I know of a lady in the DC area who is an expert on them and teaches that style..Jane of THE FEEDSACK CLUB —————————— Date: Mon, 30 Dec 1996 08:57:18 -0500 From: AJSNGS To: Subject: QHL: Sorry again! Message-ID: <961230085717_1755736337emout10.mail.aol.com> Well I didn’t mean to post my last note to Jean Ann to the whole list, although there might be others who are interested. Sorry! Also, I have misplaced my address for the the WPA online information. Would you please post it again for those of us who can’t remember it? Thanks very much, Nancy in Virginia —————————— Date: Mon, 30 Dec 1996 08:59:44 -0500 From: Baglady111 To: Subject: Re: QHL: Feed Sack Message-ID: <961230085943_1457848527emout16.mail.aol.com> SUSAN, feedsacks have a particular look and texture. If you send me your snail mail address I will be happy to send you some samples of feedsacks for you to distinguish the materials. The most common feedsacks will have a slightly coarser feel..altho there are sacks that are as nice as any percale you would put on your bed today..these held flour, sugar, salt, any product that could ‘sift’ thru..so the thread count was high givng it a tighter weave. If they were storing nuts/ apples/ beans/ anything larger..they weave could be looser. What size squares would you like? Then you’lll have them to play with..Jane of THE FEEDSACK CLUB —————————— Date: Mon, 30 Dec 1996 09:22:44 -0500 From: “James M. Welch” To: Subject: QHL: Paragon kits????? Message-ID: <32C7D034.6067csionline.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jackie, Merry and Jane, Thanks for your insights. I have another question. What are paragon kits? I took the appliqued piece to my weekly quilt group, the QE 2 girls (Quilt and Eat Too!) and they had some ideas on how to finish it into something usuable. Its really too big for a table topper, and with three teenagers and one table, there is no way I would put it on there anyway!, but it is not big enough as is for any size quilt, too long and skinny. One suggestion was to add patchwork to it on either side in red and greens, another was to make two other panels the same as the one I have but I would really like to find out what the whole thing was supposed to look like before I do anything. What are the chances of finding out? Pretty good? A million to one? Debbie in NJ —————————— Date: Mon, 30 Dec 1996 10:24:12 -0500 From: Laurajbr To: Subject: Re: QHL: red & green Message-ID: <961230102411_1722185567emout02.mail.aol.com> Jane and anyone else interested< I found my orange, red and green wedding quilt in an antique shop in Dade City, Florida–a wonderful little town full of antique stores, a quilt shop and the world’s greatest restaurant, about a 45-minute drive from Tampa. You feel like you’ve stepped back into the 1950’s when you spend a day up there. The shopkeepers and townspeople all know each other and after a few visits, they know us visitors too. The shop I found my quilt is no longer in business but it was called Lady Anne’s and it was mainly Victorian antiques, beautiful furniture, flower arrangements, and there, hanging on the back wall, was MY quilt. It was love at first sight and for me, one of my greatest finds (which was confirmed by my friend, the antique quilt dealer.) The other quilt made by the same lady is in Black Mountain, North Carolina. That is also a wonderul little town and well worth a visit if you are passing through the NC mountains. It’s just east of Asheville. I find some wonderful antique quilts there and all over the mountains. Kay does not remember when she found her quilt or where. If you could see her collection, you’d understand why. she must have 300 quilts, including a Baltimore album, one from the late 1700’s, and many, many more. I would love to know how our two quilts came into being and how they became separated, but at least I do know when mine was made and who it was for. I guess I won’t find out why Elizabeth Coyle crossd out her middle name. It must have had some powerful memories associated with it for her to do that on this masterpiece. As for colors in these quilts, red and green appliques were very popular in the mid 1800’s and they often used yellow or orange as an accent color. In this quilt, though, the orange is the predominant color and the reds and greens are the accent colors. I do have one other orange quilt. It is an appliqued one, of course, and it’s baskets with flowers. The quilting is spectacular, as it often was during that time, and even though it is not my usual red and green, I couldn’t resist it. (either…) Laura in Tampa —————————— Date: Mon, 30 Dec 1996 09:05:00 PST From: jadavisjuno.com (Julie A Davis) To: quiltopiastgenesis.org, kaffee-klatschquilter.com Cc: Subject: QHL: Re: Hello……. Message-ID: <19961230.093223.17822.0.jadavisjuno.com> Hello out there…… We went to my home town to see my Mom and Dad and Mother-in-law etc…. from Christmas Eve. to yesterday afternoon…… when I finally had a minute last night to check my mail I had 798 messages! It took me about 2 1/2 hours to go through them and I deleted many! wew! It was really kinda funny to read the messages from the 24th and compare them to the 26th etc…… everyone on all of the lists that I’m on were so frantic and rushed and then were so calm and already planning Christmas ’97! Ha!!! 🙂 I did get one sewing/quilting related gift from a friend — a book called “501 Quilt Blocks” by Better Homes & Gardens — It’s a beautiful hard back book and the pictures etc. are beautiful…. can’t wait to have the time to really dig into it! Well…………… I hope you all had a Merry Christmas and have a Happy New Year! Julie Davis jadavisjuno.com —————————— Date: Mon, 30 Dec 1996 10:54:45 -0500 From: Baglady111 To: Subject: Re: QHL: WPA Thread Message-ID: <961230105439_1524305960emout18.mail.aol.com> Nancy, I THINK she said the camp was in NC..or did I read it wrong??J —————————— Date: Mon, 30 Dec 96 11:10:56 PST From: John & Cinda Cawley To: Ricki Maietta , Subject: RE: QHL: red & green Message-ID: Content-Type: TEXT/PLAIN; CHARSET=us-ascii I’m interested in the quilt Ricki mentioned that was donated to the museum. I have seen quilts in a pattern I would have called coxcomb referred to by the owner as cactus. Brackman cites cactus as a name for this pattern (Encyclopedia of Applique, p. 80). Lasansky shows one (Pieced by Mother, p. 53), as does the Berks Co. Quilt Harvest (Historical Review of Berks County, Winter 92-93, p. 16). I am increasingly reluctant to give names to 19th century patterns unless we know what the maker called that particular quilt. We seem compelled to retroactively impose our terminology (which is necessary for contemporary “quilt people” to understand each other) on a period of creative chaos. Cinda in Scranton ————————————- Name: John & Cinda Cawley E-mail: cawleyepix.net Date: 12/30/96 Time: 11:10:56 AM This message was sent by Chameleon ————————————- —————————— Date: Mon, 30 Dec 1996 12:15:25 -0500 From: RBCochran To: Subject: QHL: Two Don’t Miss Experiences Message-ID: <961230121525_1290204601emout08.mail.aol.com> First of all, I want to say how delighted I am to find this site. I can already see more computer hours spent online, esp. the WPA project info. Thanks to everyone for sharing. Secondly, I’d like to recommend two quilting-related experiences not to be missed. If you possibly can, you should see the quilts from the Patricia Smith collection being exhibited at the Renwick in D.C. They are stunning. Plus there’s fabric yardage exhibited in cases. I think the show runs through mid-January, so you’ll have to hurry. If you can’t make it, though, I understand a book is coming out in March or April 1997. I hope so, because we couldn’t take photos. (Didn’t think to ask for permission ahead of time.) The other thing you should do is to take the workshop at the DAR. I, too, was there in December. To sign up, just call them. I think they run one on the first Thursday of every month. But plan ahead because they limit the group to 20 at the most. Cost is $15. You never know which ones they’ll be showing, but all we saw were interesting. You can photo here, only if you ask for permission ahead, and I would imagine only non-flash. Looking forward to more info exchange and wishing all a happy new year. Rachel in NJ —————————— Date: Mon, 30 Dec 1996 09:28:58 -0800 From: Michele Weise To: Subject: QHL: making heat-transfer labels Message-Id: <3.0.32.19961230092739.0069d5d0mail.west.net> Content-Type: text/plain; charset=”us-ascii” Hi all, I can’t find who asked about making labels so I’ll address the group… In regards to heat transfer labels…speaking as a framer, the basic rule of thumb in conservation framing is: Do not change the original artwork in any way by adding heat activated substances such as glues, tapes etc. The idea being that you should be able to easily move the original artwork from one frame or storage place to another without the artwork being changed in any way, staying as close to its original condition as possible. That is why framers have no hesitation using heat-transfer sheets to adhere posters to foam core, whereas they would never heat transfer a limited edition fine art print or any original–on paper, fabric, or any other material. Adhesion would immediately render the value of an art print to zero. In our trade, we have something called a T mount which lets you hold a piece in place without letting any adhesive or acid bearing material touch the piece. Heat transer paper, (which I use all the time for many things because I love it) has many uses but not in conservation matting and mounting. Thin sheets of tissue/type paper are dotted with very tiny spots of heat-activated adhesives. The adhesives range from lo tack to hi tack. Basically, you have seen something like these in fabric stores and it’s called “Heat & Bond” tissue. Most manufactureres give directions saying that their adhesives can be removed by reheating the artwork and softening the adhesive and peeling it away from the sheet. This is very seldom successful and all manufacturers with also give disclaimers because unless the whole sheet is heated to exactly the same temperature, and peeled off quickly, some dots of adhesive will cool–hence, you will be caught stressing the artwork by pulling and stretching it, and heaven forbit, tearing it. However, after having said all this about heat transfer processes, I would personally feel very at ease using a heat transfer label on an antique quilt IF the label was treated as a separate piece, layered to the quilt with a small separator of either plain cotton or acid free tissue and hand stitched to the quilt. These adhesives that are being held between your photo emulsion and the backing muslin, I believe would not harm the quilt in any way because they would not be touching the quilt, and would be in a healthy aired environment–not locked up in plastic or other detramental atmosphere. Good luck and I think your idea is really wonderful. Michele —————————— Date: Mon, 30 Dec 1996 18:38:10 -0500 (EST) From: “Carol L. O’Neill” To: RBCochran cc: Subject: QHL: Renwick Exhibit +++++ Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Saw the Renwick exhibit yesterday and certainly agree with Rachel that it was stunning! Loved all the quilts, and was intrigued by Baptist Fan quilting on one of them, dated 1830s. Have never thought about the origin of actual quilting patterns…somehow assumed crosshatching and squares and diamonds were used in older times. Know of any book with info on this? My favorite in the show was a sunflower quilt in bright yellow and blues. Center of the flowers was a square with elongated corners, set sometimes one way and sometimes the other, giving the flowers a carefree feeling. It was random, but I bet the quilter did it intentionally. She also had an interesting border treatment, using a fabric with a wide stripe. She didn’t try to miter the corners to match, but stopped them 6″ or so short of the edge and added a piece of the same fabric cut on the bias. Definitely an idea to put in my memory bank! Really enjoy reading on here about the various views from those of you who are restorers and other experts. I’m especially interested in salvaging utilitarian quilts. “Time-Span Quilts” (can’t remember the author) is one of my most favorite of all quilt books. Bought a terribly cut-up strip-pieced quilt from the 30’s, took it apart in chunks, sewed it back together and made it the central medallion of a quilt that is now a joy to me. Have a feeling the original maker would be pleased (and maybe relieved!). Happy new year to you-all, and wishes for lots of wonderful finds! –Carol in VA (coneillcapaccess.org) —————————— Date: Mon, 30 Dec 96 20:51:55 EST From: “Bob Mills” To: Subject: QHL: Re: QHL-Digest Digest V96 #27 Message-Id: Intro, washing qlts, tomatoes Hi All, I’ve been reading for a few weeks and would like to introduce myself. I am Jan Drechsler (not Bob), and have been a quiltmaker for 27 years and have coordinated community participation quilts, as well as made dozens of squares for community quilts. I have been a seamstress for longer than that, and several years ago made 67 cotton dance dresses to sell so I have tons of scraps of cotton. I am a musician (pianist) for traditional New England Contra dances which are danced to jigs and reels, and I also call or teach those dances. I bought a Bernina 1090 last year and I only wonder why I fought my cheap 1960’s Singer for so long. Until I sat down at my Bernina, I realized that 3/4 of my sewing energy had been directed at my old machine. The Bernina just did what I asked it too. No more swearing at the machine. I am not affiliated with Bernina, just a happy owner. My other interest is old sewing machines. While I was happy when my ’60’s Singer died, I was recently given my grandmother’s treasured 1913 Singer model 15 treadle, which my dad electrified in the 40’s. I also found a Singer 99 at a flea market, bought a great Singer 201 and found two featherweights at bargain prices. I am just organizing New Jersey’s first get-together of featherweight fanatics and old sewing machine collectors. Contact me if you are interested. There is a subscribed group of machine collectors and sewers and repairers, to join write Suettsw.com. That’s it for my unlurking info. I have been reading rec.textiles.quilting and sewing and the Bernina newsgroup for 1 1/2 years and am quite tired of chit-chat about Christmas sewing and kitty quilts and ‘What are you making now?’ chat. I don’t learn much from the groups except occasionally a tip about Berninas. No Tomato Tossing from me Jean!! Hooray for you for saying ‘Let’s keep this group focused.’ I have been thinking about the discussions surrounding washing and ‘fixing up’ old quilts. I don’t think that there is only one right answer. If we are talking about a museum quality quilt-then I wouldn’t dream of washing it in my bathtub or anywhere else. And pulling off and replacing worn fabric is also a sin. But let’s talk about the kind of quilt that many of us are likely to own. In fact, let’s talk about my grandmother’s basket pieced quilt, in which many of the triangle points were sewn into the seams, in which the quilting stitches were small on the front and huge on the back, in which the front border was wrapped around to the back instead of a binding, and in which not one corner was square. I just finished a fix- up project on this quilt that my grandmother made for my mom and dad in the 50’s. It was ruined at a cleaner’s- faded the fabrics and made huge lumps of the cotton batting inside, so one could see thru the quilt in places and feel the lumps in others. My mom then gave it to me when we were first married and then there was the leaky waterbed incident. Yucky waterstains. I then put it in the attic for 22 years, which didn’t help preserve it. It took me all those years to decide to destroy part of grandma’s work in order to enjoy the rest of her work. This fall, I picked out the yards and yards of hand quilting, pulled off about 300 french knots, and took out all the batting. I defied all quilting common sense and scrubbed it with Shout and threw it in the washer with Tide and it came out clean and pretty. The colors weren’t any more faded after that rough treatment and it has a charming old soft pastel look. I did the same to the water stained muslin backing in order to re-use it. I put new Warm and Natural batting in it, machine quilted the squares and took it to N. Carolina at Christmas to offer it to my mom. I bet my husband that she would say, ‘Oh, that old thing-I don’t want it.’ Instead she said ‘I always wondered what had happened to that quilt. I would love to have it back!’ Fortunately, I never bet money. It is on mom’s bed now and looks beautiful. After the winter, I will handquilt some of it and re do the French knots. This quilt was made to be used. Last October, I found a large wool one patch, of 4 inch squares for $12. I barely even looked at it before grabbing it, believing that any quilt is worth more than $12. When I got home and looked at it closer, I thought that maybe I had paid $11.99 too much for it! Many of the squares are moth eaten, some of the squares are shredded tapistry, none of the squares meet or match seams, it looks like a 6 year old’s stitching and the backing had stains suggesting multiple childbirths. Oh, it also smelled and the cotton batting was in lumps. I decided to pick out the ties and remove the batting. I removed the backing and tried to wash out the stains, to no avail. Although the backing was seriously faded in places, it had once been a lovely rose large flowered print. I washed the top (gasp) in woolite in my machine on delicate and lay it flat to dry. One of my future projects will be to replace some of the wool squares and reback it with an old looking sampler flannel- which cost twice as much as the whole quilt. It will not be perfect, nor do I want to replace all the damaged squares. But it will go on a bed and be warm and functional and charming. So I think that the quilt itself has to be considered before one says never wash it or clean it up. Each quilt has it’s own answer and value, whether it be monitary, historical or sentimental. And the care will depend on that value. Oh… this is long, sorry to be so long-winded the first time I write. I promise I will listen more and write less. And I am very glad to read these discussions. Jan in NJ Date: Sat, 28 Dec 1996 20:12:27 -0700 From: “Mary E Scott” To: , < > Subject: Re: QHL: Help!! the dilemma broadens Message-Id: <199612281308.UAA19641 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit NOW NOW Sadie Rose: Let’s not get obscene mentioning that awful word “exercise.” The next thing you know you will start talking about that ….I can’t even bring myself to say it…. you know the d.. word. D..t. Oh now I’v really gotten myself in trouble. I swore in public. Oh Damn. Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html —————————— Date: Sat, 28 Dec 1996 22:46:33 -0500 From: QuiltLine To: Subject: QHL: Re: QHL-Digest Digest V96 #26 Message-ID: <961228224633_1524131630emout15.mail.aol.com> With regards to washing/cleaning antique quilts. Although I have seen many a quilt that can use a good bath, and those that have faired (sp) well, I need to agree that wet washing a quilt can be……a disaster. You have to weigh the pro’s and con’s. Rabbit hit the nail on the head, you can wash 10 quilts without a problem, but the 11th…… For instance, I was helping a friend (antique quilt vendor) at a quilt show recently, a woman who she had sold a quilt top to came in with a complaint. She had been told by this vendor that she could safely wash this top, once it had been made into a quilt, with the batting and quilting technique proper to the time period. She was told to hand wash it in cold water, otherwise using the directions on the Orvis container. To make this long story short, the reds in this 1930’s era top ran all over the place and ruined the quilt. Taking every precaution when attempting to wash a quilt if you must cannot be over stated, including testing for color fastness. If possible try to find a professional quilt cleaner. There are several around, (I know of one in Upland, CA. if interested), and I think they can pretty much judge how wet washing will affect an old quilt. If you can live with it as it is, then live with it as it is. We are all entitled to our opinions, and I am glad that the discussions on this group are so stimulating. I wish to appologize to any one else and again to the person who e-mailed me privately for “shouting” on this list (using all caps). I do this sometimes when I am having a physical difficulty with my left hand and it is hard to reach down to the shift key,(this isn’t a serious anomoly, but painful, it comes and goes). However, apparently using all capitals was offensive at least to one person, and I had no idea that this was against proper ‘netiquette’. If anyone else was disturbed by this, I am truly sorry (would of been all capitalized for expression, but….). I won’t post when I am having this ailment in the future. 🙁 Debbie —————————— Date: Sat, 28 Dec 1996 23:02:50 -0500 (EST) From: Quilting Heritage ListServ To: Subject: QHL: Linsey Woolsey Message-Id: <2.2.16.19961228230030.51877b46mail.albany.net> Content-Type: text/plain; charset=”us-ascii” Like Jo, I have spent a few happy hours tonight surfing the web. http://lcweb2.loc.gov/ is *really* a great site. At the search line type in quilts. I also looked through http://ttsw.com/QuiltHistoryPage.html, which has a lot of very interesting links, including one to Linsey-Woolsey. This is what it had to say: “One of the earliest fabric used in American quilts was linsey-woolsey. This fabric consisted of a linen (or sometimes cotton) warp and a wool weft. The name of the fabric came from the village of Linsey in sussex, England. Flax was one of the larger crops in colonial America and linsey-woolsey was a strong, durable fabric. Linsey-woolsey bed covers were generally whole cloth quilts. As the quilt wore out, usable sections were salvaged and were pieced into other quilts.” Interesting, huh? For those of you who are new to the list, I will cut-and-paste what Rabbit had to say on the subject. >Ok now I am really going to get myself in hot water. Textile fabric names >Linsey-woolsey ok what do we really know? Yes cloths coming from Linsey Engalnd >were sometimes called linsey as town names were helpful for distinguishing >regional fabric production traditions Its use in colonial and post revolutionary >America is very confusing. The term was used by deToqueville in his >discriptions of traveling in America to mean a coarse home produced fabric with >either linen or cotton warp and singles wool filling ( weft) in solids and >stripes always in plain weave and without much finishing. The biggest problem I >have is that people weaving in their homes at the same time did not use the >term “linsey-woolsey” as often as those in the 20th century. Often the >referrences to weaving plain cloth of linen and wool were simply called ” mixed >stuff” Stuff usually equaling plain weave cloth as opposed to twills, figures, >spot etc. >The nice thing about using the term linsey-woolsey is that we can know it is >plain weave and that it has cotton or linen warp and singles wool crossing it. >So it is a good place to communicate but usually I try to find a referrence for >a particular decade and its vernacular use, use by those weaving, and >descriptive use by dry goods merchants etc. For example the term Fustian changes >almost every 10 years between 1700 and 1900. Jean which has never changed in >description is a sub set of fustian go figure. The most important thing is that >we have so much surviving plain weave mixed cloth in many colors and weights >Important though none of the surviving pieces are what I would call irregular or >rough textured and when people reproduce it today they often mistake a low count >( warp threads and weft threads per inch) for a lumpy bumpy look for instance in >the pieces I have in my collection the counts are usually in the high 30’s to >low 40’s unless they are horse blankets which we do find so that would look like >a low count sheet not like a lumpy irregular texture usually the yarns are very >well spun and the weaving which can be problematic with linen warps is done >well. > > Kris —————————— Date: Sat, 28 Dec 1996 22:37:56 CDT From: josiemtekstar.com To: Subject: QHL: American Memory URL Message-Id: <199612290437.WAA04130perham> Hello again: In mentioning this Library of Congress Website and describing WPA writers who were writing life stories of Florida squatters, and Oklahomans making their way to California during those terrible dust bowl days maybe some explanation is in order. For you younger sisters (and brothers) who may not know what the WPA was, it was one of the Franklin Roosevelt era New Deal depression recovery programs called Works Progress Administration. It employed people from all walks of life who couldn’t find work in countless projects, and writers were hired to interview people all over the country. John Steinbeck was a WPA writer, as were many of his compadres of that time. I believe his book The Grapes of Wrath came of some of these experiences. Just so you can appreciate this website even more! Jo in Minnesota —————————— Date: Sun, 29 Dec 1996 17:13:24 +1100 (EST) From: Li Joo Ng To: Posting < > Subject: QHL: moth balls Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Thanks to Peg G for replying to my posting personally and also to Rabbit Goody for sharing tips on storing antique quilts / textiles. I have another question. After storing my antique quilts in pillow cases, is it all right to throw some moth balls around the pillow cases? Or are there better alternatives? I have had several bad experiences with moths. They ate up my rather expensive Italian T-shirt, my favourite face towel and a brand new never-worn pair of shorts. I do not intend to allow any moth to come within a mile radius of my precious antique quilts. Help – all tips and suggestions will be greatly appreciated. Thanks. —————————— Date: Sun, 29 Dec 1996 06:43:43 -0500 From: Baglady111 To: Subject: Re: QHL: Linsey Woolsey Message-ID: <961229064340_270914131emout13.mail.aol.com> Thanks so much for the post on Linsey Woolsey..I knew I had seen the town Linsey on a map somewhere after having been told there was such a place..I added Woolsey to the name as well..maybe that is why Alma couldn’t find it in her search. When you meet the many people I com in contact with at lectures, you begin to wonder if that IS what was said..I seachjed back again in my mind and realized I posted the town as Linsey- Woolsey.that is probably why Alma couldn’t find such a place in her home in England..thanks again for the post..Jane —————————— Date: 29 Dec 96 09:28:20 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: QHL: Re: soap box Message-ID: <961229142820_75444.1037_FHQ14-1CompuServe.COM> it wasnt a big soap box and you certainly are right in saying who does the quilt belong to its just that washing always runs the risk of total distruction. You cannot be sure that when you wash something it will survive so the piece had better be disposable. That is the problem they dont talk and say i can be washed safely. As for torn tattered why cant we display things that are not perfect anymore? why must it look as it did before? If it has age the age should show not be removed. I know this is a radical thought to some but its like dying your hair and getting face lifts pretty superficial to the real essence of a quilt. Wear, stains, tatters are part of what happens to textiles and we can learn more by not restoring and observing than fixing and pretending. Hows that for disagreement and controversy obviously I am taking the extreme view here but someone needs to so think about what the value of maing something look as it did versus understanding it as it is now and acepting it. —————————— Date: Sun, 29 Dec 1996 10:17:07 -0500 (EST) From: Quilting Heritage ListServ To: Subject: QHL: From a dealers perspective Message-Id: <2.2.16.19961229101442.27af4fc8mail.albany.net> Content-Type: text/plain; charset=”us-ascii” Let me offer a comment on deteriorating quilts from an antique quilt dealers perspective. I had Rabbit’s point of view when I first became a dealer. (Still do, actually.) I felt that damage and age spots and so on were part of the personality of a quilt and I enjoyed the not-so-perfect ones as much as I enjoyed the perfect ones. They certainly *taught* me more! A damaged quilt teaches you a great deal about sewing techniques, threads, batting, foundation piecing, etc. When I first started out, I tended to prefer this type of quilt. (Probably because I started as a restorer.) The problem is that few people buy them. I very quickly learned that people who want a quilt for it’s monetary value only want something that is perfect. It is QUILTERS who will take a slightly damaged piece and love it as it is, or enjoy the restoration process. Since there are far more imperfect quilts than perfect quilts in the world, my sales focus quickly became “quilters” as opposed to “antiquers”. I have dropped out of the antique show circuit almost entirely now. I only do the ones where I am the more likely to purchase than to sell. I would be interested in other comments on this. Kris, who is trying to remember what Yoda said. “When 600 years old you get, look this good you will not.” (?) At 09:28 AM 12/29/96 EST, Rabbit Goody wrote: >If it has age the age should show >not be removed. I know this is a radical thought to some but its like dying your >hair and getting face lifts pretty superficial to the real essence of a quilt. >Wear, stains, tatters are part of what happens to textiles and we can learn more >by not restoring and observing than fixing and pretending. Hows that for >disagreement and controversy obviously I am taking the extreme view here but >someone needs to so think about what the value of making something look as it >did versus understanding it as it is now and acepting it. > > —————————— Date: Sun, 29 Dec 1996 11:23:41 -0500 From: RLHlink3 To: Subject: QHL: RE: letting old quilts be old quilts Message-ID: <961229112340_1457729765emout20.mail.aol.com> Hello! I’m new here and thoroughly enjoying the discussions, including the controversy on what to do with damaged old quilts. My 2 cents worth (and I’m not an expert!): I rather agree with Rabbit. If it’s old, let it look old. [Now, it’s true that I do cover my gray –but I still look old 🙂 ] I inherited a stack of memory quilt blocks done for my Mom upon her marriage to my Dad in the 1920’s –looking all the worse for having been stored all that time –mouse stains etc. I washed them gently, but about 50% of the stains remain. So what? I put them all together, with one additonal block signed by Mom, quilted it, and now am proud to show it off. My current project is backing a 98 yr old, –gorgeous– crazy quilt top from my husband’s side of the family and preparing it for display. It will mean so much to his 86 yr old mother when she sees it finally finished (a late Christmas surprise for her). The velveteens are worn (or deteriorated?) in places. There are a couple of holes (into which I will insert similar colored fabric), but the holes and shabby places will remain –proudly. I understand that many people would not want to “buy” a less than “perfect” piece. Being the perfectionist that I suspect that I am, it took some seious thinking before I came to the conclusions that I have shared. Also, being a penny-pincher, I am very careful about how much I spend on a damaged quilt. Wish I didn’t have to be such a pincher, but my station in life does not leave me many $$$ to spend on such. Question: My next project: I recently found a set of 12 nine-patch blocks –in good condition, nice colors, very old. The fabrics are much lighter weight than the cottons we use today. (Much, much lighter than the cottons used in my Mom’s 1930’s blocks.) What kind of fabric dare I use to set these blocks into a quilt top for display only? I am thinking of alternating plain blocks with the old ones perhaps. Any suggestions anyone? Thanks to you all. —————————— Date: Sun, 29 Dec 1996 11:27:52 -0500 From: gridgeesalgorithms.com (Merry May) To: Subject: QHL: Re: QHL-Digest Digest V96 #26 Message-Id: Content-Type: text/plain; charset=”us-ascii” Re: Debbie’s “What is This?” My best guess is that it’s the bottom border of an applique quilt kit. The kits were common back in the ’30s, and are still available today (i.e., Herrschner’s catalog). Merry —————————— Date: Sun, 29 Dec 1996 11:31:49 -0500 From: PAMIAM6 To: Subject: Re: QHL: From a dealers perspective Message-ID: <961229113149_1189411139emout11.mail.aol.com> I am listening to all of you with your varying ideas on all of this. I have been quilting old quilt tops for 20 years. Against the advice of our local quilt shop, I put them into the wash machine on gentle and line dry. If they should bleed, etc do it now. Some seams come apart, no big deal they can be fixed. Of couse I am not talking about museum quality tops here, although many have been early l900. My point is I cant work and hand quilt on these things because generally THEY SMELL. I have never had a disaster, but I guess one of these days I may get a surprise. Also quilt tops not being as expensive as a completed quilt if one does disintergrate I guess it would not be as terrible, but I still would not be happy. I love this forum, it keeps me busy reading all your ideas. Pam in Springfield —————————— Date: Sun, 29 Dec 1996 12:21:21 -0500 From: QRestore To: Subject: Re: QHL: Re: soap box Message-ID: <961229122119_1222977698emout07.mail.aol.com> While I certainly agree there are many quilts that are too damaged and/or stained and should be appreciated for their charm, there are just as many that with a small amount of restoration can reduce the advancement of further damage. Are we to ignore past generations of quilters who routinely mended, darned, patched and created their own soloutions to preserving textiles (vintage clothing, linens, quilts, etc.) in order to pass them on to their children, grandchildren, etc? There is alot to be learned from those who so carefully repaired and maintained quilts in centuries past. Quilts made for special occasions or display were seldom used, and are in excellant condition today. However, the majority of quilts made were well used and yes, repaired over and over again, many by the original quiltmaker. Quilts were made to be functional, with scarcely a thought to having it displayed in a museum. Quilts were washed using harsh methods and beaten and we would consider them abused today, but we are smarter today about such methods. How would we want our quilts to be treated years from now? To have someone meticously and carefully repair (not change) a quilt, so that it might be appreciated and seen, not stored, would bring me great joy. Quilts have always been repaired, it is part our their history that has been passed down through generations of families. True restoration does not mean removing age from a quilt, nor does it mean altering or changing a quilt. Perhaps there is a lack of understanding, on the part of some, about what true restoration is. There is admittedly, a huge gap between those who believe conservation is the only correct solution in preserving our quilts and those who believe restoration can be successfully used in maintaining a quilts condition. How can we forget what our ancestors have taught us about preserving and maintaining quilts. —————————— Date: Sun, 29 Dec 1996 13:34:29 -0500 From: mrbillmagicnet.net (Bill Wohlfart) To: Subject: QHL: GFG quilts Message-Id: <199612291837.NAA13497magicnet.magicnet.net> Content-Type: text/plain; charset=”us-ascii” Hi everyone. Jeanann in Orlando, Fl., here. I love to buy old pieced blocks at antique shows, etc. and finish them as I believe every quilter would have wanted her quilt to be finished and admired. I bought 10 GFG blocks about 5 years ago. They obviously went together as some of the greatly mis-matched fabrics were in other blocks. they were dirty and still even had the newspaper basted on the back of each little hex. Finally, I went to my local quilt shop guru and asked her to teach me how to paper piece so I could make a white on white (antique style) path to connect all the blocks and finish the top. I washed them by hand and laid them on my patio. After the birds anointed them, I washed them again and laid them out covered. I spent about three months (after cutting lots of brown paper hex patterns and lots of cloth circles) hand basting and then whip-stitching everything together. I made a wall hanging with the ten plates staggered in rows. I hand-quilted in each row of the “flowers” and hand-quilted “phantom flowers” in the larger white spaces. It cam out great and it is amazing how good they all look together, even the plaids and stripes and the orange and green hexes. I’m glad I learned the old technique and it was very satisfying to complete the top. Jeanann in Orlando —————————— Date: Sun, 29 Dec 1996 13:54:43 -0500 From: QRestore To: Subject: QHL: Opps! Message-ID: <961229135442_2053773550emout11.mail.aol.com> Sorry. . .Forgot to sign this response to Rabbit Goody’s comments, so will resend it. While I certainly agree there are many quilts that are too damaged and/or stained and should be appreciated for their charm, there are just as many that with a small amount of restoration can reduce the advancement of further damage. Are we to ignore past generations of quilters who routinely mended, darned, patched and created their own soloutions to preserving textiles (vintage clothing, linens, quilts, etc.) in order to pass them on to their children, grandchildren, etc? There is alot to be learned from those who so carefully repaired and maintained quilts in centuries past. Quilts made for special occasions or display were seldom used, and are in excellant condition today. However, the majority of quilts made were well used and yes, repaired over and over again, many by the original quiltmaker. Quilts were made to be functional, with scarcely a thought to having it displayed in a museum. Quilts were washed using harsh methods and beaten and we would consider them abused today, but we are smarter today about such methods. How would we want our quilts to be treated years from now? To have someone meticously and carefully repair (not change) a quilt, so that it might be appreciated and seen, not stored, would bring me great joy. Quilts have always been repaired, it is part our their history that has been passed down through generations of families. True restoration does not mean removing age from a quilt, nor does it mean altering or changing a quilt. Perhaps there is a lack of understanding, on the part of some, about what true restoration is. There is admittedly, a huge gap between those who believe conservation is the only correct solution in preserving our quilts and those who believe restoration can be successfully used in maintaining a quilts condition. How can we forget what our ancestors have taught us about preserving and maintaining quilts. Food For Thought . . . Victoria Montgomery QRestore Boise, ID —————————— Date: Sun, 29 Dec 1996 16:23:59 -0500 From: Baglady111 To: Subject: Re: QHL: Re: soap box Message-ID: <961229162358_643041328emout09.mail.aol.com> Rabbitt, I think I lean to agreeing with you..anytime I have seen stains or soil, any marks, I feel it is part of the charm..it’s there, accept it..I keep thinking of those tops/quilts that my friend soaked for 2 weeks (changing the water every 2 days or so..) I recall ME trying it..and now I wonder..you know how youo flip out the top sheet when you are changing your bed linens?? I wonder if somewhere, that owner of that top I quilted for my friend’s customer..was flipped and PRESTO..became cotton confetti!! I guess it is all what you can live with..it would be most interesting to know HOW the stains occurred..Jane —————————— Date: Sun, 29 Dec 1996 16:29:46 -0500 From: Baglady111 To: Subject: Re: QHL: RE: letting old quilts be old quilts Message-ID: <961229162945_611797335emout10.mail.aol.com> If you decide you want to use feedsacks..let me know..Jane in “can’t make up my mind..cold? Hot? snow? Rain..up and down.”.Pgh. —————————— Date: Sun, 29 Dec 1996 16:33:13 -0500 From: Baglady111 To: Subject: Re: QHL: Re: QHL-Digest Digest V96 #26 Message-ID: <961229163311_677394248emout06.mail.aol.com> I’m wondering if the kit is a PARAGON..that company specialized in alot of the floral kits..there are several members in my Feedsack Club who collect kits..migh be able to trace it down..Jane —————————— Date: Sun, 29 Dec 1996 17:21:20 +0000 From: “The Garretts” To: Subject: QHL: Quilting in the WPA Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Since the writers of the WPA – Works Project Administration – of the 1930s have been mentioned, I wanted to tell you about a quilt project of the WPA. This will be fairly long, but I hope you will learn about something you never knew existed. I am a member of the Variable Star Quilters of Souderton, PA, and in 1988 we began researching a State wide Museum Extension Project of the Works Projects Administration which took place in District 2 (Philadelphia area) of PA, involving quilts. We began because I was fortunate to find at auction 25 silk screened plates of quilt patterns. They are really pretty, and we began investigating them. We learned that there are 30 plates in the entire collection, and they were done in South Langhorne and Croydon, PA. The project began in 1938 or 1939, and appears to be very localized. Less than 5 complete sets are known to be in existance. Funding ended in January 1941, so it was a very short lived project. As was mentioned earlier, about 1/4 of WPA employment was in service projects such as the Federal Writers Project, Index of American Design, and Museum Extension Project. They were all under the Fine Arts Project which employed out-of-work writers, artists, musicians and theater people. The purpose of the FAP was to preserve and celebrate the traditions of American culture of the past. Also printed in addition to the 30 silk screened patterns was a manual entitled “Quilts Pieced and Appliqued: Colonial and Pioneer Patchwork Quilts.” The title page says – A series of thirty color plates of authentic old pieced and appliqued quilts showing working drawings including the cutting size and finished size patches, together with descriptive material necessary for their making. Our research has led us to believe that the designs were based on Ruth Finley’s book, Old Patchwork Quilts and the Women Who Made Them, and that the numerous errors indicate that the writers and artists were not quilters. There is a high degree of comparison between the plates in Ruth’s book and the pictures of completed quilts on the WPA plates. In 1990, the Variable Star Quilters and the Reading Public Library – owners of one complete set of plates – reprinted the set of 30 plates and the manual. The new manual includes history and research about the WPA and this specific project, as well as corrections to the original manual that would allow more satisfactory quilt construction. Members of our group made all 30 of the quilts using the patterns given – there are 16 of us so it was a manageable project – and made the necessary corrections. Copies of the portfolio reprint are still available – shops find it hard to display due to its size – and if anyone would like information about this little known piece of quilt history, please contact me. The Variable Star Quilters are a non profit group and donate all of our money from book sales, show prizes and quilt shows to woman and children’s charities. We meet in members homes so pay no rent, do not have expensive speakers or a newsletter, and no administrative budget. All proceeds do go to charity. Hope somebody found this interesting and/or informative. Happy quilting!! Barb in southeastern PA —————————— Date: Sun, 29 Dec 1996 15:07:36 -0500 From: “jackiem” To: < >, “Quilting Heritage ListServ” Subject: QHL: Re: From a dealers perspective Message-Id: <199612292322.PAA31235ns.ivic.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I like this list, because I am interested in restoration and there are some really good discussions going on here. Thanks to all of you for your input and taking the time to share your expertise. I look at quilts from the value to the owner. Several years ago, someone asked me if I could repair an old quilt that belonged to a woman in her late eighties, who had lost everything when her house burned down. A neighbor rescued two quilts from a dumpster, after the insurance adjusters tossed them out, that miraculously survived with burns & singes on the folds and edges. One was a large Hexagon quilt (1″ hexes in a diamond setting with pink between the diamonds) that was burned on the edges most of the damage ion the corners, required matching a pink fabric that had faded to different colors around the edges of the sides of the quilt. the hexagons were easy to fix, I just made paper pieced new ones, and was able to save the entire quilt. The backing was another thing. But I learned that if you have to repair a back on the quilt, I used an appliquéd patch is this case, and made sure that all of the appliqué edges ended at a quilt line, so that it is not obvious. The other quilt was a white with blue embroidered nursery rhymes squares quilt (single size). The fabric used in the embroidered quilt was feedsack and there was not enough fabric, the square was simply pieced to make it the correct size. (I found this particular point made it much easier to repair.) The batting was an old blanket and muslin on the back. This quilt was badly burned on the folds and especially down the middle. A few of the blocks were beyond repair, Basically I removed one row of blocks and used the fabric from these blocks to repair the rest of the quilt blocks. embroidered where necessary and retied the quilt. I did not try to remove all of the scorched fabric, only the fabric that was too fragile and or totally gone. The scorches that were left simply add to the charm of the quilt. I Always save as much of the original embroidery work as possible only cut of the burned part added a piece to the block, then replaced embroidery. Most of the quilts I work on are some that no one wants to touch as they are too far gone. The quilts usually come to me with the question is “Can you do ANYTHING with this?”. I am always up to a challenge, so will usually try. Usually prefer to mend than cut up into smaller quilts. The Hexagon quilt was made by her mother and the embroidered quilt was made by the owner when she was about 8 or ten years old. They are going to her nieces. Sentimental value far exceeded the monetary value. I wash quilts ONLY when necessary (TEST fabrics first.) especially if they have never been washed. Some of the odors that are in an old quilt, disappear with airing. If necessary to wash, I wash after the repairs are made. If stain does not come out with a gentle washing, and I can’t replace the fabric, I leave it, If the quilt is valuable enough to pay to have it repaired or restored. It will still be valuable even with the stain. If I am not sure of a quilts origin or value, I ASK someone before I start. Some quilts cannot be restored and should only be worked on by an expert in that particular type of repair and preservation. Most of us will never come in contact with this type of quilt, but you never know. I learned a lot from these quilts and these quilts started me on the road to restoration. I have saved quilts from the cutting table and can’t bear to see them cut up. I will restore them to the point that they will survive another generation or two and then will someday pass them on to someone who feels the same way I do. When I need an old quilt piece for a project, I will make a piece the size needed then clip, toss it around and abuse it, rather than cut an old quilt up. I hope who ever inherits my quilts will feel the same way and that my quilts as plain or as fancy as they might be, will last for generations. Just a little humor, One of the quilts I have worked of a couple of times is a Double wedding ring quilt that was a wedding gift from the mother-in-law. It has burns on it (cinders from the fireplace?) and they wanted it repaired because MIL is coming to visit and they don’t want her to see it. I aired it in the garage for a couple of weeks, each time I had it, before bringing it in the house to work on it as it smelled like a cigarette. — Jackie Meunier jackiemivic.net jmeunierjuno.com jackiemartlover.com —————————— Date: Sun, 29 Dec 1996 16:10:54 -0500 From: “jackiem” To: < >, “Merry May” Subject: QHL: Re:QHL Debbie’s “What is This? Message-Id: <199612292322.PAA31241ns.ivic.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit About 2 years ago, a local quilter passed away and her husband donated her stash to the local quilt quild not to be sold. Members were given access to these things and were asked to donate to hospice in her name in exchange for anything taken. There were boxes and boxes of scraps, patterns, books and odds and ends UFO’s and yardage, a whole garage full. In one of the boxes I found a piece as you describe that was partially appliquéd, including a number as is on your and the word top. Mine is a large basket with a small floral in each corner. Rummaging through some of the other boxes, I found a couple of strips that had similar motives that were squares, One square was appliquéd and another was not and then there were two squares that were not done and were not cut apart. In another box, I found two yellow strips that had 2 strips on them. then in another box, I found all of the appliqué pieces marked and at this time I noticed that all of these appliqué designs had flowers with square centers. I took all of this home and laid it out and had a full size quilt with a large white background center piece with a large basket of flowers in the center and flowers in each corner, with a wide yellow border on each side of the quilt and a white square with a floral design in each corner. What a find! All of the pieces of fabric to finish the appliqué were in tact as whoever started the quilt only cut out the pieces as she needed them. There were 3 missing leaves and a stems missing from one corner of the center block which I was able to get from the scraps. How easy it would have been to not notice all of the centers being the same or not looked trough the box of scraps that nobody was interested in. (I was looking for scraps to save for restoration purposes and I knew that her collection included her mother’s stash.) As the center was nearly finished, I might have just added border or borders and used it for a wall hanging. I finished this Quilt Kit and hung it at our quilt show 2 years ago. Later on while leafing through some of my old quilting magazines, I can never throw one away. I spotted this same quilt, hanging in a booth, in an advertisement which included an overhead view of the Houston Quilt show. I am sure that this would have been from the same company as the markings you described are similar. I have not been able to find out who made the kits yet, but am still working on it. I have another kit that was given to me to finish which is a paragon kit. The picture of the quilt which probably was on the front of the package was in the box when I got it. It was passed around by different people and when anyone saw it they decided they did not want it , so put it away until they found someone else to give it to. When I received it, the Lady said I want to give this to someone who will finish it. The pieces were all cut out and not one missing, but not sorted. The quilt is made in three strips approximately the size you described. all of the strips have the border on top and bottom and 2 of the strips also have the border down the side and are wider than the center strip. There are four large paisley patterns in each strips The border has two rows of scallops and the quilting patterns that are stamped on it are beautiful quilted paisleys. I would never have bought a quilt like this in the first place, but as I was given this, I looked at it as a challenge and then fell in love with it as I worked on it. I am now doing the quilting and hope to have it done for our quilt show the end of January. — Jackie Meunier jackiemivic.net jmeunierjuno.com jackiemartlover.com —————————— Date: Sun, 29 Dec 1996 20:21:30 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: irc channels Message-Id: Content-Type: text/plain; charset=”us-ascii” In addition to quiltchat on the internet there are several other chat channels. I am founder of quilttalk, also on dal.net. However, i dont think this list is the place to promote the irc chat channels, and i have not done so as a deliberate decision. Therefore i found the invite to the quiltchat New Year’s eve party out of place in this mail group. i thought this was quilt heritage. what i have liked about this list is, so far, we have stuck to the topic of the list. Quilt History and Heritage. Can’t we keep it that way. There are many other ways to promote private endeavors other than through email to the Quilt Heritage group. Getting off my soap box and holding up a net to catch the rotten tomatos 🙂 Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Sun, 29 Dec 1996 19:56:40 -0600 From: Rose Marie Mize To: Date: Sun, 29 Dec 1996 21:12:51 -0500 From: Ricki Maietta To: Subject: QHL: red & green Message-Id: <199612300208.SAA08775orbital.cue.com> Content-Type: text/plain; charset=”us-ascii” Sadie Rose asked about the Rose of Sharon pattern being a bride’s quilt. Over the years it became obvious to me that an awfully lot of the red & green on white applique quilts from mid-1800s to early 1900 were made by brides, or for brides. Maybe this was already known by others, but it was sort of a “revelation” for me. I tested my theory recently when someone donated a gorgeous Coxcombe applique to our local museum (they were calling it a cactus pattern – but I can document coxcombe over & over) – I asked if they knew the history of the quilt. Yep – made in 1875 by a mother & sister for the other sister’s upcoming wedding! I’m wondering if, like today, applique wasn’t just considered a step above piecing, & it has nothing to do with red & green. What about all those gorgeous blue & white applique quilts – some were in Albany this October at the conference (some were both pieced & appliqued). Anyone know if the blue & whites, or other appliques, were made specifically for brides???? Curious in PA – Ricki —————————— Date: Sun, 29 Dec 1996 20:34:00 CDT From: josiemtekstar.com To: Subject: QHL: Library of Congress Site & Jean Ann’s letter Message-Id: <199612300233.UAA10852perham> The site you are looking for is : http://lcweb2.loc.gov/ and thanks to whomever the original poster was. I get happy with the delete key sometimes and don’t keep info that I might like to. I didn’t get in on the chat line business but I really would like to say this is by far the most interesting of the quilting listservs and would like to see it stay as it is. This list being focused on the historical aspects of quilting provides a most intrigueing spot in the day and has caused me to do research into the WPA , a few old fabrics I have, and two old quilts as well. If I understood Jean Ann’s letter, she too hoped we stayed focused on our quilting heritage. She won’t get any tomatoes from me! Jo in Minnesota Date: Sun, 29 Dec 1996 21:42:09 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961229214209_876491333emout04.mail.aol.com> Pieced quilts were much faster to make and in given areas were usually the ‘utility’ quilts.Time was of the essence and sometimes you will find a quilt ‘in’ a quilt..jsut get a top done, sew it to the other quilt or put the quilt to be replaced inside the newer one..but the applique was quite often a young lady’s “best” quilt..a quilt where time and planning was involved..utility quilts were often scrap quilts..an applique on the other hand might well be fabrics bought just for this quilt..and the quilt would also be a way to show your familyand friends the intricate stitching you could do..after all, it was not polite to brag about your talents..heaven forbid if you would be asked to participate in a ‘show & tell’..but it would certainly be admired if it was on your bed or as was oftenthe case. a special guest/vistitor would be afforded the opportunity to sleep under her ‘best’qujilt. The reds/greens seemed to be very popular at one time..jsut as we have our ‘craze’ periods today..Jane —————————— Date: Sun, 29 Dec 1996 21:43:45 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961229214343_1621144906emout04.mail.aol.com> well, how rude..I got carried away and forgot to answer one of ur questions..in my area of Va. it was customary to go to your wedding with 12 quilts..11 everyday (utility) quitls and the 12th being our ‘best’ quilt and in most cases..applique..Jane —————————— Date: Sun, 29 Dec 1996 21:42:33 +0000 From: “The Garretts” To: Subject: Re: QHL: DAR Message-Id: Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Jean wrote – All I can think of when I hear /read the title DAR is…… Were there any slave quilts in the exhibition? Jean Laino jquilt I was privileged to visit the DAR for their quilt workshop in December, and yes, the docent did talk about the exquisite southern quilts being made by both the mistress and the very talented slaves. Please keep in mind that the quilts shown in these workshops are the “best” quilts that have survived from different time periods – intricate piecing, applique and quilting. If you are referring in your question to utilitarian type quilts made by slaves, I would have to say there were none. But there weren’t any utilitarian quilts made by anyone, since this was not the focus of the workshop. Because the body of work called Antique Quilts is so broad, a museum must of necessity decide where its niche will be, and when viewing quilts for only 1 1/2 hours, one cannot expect to see “all” types of quilts made in the US. I still recommend this workshop to anyone interested in antique quilts and able to get to Washington, DC. Barb in southeastern PA —————————— Date: Mon, 30 Dec 1996 01:00:17 -0500 From: Laurajbr To: Subject: Re: QHL: red & green Message-ID: <961230010016_438875042emout14.mail.aol.com> Hi, I collect red and green floral appliqued quilts from the 1800’s and have histories on many of them, and some indeed were made as wedding quilts. But one of my very favorite quilts, signed and dated March 15, 1850, and presented to the maker’s niece on her wedding, is predominantly orange. It has red and green in it too. It has a heavily quilted white background with orange Baltimore-style Fleur-de-Lis type blocks (see Elly’s books) with red centers and orange oak leaves coming out of them. The four center blocks are more intricate and include green stems and leaves and red flower buds and in the center of two of these blocks are the presentation inscriptions. It is a fabulous quilt. Every time my dear friend from Black Mountain, NC, comes to visit–she is an antique quilt dealer–she tells me to name my price and she will buy it. But I can’t part with it. I found is about 5 years ago in an antique shop in Dade City, which is just north of Tampa. Another interesting story about this quilt: When we were visiting my above-mentioned friend in NC one summer, she took me to meet a friend of hers who also collected antique quilts. As we went through her huge, varied collection, we came across another red, green and orange appliqued quilt signed by the same lady who made mine!!! Her name is Elizabeth Coyle and on my quilt, she crossed out her middle name. I can’t remember if she did that on Kay’s quilt or not. Laura in Tampa —————————— Date: Sun, 29 Dec 1996 22:00:40 PST From: psierajuno.com (Pam D Siera) To: Subject: QHL: Re: Books and labels Message-ID: <19961229.220331.3710.5.PSierajuno.com> Just wanted to share that I found a new copy of “Shared Threads” at the bookstore this weekend for $7.99 20% off. And I bought it because you’all talk about it and i’m sure I’ll enjoy it. One story already brought tears to my eyesl. I had an epiphany about the quilt labels that I’m going to do for my family quilts. A friend has a scanner and I’d been planning on using the family photos, old ones, that I’ve got on disk for a pictorial quilt. Well, the enlightenment was to put photos of the women who made and influenced the quilts on the labels. I’m still working in b/w and that is appropriate for these older quilts. Any thoughts about how those heat bonded transfers onto muslin might not be good for the quilts? Pigma pens sound just as chancy to me but they don’t have glue on them. Letters in envelopes would be great but I really like the idea of labels. TIA Pam in Santa Rosa —————————— Date: Sun, 29 Dec 1996 21:21:16 -0900 From: Opalka To: QHL-Digestcue.com Subject: Feed Sack Message-Id: <3.0.32.19961229212115.00693680alaska.net> Content-Type: text/plain; charset=”us-ascii” I have enjoyed “listening in” to the conversations. My name is Susan, I’ve lived in Alaska since 1975 and I’m originally from Tulsa. I have several quilts, tops and blocks from my Mother’s side of the family. How can I tell which ones are made from feed sacks? I know this probably sounds like a dumb question but, I really don’t know. I do have one top that my maternal Grandmother told me was made from feed sacks. Thank you for any input. I enjoy hearing about the history of quilting and all aspects of quilting. I was lucky enough to receive “Stitched from the Soul” and “Mennonite Quilts” for Christmas. Happy Holidays from Alaska where it is 0 degrees and no new snow this week. —————————— Date: Mon, 30 Dec 1996 01:26:39 -0500 From: RLHlink3 To: Subject: Re: QHL: RE: letting old quilts be old quilts Message-ID: <961230012638_812383602emout08.mail.aol.com> My face is red: I just realized that I did not sign my earlier response (“let old quilts be old quilts”) to Rabbit’s comments. I am enjoying very much, and learning a lot from, these discussions. Thanks to you all. Linda in Redding CA —————————— Date: Mon, 30 Dec 1996 01:42:02 -0500 From: RLHlink3 To: Subject: Re: QHL: Re: Books and labels Message-ID: <961230014200_405324312emout13.mail.aol.com> What a neat idea to put the maker’s photo on the quilt label! I’ll be listening to hear any comments re: adverse effects from the photo process. Linda/Redding CA —————————— Date: Mon, 30 Dec 1996 07:57:04 -0500 From: AJSNGS To: Subject: QHL: Old quilts Message-ID: <961230075704_1524289086emout16.mail.aol.com> Hi, As some of you already know, I am very new to the world of quilting, and relatively new to collecting old ones. I have several very “ratty” looking quilts–in other words they are not perfect and lots of people would not like them. For instance, I recently bought a lovely 1900 Irish chain. It is mostly blue and white with a little bit of red in it. I love the colors in this quilt despite the fact that a good bit of the fabric is plain ol deteriorating, and the part of the quilt that I don’t have showing has a big ole hole in it! But when you walk into the room, there it sits lovely and bright despite it’s imperfections, and obvious age. I hope that I will look like this when I am in my 90s too! Part of what draws me to older quilts is the sense of history behind them. I have heard several of you say (and I agree) “if only they could talk!”. All of these quilts were new once but it is “the life they’ve led” that has brought them to where they are now. Some have led a cushy life, and some have led a life of hard work which is exactly what they were intended to do. I don’t think that we necessarily need to restore all quilts, but sometimes repairs will help keep them around a little bit longer for us to enjoy. Just my 2 cents worth from a newbie. Thanks for listening. Nancy in balmy Virginia —————————— Date: Mon, 30 Dec 1996 08:01:22 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: WPA Thread Message-Id: Content-Type: text/plain; charset=”us-ascii” I missed the original URL posting for this WPA thread. Would someone please post it again? Rose Marie I mussed the orignal too…i am very interested. wwe spend a week every summer in an old CCC camp in NC…it has been modernized, but there is so much up in tha appalachians to do with the wpa and ccc, but not much accessible history that i can find. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Mon, 30 Dec 1996 08:44:19 -0500 From: AJSNGS To: Subject: Re: QHL: WPA Thread Message-ID: <961230084419_1591393533emout01.mail.aol.com> Jean Ann, Where is the old CCC camp? How do you find out about places like that? I live in Virginia and the CCC built the Skyline Drive in the mountains here. I’m very interested in all of this too. Please e-mail me if you can help me out with information. Thanks, Nancy in Va. —————————— Date: Mon, 30 Dec 1996 08:52:53 -0500 From: Baglady111 To: Subject: Re: QHL: red & green Message-ID: <961230085251_2020323907emout20.mail.aol.com> Laura, that is amazing..where did you find YOUR quilt made by the same lady? It’s amazing where fabrics and quilts have traveled..and I was surprised about the mix of red and orange..to heighten how what was poular at the time..wasn’t there a period where purple was the rage? Mid or late 1800″s?? And the Crazy quilt was oh so popular for awhile as well..I can’t recall who posted about crazy quilts but I know of a lady in the DC area who is an expert on them and teaches that style..Jane of THE FEEDSACK CLUB —————————— Date: Mon, 30 Dec 1996 08:57:18 -0500 From: AJSNGS To: Subject: QHL: Sorry again! Message-ID: <961230085717_1755736337emout10.mail.aol.com> Well I didn’t mean to post my last note to Jean Ann to the whole list, although there might be others who are interested. Sorry! Also, I have misplaced my address for the the WPA online information. Would you please post it again for those of us who can’t remember it? Thanks very much, Nancy in Virginia —————————— Date: Mon, 30 Dec 1996 08:59:44 -0500 From: Baglady111 To: Subject: Re: QHL: Feed Sack Message-ID: <961230085943_1457848527emout16.mail.aol.com> SUSAN, feedsacks have a particular look and texture. If you send me your snail mail address I will be happy to send you some samples of feedsacks for you to distinguish the materials. The most common feedsacks will have a slightly coarser feel..altho there are sacks that are as nice as any percale you would put on your bed today..these held flour, sugar, salt, any product that could ‘sift’ thru..so the thread count was high givng it a tighter weave. If they were storing nuts/ apples/ beans/ anything larger..they weave could be looser. What size squares would you like? Then you’lll have them to play with..Jane of THE FEEDSACK CLUB —————————— Date: Mon, 30 Dec 1996 09:22:44 -0500 From: “James M. Welch” To: Subject: QHL: Paragon kits????? Message-ID: <32C7D034.6067csionline.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jackie, Merry and Jane, Thanks for your insights. I have another question. What are paragon kits? I took the appliqued piece to my weekly quilt group, the QE 2 girls (Quilt and Eat Too!) and they had some ideas on how to finish it into something usuable. Its really too big for a table topper, and with three teenagers and one table, there is no way I would put it on there anyway!, but it is not big enough as is for any size quilt, too long and skinny. One suggestion was to add patchwork to it on either side in red and greens, another was to make two other panels the same as the one I have but I would really like to find out what the whole thing was supposed to look like before I do anything. What are the chances of finding out? Pretty good? A million to one? Debbie in NJ —————————— Date: Mon, 30 Dec 1996 10:24:12 -0500 From: Laurajbr To: Subject: Re: QHL: red & green Message-ID: <961230102411_1722185567emout02.mail.aol.com> Jane and anyone else interested< I found my orange, red and green wedding quilt in an antique shop in Dade City, Florida–a wonderful little town full of antique stores, a quilt shop and the world’s greatest restaurant, about a 45-minute drive from Tampa. You feel like you’ve stepped back into the 1950’s when you spend a day up there. The shopkeepers and townspeople all know each other and after a few visits, they know us visitors too. The shop I found my quilt is no longer in business but it was called Lady Anne’s and it was mainly Victorian antiques, beautiful furniture, flower arrangements, and there, hanging on the back wall, was MY quilt. It was love at first sight and for me, one of my greatest finds (which was confirmed by my friend, the antique quilt dealer.) The other quilt made by the same lady is in Black Mountain, North Carolina. That is also a wonderul little town and well worth a visit if you are passing through the NC mountains. It’s just east of Asheville. I find some wonderful antique quilts there and all over the mountains. Kay does not remember when she found her quilt or where. If you could see her collection, you’d understand why. she must have 300 quilts, including a Baltimore album, one from the late 1700’s, and many, many more. I would love to know how our two quilts came into being and how they became separated, but at least I do know when mine was made and who it was for. I guess I won’t find out why Elizabeth Coyle crossd out her middle name. It must have had some powerful memories associated with it for her to do that on this masterpiece. As for colors in these quilts, red and green appliques were very popular in the mid 1800’s and they often used yellow or orange as an accent color. In this quilt, though, the orange is the predominant color and the reds and greens are the accent colors. I do have one other orange quilt. It is an appliqued one, of course, and it’s baskets with flowers. The quilting is spectacular, as it often was during that time, and even though it is not my usual red and green, I couldn’t resist it. (either…) Laura in Tampa —————————— Date: Mon, 30 Dec 1996 09:05:00 PST From: jadavisjuno.com (Julie A Davis) To: quiltopiastgenesis.org, kaffee-klatschquilter.com Cc: Subject: QHL: Re: Hello……. Message-ID: <19961230.093223.17822.0.jadavisjuno.com> Hello out there…… We went to my home town to see my Mom and Dad and Mother-in-law etc…. from Christmas Eve. to yesterday afternoon…… when I finally had a minute last night to check my mail I had 798 messages! It took me about 2 1/2 hours to go through them and I deleted many! wew! It was really kinda funny to read the messages from the 24th and compare them to the 26th etc…… everyone on all of the lists that I’m on were so frantic and rushed and then were so calm and already planning Christmas ’97! Ha!!! 🙂 I did get one sewing/quilting related gift from a friend — a book called “501 Quilt Blocks” by Better Homes & Gardens — It’s a beautiful hard back book and the pictures etc. are beautiful…. can’t wait to have the time to really dig into it! Well…………… I hope you all had a Merry Christmas and have a Happy New Year! Julie Davis jadavisjuno.com —————————— Date: Mon, 30 Dec 1996 10:54:45 -0500 From: Baglady111 To: Subject: Re: QHL: WPA Thread Message-ID: <961230105439_1524305960emout18.mail.aol.com> Nancy, I THINK she said the camp was in NC..or did I read it wrong??J —————————— Date: Mon, 30 Dec 96 11:10:56 PST From: John & Cinda Cawley To: Ricki Maietta , Subject: RE: QHL: red & green Message-ID: Content-Type: TEXT/PLAIN; CHARSET=us-ascii I’m interested in the quilt Ricki mentioned that was donated to the museum. I have seen quilts in a pattern I would have called coxcomb referred to by the owner as cactus. Brackman cites cactus as a name for this pattern (Encyclopedia of Applique, p. 80). Lasansky shows one (Pieced by Mother, p. 53), as does the Berks Co. Quilt Harvest (Historical Review of Berks County, Winter 92-93, p. 16). I am increasingly reluctant to give names to 19th century patterns unless we know what the maker called that particular quilt. We seem compelled to retroactively impose our terminology (which is necessary for contemporary “quilt people” to understand each other) on a period of creative chaos. Cinda in Scranton ————————————- Name: John & Cinda Cawley E-mail: cawleyepix.net Date: 12/30/96 Time: 11:10:56 AM This message was sent by Chameleon ————————————- —————————— Date: Mon, 30 Dec 1996 12:15:25 -0500 From: RBCochran To: Subject: QHL: Two Don’t Miss Experiences Message-ID: <961230121525_1290204601emout08.mail.aol.com> First of all, I want to say how delighted I am to find this site. I can already see more computer hours spent online, esp. the WPA project info. Thanks to everyone for sharing. Secondly, I’d like to recommend two quilting-related experiences not to be missed. If you possibly can, you should see the quilts from the Patricia Smith collection being exhibited at the Renwick in D.C. They are stunning. Plus there’s fabric yardage exhibited in cases. I think the show runs through mid-January, so you’ll have to hurry. If you can’t make it, though, I understand a book is coming out in March or April 1997. I hope so, because we couldn’t take photos. (Didn’t think to ask for permission ahead of time.) The other thing you should do is to take the workshop at the DAR. I, too, was there in December. To sign up, just call them. I think they run one on the first Thursday of every month. But plan ahead because they limit the group to 20 at the most. Cost is $15. You never know which ones they’ll be showing, but all we saw were interesting. You can photo here, only if you ask for permission ahead, and I would imagine only non-flash. Looking forward to more info exchange and wishing all a happy new year. Rachel in NJ —————————— Date: Mon, 30 Dec 1996 09:28:58 -0800 From: Michele Weise To: Subject: QHL: making heat-transfer labels Message-Id: <3.0.32.19961230092739.0069d5d0mail.west.net> Content-Type: text/plain; charset=”us-ascii” Hi all, I can’t find who asked about making labels so I’ll address the group… In regards to heat transfer labels…speaking as a framer, the basic rule of thumb in conservation framing is: Do not change the original artwork in any way by adding heat activated substances such as glues, tapes etc. The idea being that you should be able to easily move the original artwork from one frame or storage place to another without the artwork being changed in any way, staying as close to its original condition as possible. That is why framers have no hesitation using heat-transfer sheets to adhere posters to foam core, whereas they would never heat transfer a limited edition fine art print or any original–on paper, fabric, or any other material. Adhesion would immediately render the value of an art print to zero. In our trade, we have something called a T mount which lets you hold a piece in place without letting any adhesive or acid bearing material touch the piece. Heat transer paper, (which I use all the time for many things because I love it) has many uses but not in conservation matting and mounting. Thin sheets of tissue/type paper are dotted with very tiny spots of heat-activated adhesives. The adhesives range from lo tack to hi tack. Basically, you have seen something like these in fabric stores and it’s called “Heat & Bond” tissue. Most manufactureres give directions saying that their adhesives can be removed by reheating the artwork and softening the adhesive and peeling it away from the sheet. This is very seldom successful and all manufacturers with also give disclaimers because unless the whole sheet is heated to exactly the same temperature, and peeled off quickly, some dots of adhesive will cool–hence, you will be caught stressing the artwork by pulling and stretching it, and heaven forbit, tearing it. However, after having said all this about heat transfer processes, I would personally feel very at ease using a heat transfer label on an antique quilt IF the label was treated as a separate piece, layered to the quilt with a small separator of either plain cotton or acid free tissue and hand stitched to the quilt. These adhesives that are being held between your photo emulsion and the backing muslin, I believe would not harm the quilt in any way because they would not be touching the quilt, and would be in a healthy aired environment–not locked up in plastic or other detramental atmosphere. Good luck and I think your idea is really wonderful. Michele —————————— Date: Mon, 30 Dec 1996 18:38:10 -0500 (EST) From: “Carol L. O’Neill” To: RBCochran cc: Subject: QHL: Renwick Exhibit +++++ Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Saw the Renwick exhibit yesterday and certainly agree with Rachel that it was stunning! Loved all the quilts, and was intrigued by Baptist Fan quilting on one of them, dated 1830s. Have never thought about the origin of actual quilting patterns…somehow assumed crosshatching and squares and diamonds were used in older times. Know of any book with info on this? My favorite in the show was a sunflower quilt in bright yellow and blues. Center of the flowers was a square with elongated corners, set sometimes one way and sometimes the other, giving the flowers a carefree feeling. It was random, but I bet the quilter did it intentionally. She also had an interesting border treatment, using a fabric with a wide stripe. She didn’t try to miter the corners to match, but stopped them 6″ or so short of the edge and added a piece of the same fabric cut on the bias. Definitely an idea to put in my memory bank! Really enjoy reading on here about the various views from those of you who are restorers and other experts. I’m especially interested in salvaging utilitarian quilts. “Time-Span Quilts” (can’t remember the author) is one of my most favorite of all quilt books. Bought a terribly cut-up strip-pieced quilt from the 30’s, took it apart in chunks, sewed it back together and made it the central medallion of a quilt that is now a joy to me. Have a feeling the original maker would be pleased (and maybe relieved!). Happy new year to you-all, and wishes for lots of wonderful finds! –Carol in VA (coneillcapaccess.org) —————————— Date: Mon, 30 Dec 96 20:51:55 EST From: “Bob Mills” To: Subject: QHL: Re: QHL-Digest Digest V96 #27 Message-Id: Intro, washing qlts, tomatoes Hi All, I’ve been reading for a few weeks and would like to introduce myself. I am Jan Drechsler (not Bob), and have been a quiltmaker for 27 years and have coordinated community participation quilts, as well as made dozens of squares for community quilts. I have been a seamstress for longer than that, and several years ago made 67 cotton dance dresses to sell so I have tons of scraps of cotton. I am a musician (pianist) for traditional New England Contra dances which are danced to jigs and reels, and I also call or teach those dances. I bought a Bernina 1090 last year and I only wonder why I fought my cheap 1960’s Singer for so long. Until I sat down at my Bernina, I realized that 3/4 of my sewing energy had been directed at my old machine. The Bernina just did what I asked it too. No more swearing at the machine. I am not affiliated with Bernina, just a happy owner. My other interest is old sewing machines. While I was happy when my ’60’s Singer died, I was recently given my grandmother’s treasured 1913 Singer model 15 treadle, which my dad electrified in the 40’s. I also found a Singer 99 at a flea market, bought a great Singer 201 and found two featherweights at bargain prices. I am just organizing New Jersey’s first get-together of featherweight fanatics and old sewing machine collectors. Contact me if you are interested. There is a subscribed group of machine collectors and sewers and repairers, to join write Suettsw.com. That’s it for my unlurking info. I have been reading rec.textiles.quilting and sewing and the Bernina newsgroup for 1 1/2 years and am quite tired of chit-chat about Christmas sewing and kitty quilts and ‘What are you making now?’ chat. I don’t learn much from the groups except occasionally a tip about Berninas. No Tomato Tossing from me Jean!! Hooray for you for saying ‘Let’s keep this group focused.’ I have been thinking about the discussions surrounding washing and ‘fixing up’ old quilts. I don’t think that there is only one right answer. If we are talking about a museum quality quilt-then I wouldn’t dream of washing it in my bathtub or anywhere else. And pulling off and replacing worn fabric is also a sin. But let’s talk about the kind of quilt that many of us are likely to own. In fact, let’s talk about my grandmother’s basket pieced quilt, in which many of the triangle points were sewn into the seams, in which the quilting stitches were small on the front and huge on the back, in which the front border was wrapped around to the back instead of a binding, and in which not one corner was square. I just finished a fix- up project on this quilt that my grandmother made for my mom and dad in the 50’s. It was ruined at a cleaner’s- faded the fabrics and made huge lumps of the cotton batting inside, so one could see thru the quilt in places and feel the lumps in others. My mom then gave it to me when we were first married and then there was the leaky waterbed incident. Yucky waterstains. I then put it in the attic for 22 years, which didn’t help preserve it. It took me all those years to decide to destroy part of grandma’s work in order to enjoy the rest of her work. This fall, I picked out the yards and yards of hand quilting, pulled off about 300 french knots, and took out all the batting. I defied all quilting common sense and scrubbed it with Shout and threw it in the washer with Tide and it came out clean and pretty. The colors weren’t any more faded after that rough treatment and it has a charming old soft pastel look. I did the same to the water stained muslin backing in order to re-use it. I put new Warm and Natural batting in it, machine quilted the squares and took it to N. Carolina at Christmas to offer it to my mom. I bet my husband that she would say, ‘Oh, that old thing-I don’t want it.’ Instead she said ‘I always wondered what had happened to that quilt. I would love to have it back!’ Fortunately, I never bet money. It is on mom’s bed now and looks beautiful. After the winter, I will handquilt some of it and re do the French knots. This quilt was made to be used. Last October, I found a large wool one patch, of 4 inch squares for $12. I barely even looked at it before grabbing it, believing that any quilt is worth more than $12. When I got home and looked at it closer, I thought that maybe I had paid $11.99 too much for it! Many of the squares are moth eaten, some of the squares are shredded tapistry, none of the squares meet or match seams, it looks like a 6 year old’s stitching and the backing had stains suggesting multiple childbirths. Oh, it also smelled and the cotton batting was in lumps. I decided to pick out the ties and remove the batting. I removed the backing and tried to wash out the stains, to no avail. Although the backing was seriously faded in places, it had once been a lovely rose large flowered print. I washed the top (gasp) in woolite in my machine on delicate and lay it flat to dry. One of my future projects will be to replace some of the wool squares and reback it with an old looking sampler flannel- which cost twice as much as the whole quilt. It will not be perfect, nor do I want to replace all the damaged squares. But it will go on a bed and be warm and functional and charming. So I think that the quilt itself has to be considered before one says never wash it or clean it up. Each quilt has it’s own answer and value, whether it be monitary, historical or sentimental. And the care will depend on that value. Oh… this is long, sorry to be so long-winded the first time I write. I promise I will listen more and write less. And I am very glad to read these discussions. Jan in NJ Date: Mon, 30 Dec 1996 21:43:51 -0500 From: Knutem To: Subject: QHL: Antique quilts in DC? Message-ID: <961230214350_438999578emout04.mail.aol.com> I will be in Washington, DC for a weekend in February and was wondering where to go to see some of the antique quilts? Also, which area of the Smithsonian has them? Thanks, Bet in Florida —————————— Date: Mon, 30 Dec 1996 23:10:02 -0500 From: RLHlink3 To: Subject: Re: QHL: Re: QHL-Digest Digest V96 #27 Message-ID: <961230231002_1457958142emout05.mail.aol.com> Dear Jan in NJ Thank you for your long msg. I enjoyed every bit of it and I’m sure others have too. It is very stormy here in my newly adopted N. CA home –a great night to be curled up with the QHL, chatting with new friends about these “old dears” (quilts). Linda —————————— Date: Tue, 31 Dec 1996 17:52:24 +1100 (EST) From: Li Joo Ng To: Posting < > Subject: QHL: cleaning antique quilts Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII All this discussions about cleaning and washing antique quilts has kept me glued to my computer for the past few days. I am very interested in seeing what everyone has to say, and I feel that in their own way, everyone has a point and no one is wrong. Since we have so many experts here, I would like to ask when, if ever, is it all right to dry clean an antique quilt? Most quilts are made of cotton, so how would they react to dry cleaning? And what about crazy quilts that have silks and velvets in them? Thanks, everyone, for sharing your tips and opinions. Have a Happy and Healthy New Year! LiJoo – in sunny Australia —————————— Date: Tue, 31 Dec 1996 16:27:41 +0800 From: Bev McGrath To: Subject: QHL: Antique Quilts in Western Australia Message-Id: <199612310827.QAA28988grunge.iinet.net.au> Content-Type: text/plain; charset=”us-ascii” Hi to all, This is my second letter to the forum, I enjoy it very much and love hearing all the hints about caring for antique quilts. I am Bev McGrath, writing to you all from Perth in Western Australia, where tomorrow (Tuesday) the temperature is going to be 35C (about 92F) and Wednesday and Thursday 40C (about 104F). I include this as I have just seen on the TV reports about the terrible storms that are occuring in the North West of the US. We don’t have a large number of antique quilts here is Australia owing to the weather (which is suitable for light quilts only) and a history of poverty and deprivation the early settlers and convicts faced. Australia was first settled in 1788 as a penal colony, so the majority of the very small population (male & female) were convicts. Even so, all (free settlers, soldiers, prison staff and convicts) faced the same problems of starvation and poverty. Tasmania has the worst record for brutality and cruelty as a penal colony, but even there the convicts had a better diet than the settlers. They grew the food and were able to pick and eat it before the other people were even aware it was ripe. Quilting in Australia is a modern art, able to be taken up when the standard of living rose post WW11 to the state where people had the time and money to indulge in these past-times. My mother was a great knitter but quilting is something I had not heard of until the last 10 or so years. Even feed sacks (as produced in America) are unknown here, only calico bags with stamped labels. Mum grew up on a farm and was too busy working to do anything else. She left home the moment she could and came to the city to work as a servant until she got married. This was in the 1930’s Grandma didn’t sew either, as she was too busy being a farmers wife and mother of four. It is VERY interesting learning about the culture of a foreigh country (USA). I find it intreging how many antique quilts are available. Surely the farmers wives etc worked just as hard as ours? The only thing I can think of is that America was settled about 100 years before Australia (West Australia was the last state in 1829) and therefore there were more generations of people to raise the standard of living. WA started out as a free state (no convicts) but had to accept them in 1840 as the colony was in deep depression. The population were starving and many were fleeing to other states in desparation. Convicts were needed for labour, both by the Government (the first Public Servants) and the farmers. People were too busy trying to stay alive to have time or the implements to make quilts. Conditions improved by 1860 and transportation stopped. Now we have a legacy of many fine buildings built with convict labout, but FEW QUILTS. I will add any other interesting things as I come across them. Best wishes all our friends and fellow quilters. Bev McGrath in sunny Perth, Western Australia Bev McGrath in sunny Perth, Western Australia bevmcgraiinet.net.au —————————— Date: Tue, 31 Dec 1996 07:45:41 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: Unidentified subject! Message-Id: Content-Type: text/plain; charset=”us-ascii” Textiles are not like turkeys they do not have a pop up timer to tell you when they simply will disintegrate. This is the best statement made so far on the QHL list. I laughed and laughed, but it is too true. Everytime someone says, i just popped that old quilt in the washing machine, or i took it to the cleaners….i groan! at one conservation day i attended the expert advice was to go to Home Depot, purchase some very fine fiberglas screening. Lay the quilt on the floor. GENTLY place the screen over it and then lightly vacuum it with your Dustbuster, NOT your garage power vac. Dust motes and dirt are enemies of your textiles, and this will remove a lot of them. Waiting to hear Rabbit’s comments on this! is it okay or not? I have never tried it, but it made sense. My worry would be to make sure the screening was laid down in such a way, very carefully, so it did not cause abrasion on the surface of the quilt. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 07:45:38 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: DAR…has changed Message-Id: Content-Type: text/plain; charset=”us-ascii” Yes that did happen, and it was a very shameful moment in the DAR when they refused to let Marian Anderson. It was in the 1930’s and unfortunately that kind of terrible discrimination was common then, all over the USA. Black Americans couldnt go to *white* colleges then either (and neither could women, DAR or not!)….elitist schools like Harvard and Yale now accept both blacks and women students into their hallowed halls. So while this type of discrimination is very wrong and I admire Eleanor Roosevelt highly for what she did…..there are a LOT of organizations that have had to open their hallowed halls, not just the DAR. Yes, The DAR has changed its policy. And yes they do allow African Americans who are descended from Revolutionaly War veterans into their organization. How do I know this? I am a descendant, and one branch of our very large, very early to America family (Hawley is surname) seems to have married a black woman (before the revolutionary war), had children, and so our family tree has many black members, some of whom also fought for the Federals in that “recent unpleasantness” (what we call the War Between The States here in Georgia). Now I say *seems* to have married a black woman because the church records are incomplete, but we do know a Hawley male child was baptised for the records that do exist and that the son was black, and there are documented descendants of this branch of the family. One of them lives in Washington DC, and is retired military. As fr slave quilts in the exhibition. the DAR has about 250 quilts in their collection. At these quilt days they show about 30, and rotate them. It would be difficult to say if there were any quilts made by slaves shown on any one day. All slave quilts are not primitive you know. Many southern quilts that are exquisitely beautiful were made by slaves to be used on the beds of their masters. I have seen incredible needlework in broderie perse quilts, stitched by slaves. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 07:50:26 -0500 From: Baglady111 To: Subject: Re: QHL: Renwick Exhibit +++++ Message-ID: <961231075024_1290329713emout12.mail.aol.com> Carol in VA..if you find a source for the TIME SPAN book, I’m interested as well. infact, sources for all books mentioned, if they pretain to history/stories of the quilters/etc are of interest apparently to all of us..seems everytime I mention one or we see someone post a title..we want to know..possibly, periodically we can find a way to form a list that would be available to those of us that are interested..without taking up space from our forum..thanx, Carol..jane —————————— Date: Tue, 31 Dec 1996 08:18:39 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: florida squatters Message-Id: Content-Type: text/plain; charset=”us-ascii” josie…i am related to one of those Florida Squatters from the WPA, or probably from before the WPA. yes, it was before. My great-aunt came to Florida down the missippi on a flat bottom boat in the early 1900’s. They settled near ft myers where they had one of the first vegetable farms. The ranchers in the area hated the squatters (just like the old west) and ran their cattle over their gardens. She used quilts to make walls in the house they built out in the swamp until they could get real walls. I have a wonderful account of all this that she wrote herself before she died. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 08:34:11 -0500 From: Baglady111 To: Subject: Re: QHL: cleaning antique quilts Message-ID: <961231083410_876689703emout06.mail.aol.com> this is an excellent question..I have the crazy quilt top my husband’s g.parents made back in the 1800’s when they were courting..Yep, back in those days they did such a thing while the man was wooing the lady..(this was before drive-in movies)..there were some stains onthe back of the top and I could’nt find a cleaner who would touch it..and this also before quilting had surfaced once more..and I hae also been told that dry cleaning is more harsh than water..the chemicals are extremely strong..Jane —————————— Date: Tue, 31 Dec 1996 08:34:58 -0500 From: Baglady111 To: Subject: Re: QHL: cleaning antique quilts Message-ID: <961231083457_1822154536emout12.mail.aol.com> Sorry, my post was in reply to Li-Joo in Australia’s post..Jane —————————— Date: Tue, 31 Dec 1996 08:43:37 -0500 From: Baglady111 To: Subject: Re: QHL: Antique Quilts in Western Australia Message-ID: <961231084336_778457147emout04.mail.aol.com> I am so pleased that Bev ent her post..she had emailed me with this info and I felt you would enjoy readign it and it would give us pause for thought about other countries in comparison to quilting history in our country. THE FEEDSACK club is gaining more and more members from Australia and we are delighted to be able to share OUR vintage feedsack fabric with them as they inturn send us THEIRS..thanx Bev for insight into your history..Jane —————————— Date: Tue, 31 Dec 1996 09:00:55 EST From: woodnsplrma.edu To: Bev McGrath , Subject: Re: QHL: Antique Quilts in Western Australia Message-Id: <199612311400.3272700rma.edu> Content-Type: text/plain Content-Transfer-Encoding: 7bit Bev, Yes, there was plenty of poverty in this country. The farmers wives did work hard and it will always amaze me that they did find time to quilt but them some of that but certainly not all was of a sense of necessity. My maternal born in 1891 couldn’t have been poorer and raised 8 children. Her quilts are pretty much utilitarian. But she had a eye for what was attractive. No matter how bad things were she always had some kind of curtain in the windows and potted plants. My Mother says they were never hungry but at time especially at the end of winter the quality of their food wasn’t so great. I do have one tied quilt she made and it isn’t bad at all. On the other hand my paternal Grandmother born in 1864, while poor, had a higher standard of living. She did not marry so early and only had 3 children spread out over 11 years. She also worked hard but they did have more. She absolutely loved quilting and her quilts are just wonderful. Even her utility are well quilted though much plainer. I don’t believe there is any way to really connect the two countries. The social system was so different. I don’t know but suspect that families lived closed to each other so were more able to help each other out and pass on ideas, trade fabrics, patterns etc. Ann in VA woodnsplrma.edu —————————— Date: Tue, 31 Dec 1996 08:58:17 -0500 From: quiltmagmindspring.com (Jean Ann) To: AJSNGS , Subject: QHL: whereis the old CCC camp? Message-Id: Content-Type: text/plain; charset=”us-ascii” >Jean Ann, > >Where is the old CCC camp? H nancy the old CCC Camp is in Hendersonville. it is called Kanuga and has become an Episcopal retreat center. It is near the end of the Skyline Drive. There are other church camps in the area that were old CCC Camps. After the program shut down a lot of the camps were given to churches. Kanuga is near Georgia Bonesteel’s quilt shop. Also lots of factory outlet fabric shopping. Good thing we didnt have such rigid separation of church and state back then! Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 06:16:18 -0800 (PST) From: Michele Weise To: Subject: QHL: Australian beginnings Message-Id: <199612311416.GAA17011acme.sb.west.net> Content-Type: text/plain; charset=”us-ascii” To Bev in Australia, Your history is very fascinating. Tell us more if you can about the calico sacks and their labels. It makes me more aware of the heritage of quilting that we have in our country. I’ve often thought about how many old quilts are really out there and if there still are any unfound treasures that might make their way to my door. Listening to Bev, I realize what a cultural phenomenon quilting is and how lucky we are to have it. I think this group is fascinating and always, always, interesting. Happy New Year everybody! —————————— Date: Tue, 31 Dec 1996 07:47:24 -0700 From: “Mary E Scott” To: < >, “Bev McGrath” Subject: QHL: Re: Antique Quilts in Western Australia Message-Id: <199612310041.HAA20230 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Bev: How interesting. I knew that Australia was started as a penal colony but I didn’t realize what a struggle it was to make a go of it. I enjoyed your story. Thanks and Happy New Year . Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html —————————— Date: Tue, 31 Dec 1996 08:05:12 -0700 From: “Mary E Scott” To: < >, “Jean Ann” Subject: QHL: Re: florida squatters Message-Id: <199612310102.IAA20470 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Hi Jean Ann: You said that you had an account of your grandmother from early Florida. Could you perhaps share it with us piece by piece. Like a continuing serial. It would be so interesting to read. Is it a diary or what? I am really curious. Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html —————————— Date: 31 Dec 96 11:02:27 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: moth balls Message-ID: <961231160226_75444.1037_FHQ44-2CompuServe.COM> There are better things than moth balls but moth balls are ok if you put them into a storage sack and not have them loose. They off gas some pretty bad stuff but they are effective. A good thing to do is to hang the moth balls up in a bag not touching anything and stay away from yourself . —————————— Date: Tue, 31 Dec 1996 11:06:56 -0500 From: MHerron4 To: Subject: QHL: Keep sending digest Message-ID: <961231110529_1410908008emout16.mail.aol.com> Hi, As much as I treasure the knowledge gained here. I think I should just recieve your wonderful digest as I’m finding the quantity of mail somewhat overwhelming. Your digest appears to be a wonderful encapsulation of the best of the list. Thanks for all your trouble. MHerron4 —————————— Date: Tue, 31 Dec 1996 08:11:11 -0800 From: lrobinscclink.fhcrc.org (laurarm) To: , lrobinscclink.fhcrc.org (laurarm) Subject: QHL: More on linsey-woolsey Message-ID: <2c93d970cclink.fhcrc.org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part On Christmas day I was reading Roderick Kiracofe’s book “The American Quilt” and ran across a passage on linsey woolsey. It differs slightly from some info that has already been posted, but I guess you can always expect different interpretations of history. That’s what makes it interesting! The bottom line was that linsey-woolsey (linen warp and woolen weft) was first made in Lindsey, Suffolk, England (different spelling and different county than a previous posting). He also said that in the 20th century, that term has been used erroneously and that true linsey-woolsey (American) is rather rare. Some linsey woolsey fabric was made in the 17th century in the American colonies but was soon replaced by cloth using cotton yarn instead of linen for the warp and so it wasn’t true linsey-woolsey. He said that most solid color cloth that some people now call linsey-woolsey was actually “worsted” fabric (named after the English village Worsted in Norwich). Worsted fabric was a light weight cloth of long staple combed wool yarn. (I didn’t check out his sources, but I imagine his references are listed if anyone wants to read further. He might be right about linsey woolsey but the name has been used such a lot that it might be impossible to correct the mistake.) Laura Robins-Morris, Seattle lrobinscclink.fhcrc.org —————————— Date: Tue, 31 Dec 1996 10:19:54 CDT From: josiemtekstar.com To: quiltmagmindspring.com (Jean Ann) CC: Subject: RE: QHL: Unidentified subject! Message-Id: <199612311619.KAA27785perham> Its not Rabbit responding, but Jo from Minnesota who would say No, no, no! to using fibreglas anything near an old quilt. Having worked with fibreglas drapery of years ago, I know no matter how it was handled, you wound up with scratches and minute cuts on your hands. I think if you wished to use screening, carefully used metal hardware cloth would be the better choice of the two. But not sure I would use either! Jo in Minnesota —————————— Date: Tue, 31 Dec 1996 08:17:26 -0800 From: lrobinscclink.fhcrc.org (laurarm) To: , lrobinscclink.fhcrc.org (laurarm) Subject: QHL: quilts and moth balls Message-ID: <2c93edc0cclink.fhcrc.org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part Someone mentioned using moth balls to protect her quilts. I’ve never known that moths were a problem with anything other than wools, so I wouldn’t have thought it necessary to use them with stored quilts. Other opinions?? Also, the mothball smell is so difficult to remove. We had a discussion of this on Quiltnet a while back. Some folks were able to remove the smell by repeated washing and/or airing out; others couldn’t get rid of it no matter what they did. Suggested alternatives (less smelly) to moth balls were bay leaves or cedar chips (but don’t let the raw wood chips touch the fabrics–use a sock or bag). Laura Robins-Morris, Seattle lrobinscclink.fhcrc.org —————————— Date: Tue, 31 Dec 1996 08:28:36 -0800 From: jhavermother.com (JoAn Haverstock) To: Subject: QHL: Dresden Plate Message-Id: <199612311628.IAA13149pa.mother.com> Content-Type: text/plain; charset=”us-ascii” Dear All, I am new to this list, but enjoying the exchange very much. Little did I know that I would have a question so soon. This weekend I was working as a hospice nurse and when I was in the patient’s home I asked about an antique quilt that was on the bed in the spare bedroom. It was made by the patient’s (in her 70’s) husband’s aunt. It was a scrappy fan pattern. I visited the house four different times that day and when I left the daughter gave me a bag and said you might find a use for these. What a *treasure*. In the bag were 11 scrappy dresden plates. They measure 14 inches across. Their are 20 sections and each fifth piece is the same fabric and comes to a point instead of being rounded as are all of the other pieces. I would like suggestions on how to put these together to make a bed quilt. Should I buy some 30’s fabric for sashing or borders, or would that just detract? I was thinking of using unbleached muslin. Is that the best selection? Thanks for being there. :^) JoAn in Davis, CA jhavermother.com —————————— Date: Tue, 31 Dec 1996 11:55:36 -0500 From: Baglady111 To: Subject: Re: QHL: Re: florida squatters Message-ID: <961231114230_1989943757emout14.mail.aol.com> Jean Ann, Mary’s suggestion is an excellent one..I’m sure we would all enjoy it. I know textile history HAS to be in there as well. And as to Bev’s post abut Australia..I am in hopes that our American members of THE FEEDSACK CLUB will take advantage of the opportunity to exchange feedsacks/other fabs my members are involved with with our Australian members..we had a member teaching English in Japan..Lorraine was from New England and had been over there quite awhile teaching..I don’t think many members took advantage of trading feedsack for Japanese fabs..I SURE DID..we have a tendency to think our world is our town, our county, our state, our country..NOT THE WORLD..and because of this..dont’ we miss alot. Lorraine is back here now, Japanese fabric (as well as Australian) is HOT!! AND IT’S TOO LATE for trading..as I look at my Japanese fabrics/quitls/items I acquired I say to myself..i got mine!!..and now, it is info we are trading..WONDERFUL!! Jane —————————— Date: 31 Dec 96 12:13:46 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: cleaning antique quilts Message-ID: <961231171345_75444.1037_FHQ50-2CompuServe.COM> the crazy quilt often uses textiles which would never have been wet cleaned in their normal use so washing the quilt is totally out of the question Besides the addition of metalic salts to many of silks cause what we cal lINHERENT VICE ( almost as good as the pop up turkey right) which means that the metalic salts used to weight and dye silks cause them to become brittle and fall apart. There isnt anything we can do about that really so they are doomed to die but washing is the worst thing for them and dry cleaning is also not a good idea. Living with it vvacumming is about the best —————————— Date: 31 Dec 96 12:13:47 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: Unidentified subject! Message-ID: <961231171347_75444.1037_FHQ50-3CompuServe.COM> Yes vacumming is the best thing for removing particulate dirst which is the real enemy The firberglass sreening is wonderful and I actually use a regular vac because the dust buster may not be enough but I dont use a shop vac. I dont look for cahnges that i can see to the textile though it still will look dirty but thats ok as far as I am concerned except for dealers selling modern quilts and I do understand that You need to be able to resell quilts but then you are talking about quilts which are mostly 20th century. Everyone knows my interest just about stops at 1900 right.? —————————— Date: 31 Dec 96 13:05:19 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: RE: QHL: Unidentified subject! Message-ID: <961231180519_75444.1037_FHQ52-2CompuServe.COM> Actually I have never had any trouble with fiberglass screening from the hardware store it is flexible and non abrasive. Metasl can be sharp and is less flexible. Let’s be clear about why we use a screen for vacumming. The screen in a fine mess keeps the fibers of the textile secure against the pulling power of the vacumn and allows the dirt to leave. One person holds the screen down tightly on the fabric the other person vacums by placing the vacum and lifting it up to move it from spot to spot do not run the vacum across the textile lift it and move it it takes time but is good for the textile I cover the edges of my screen with duct tape so that it is smooth. I vacumm the dirtiest side first. Rabbit —————————— Date: 31 Dec 96 13:05:17 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231180517_75444.1037_FHQ52-1CompuServe.COM> His material seems accurrate as far as it goes. Certainly dont confuse “linsey-woolsey quilts” with the fabric linsey woolsey. THe quilts are qorsted and have nothing to do with linen and wool. The production of both cloths was well established both in Europe and the colonies from the 17th century on. But that is why we need to carry a portable microscope available from radio shack for 12.95 with 100 power magnification and check out what people tell us the only way to identify what a fiber is is under the microscope no one can do it without that and it takes less than 15 seconds and it doesnt harm the textile so if you want to know what something is you find out its simple fast and fun and makes you look really really good. —————————— Date: Tue, 31 Dec 1996 13:00:51 CDT From: josiemtekstar.com To: 75444.1037CompuServe.COM CC: Subject: RE: QHL: Unidentified subject! Message-Id: <199612311900.NAA04572perham> Hi there Rabbit Goody: After working for a number of years around fibreglas drapery and winding up with minute( unseeable) cuts on my hands (the only way I would know they were there was by hand washing or rubbing my hands together) I would never use any type of fibreglas cloth around fragile old fabric. I just wouldn’t do it. I am no expert at all, just speaking from some experience, if it works for you, great, its just that I wouldn’t use it at all (Got to really hate the stuff after a while!) Jo in Minnesota —————————— Date: Tue, 31 Dec 1996 14:01:35 -0500 From: Baglady111 To: Subject: Re: QHL: quilts and moth balls Message-ID: <961231134123_1390931203emout02.mail.aol.com> In response to mothballs..msot people confuse eaten fabrics with moths..when in actuallity it is often silverfish..these little buggers can eat up a quilt in less than a months time..I had a friend who had one draped over th arm of her couch and before you knew it..BADLY DAMAGED..being an herbalist, she made up a batch of herbs and GONE!! Ever notice a towel or a washcloth alll of a sudden has a hole it in and you think something in your washer ‘tore’ or ‘ripped’ it? Ever think that NOTHING else was torn/ripped?? In thinking back it was something wet/or in contact with ‘wet’..moths, to my knowledge, do not attack cotton. Jane —————————— Date: Tue, 31 Dec 1996 14:14:19 -0500 From: Baglady111 To: Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231133556_643306479emout07.mail.aol.com> That is very probable, Laura..I am not sure of the correct spelling of the town in England. I’m guessing the person who gave me the info figured it was spelled the same way we have been spelling linsey wollesy..the piece that I have is wool and linen..the red is the wool and the ecru or off white is the linen. I can recall a lady in one of the audiences at my lecture said she thought linsey-woolsey was wool and cotton, as you mention..when I took that comment back to the lady who gave it to me she said, “well, I know it to be wool and linen because I helped to weave it. My mother and g.mother made my petticoats from it” Imagine sitting on something that rough (it’s like a horse blanket) all day in school and to boot her seat was DIERECTLY by the pot belly stove..her legs must have been rubbed raw by the end of the day. Thanks for adding to the discussion, Laura..this becomes more and more intriguing..Jane —————————— Date: 31 Dec 96 18:19:24 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231231923_75444.1037_FHQ48-1CompuServe.COM> good linsey-woolsey is not rough at least the 18th century and early 19th century pieces I have examined they are extremely fine with end and pick counts in the high 40’s compared to silk of course that is a different story but the wool quality is usually very soft sometimes worsteds were used especially for garments. That is another reason why when we are examining textiles we need to check under the microscope and then take out our linen testers 9 pick glasses ) and count warp and filling so that we have some way of comparing textiles to each other it is not enough to say it is linsey-woolsey we have to be able to say whether it is fine or coarse and what that means and whether it is linen, cotton, woolen, worsted, or silk Rabbit —————————— Date: Tue, 31 Dec 1996 22:53:06 +0000 From: “Kathleen Duvall” To: Subject: QHL: Quilt Find Message-Id: <03555390616319kong.gulfnet.com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT DH came home from a moving sale with a quilt for me and it’s unlike any I’ve ever seen before! Can anyone tell me anything about it? It’s obviously very old, but I have no idea how old. It’s all hand pieced and hand quilted with very little batting. There are some holes in a couple places. The pattern of this quilt is 6 large donkies pieced with squares. The background is a “tea-dye” color, the donkey is tan with hooves, saddle, tip of tail in red, an eye in white. I’ve never seen a donkey quilt before, but I love it! TIA Kathleen in Florida —————————— Date: Tue, 31 Dec 1996 23:35:28 -0500 From: QuiltLine To: Subject: QHL: cleaning quilts Message-ID: <961231233528_1189788129emout14.mail.aol.com> This thread seems to be endless, but I need to stick my two cents in here with regards to vacuuming (wacuuming to some, but really, who cares!??) quilts. Rather than use a screen, which I used to do, I now cover the end of the vacuum hose with the foot from a nylon stocking, and secure it onto the hose with a rubber band. Works well for me! If a quilt must absolutely be cleaned, please, the best thing to do is contact your local museum, one that handles textiles and ask them what professional textile cleaner they use. There is a great deal of difference between cleaning a quilt and restoring, repairing a quilt, and unless I missed something somewhere, it seems that this thread started when someone asked about cleaning a quilt, then it got off on a discussion on restoration/preservation/conservation. I don’t disagree that good and appropriate restoration can benefit a quilt, but then again, I don’t think that every quilt warrants restoration, I agree with the person who made the comment about it depends upon the owners preference. I have seen restoration increase the value on quilts and I have seen restoration ruin the value of a quilt, and it wasn’t done poorly. Like people, quilts are individual, each with their own personality so to speak. They should never be put into a single category of do’s and don’ts. —————————————————————————– Date: Mon, 30 Dec 1996 21:43:51 -0500 From: Knutem To: I will be in Washington, DC for a weekend in February and was wondering where to go to see some of the antique quilts? Also, which area of the Smithsonian has them? Thanks, Bet in Florida —————————— Date: Mon, 30 Dec 1996 23:10:02 -0500 From: RLHlink3 To: Subject: Re: QHL: Re: QHL-Digest Digest V96 #27 Message-ID: <961230231002_1457958142emout05.mail.aol.com> Dear Jan in NJ Thank you for your long msg. I enjoyed every bit of it and I’m sure others have too. It is very stormy here in my newly adopted N. CA home –a great night to be curled up with the QHL, chatting with new friends about these “old dears” (quilts). Linda —————————— Date: Tue, 31 Dec 1996 17:52:24 +1100 (EST) From: Li Joo Ng To: Posting < > Subject: QHL: cleaning antique quilts Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII All this discussions about cleaning and washing antique quilts has kept me glued to my computer for the past few days. I am very interested in seeing what everyone has to say, and I feel that in their own way, everyone has a point and no one is wrong. Since we have so many experts here, I would like to ask when, if ever, is it all right to dry clean an antique quilt? Most quilts are made of cotton, so how would they react to dry cleaning? And what about crazy quilts that have silks and velvets in them? Thanks, everyone, for sharing your tips and opinions. Have a Happy and Healthy New Year! LiJoo – in sunny Australia —————————— Date: Tue, 31 Dec 1996 16:27:41 +0800 From: Bev McGrath To: Subject: QHL: Antique Quilts in Western Australia Message-Id: <199612310827.QAA28988grunge.iinet.net.au> Content-Type: text/plain; charset=”us-ascii” Hi to all, This is my second letter to the forum, I enjoy it very much and love hearing all the hints about caring for antique quilts. I am Bev McGrath, writing to you all from Perth in Western Australia, where tomorrow (Tuesday) the temperature is going to be 35C (about 92F) and Wednesday and Thursday 40C (about 104F). I include this as I have just seen on the TV reports about the terrible storms that are occuring in the North West of the US. We don’t have a large number of antique quilts here is Australia owing to the weather (which is suitable for light quilts only) and a history of poverty and deprivation the early settlers and convicts faced. Australia was first settled in 1788 as a penal colony, so the majority of the very small population (male & female) were convicts. Even so, all (free settlers, soldiers, prison staff and convicts) faced the same problems of starvation and poverty. Tasmania has the worst record for brutality and cruelty as a penal colony, but even there the convicts had a better diet than the settlers. They grew the food and were able to pick and eat it before the other people were even aware it was ripe. Quilting in Australia is a modern art, able to be taken up when the standard of living rose post WW11 to the state where people had the time and money to indulge in these past-times. My mother was a great knitter but quilting is something I had not heard of until the last 10 or so years. Even feed sacks (as produced in America) are unknown here, only calico bags with stamped labels. Mum grew up on a farm and was too busy working to do anything else. She left home the moment she could and came to the city to work as a servant until she got married. This was in the 1930’s Grandma didn’t sew either, as she was too busy being a farmers wife and mother of four. It is VERY interesting learning about the culture of a foreigh country (USA). I find it intreging how many antique quilts are available. Surely the farmers wives etc worked just as hard as ours? The only thing I can think of is that America was settled about 100 years before Australia (West Australia was the last state in 1829) and therefore there were more generations of people to raise the standard of living. WA started out as a free state (no convicts) but had to accept them in 1840 as the colony was in deep depression. The population were starving and many were fleeing to other states in desparation. Convicts were needed for labour, both by the Government (the first Public Servants) and the farmers. People were too busy trying to stay alive to have time or the implements to make quilts. Conditions improved by 1860 and transportation stopped. Now we have a legacy of many fine buildings built with convict labout, but FEW QUILTS. I will add any other interesting things as I come across them. Best wishes all our friends and fellow quilters. Bev McGrath in sunny Perth, Western Australia Bev McGrath in sunny Perth, Western Australia bevmcgraiinet.net.au —————————— Date: Tue, 31 Dec 1996 07:45:41 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: Unidentified subject! Message-Id: Content-Type: text/plain; charset=”us-ascii” Textiles are not like turkeys they do not have a pop up timer to tell you when they simply will disintegrate. This is the best statement made so far on the QHL list. I laughed and laughed, but it is too true. Everytime someone says, i just popped that old quilt in the washing machine, or i took it to the cleaners….i groan! at one conservation day i attended the expert advice was to go to Home Depot, purchase some very fine fiberglas screening. Lay the quilt on the floor. GENTLY place the screen over it and then lightly vacuum it with your Dustbuster, NOT your garage power vac. Dust motes and dirt are enemies of your textiles, and this will remove a lot of them. Waiting to hear Rabbit’s comments on this! is it okay or not? I have never tried it, but it made sense. My worry would be to make sure the screening was laid down in such a way, very carefully, so it did not cause abrasion on the surface of the quilt. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 07:45:38 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: DAR…has changed Message-Id: Content-Type: text/plain; charset=”us-ascii” Yes that did happen, and it was a very shameful moment in the DAR when they refused to let Marian Anderson. It was in the 1930’s and unfortunately that kind of terrible discrimination was common then, all over the USA. Black Americans couldnt go to *white* colleges then either (and neither could women, DAR or not!)….elitist schools like Harvard and Yale now accept both blacks and women students into their hallowed halls. So while this type of discrimination is very wrong and I admire Eleanor Roosevelt highly for what she did…..there are a LOT of organizations that have had to open their hallowed halls, not just the DAR. Yes, The DAR has changed its policy. And yes they do allow African Americans who are descended from Revolutionaly War veterans into their organization. How do I know this? I am a descendant, and one branch of our very large, very early to America family (Hawley is surname) seems to have married a black woman (before the revolutionary war), had children, and so our family tree has many black members, some of whom also fought for the Federals in that “recent unpleasantness” (what we call the War Between The States here in Georgia). Now I say *seems* to have married a black woman because the church records are incomplete, but we do know a Hawley male child was baptised for the records that do exist and that the son was black, and there are documented descendants of this branch of the family. One of them lives in Washington DC, and is retired military. As fr slave quilts in the exhibition. the DAR has about 250 quilts in their collection. At these quilt days they show about 30, and rotate them. It would be difficult to say if there were any quilts made by slaves shown on any one day. All slave quilts are not primitive you know. Many southern quilts that are exquisitely beautiful were made by slaves to be used on the beds of their masters. I have seen incredible needlework in broderie perse quilts, stitched by slaves. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 07:50:26 -0500 From: Baglady111 To: Subject: Re: QHL: Renwick Exhibit +++++ Message-ID: <961231075024_1290329713emout12.mail.aol.com> Carol in VA..if you find a source for the TIME SPAN book, I’m interested as well. infact, sources for all books mentioned, if they pretain to history/stories of the quilters/etc are of interest apparently to all of us..seems everytime I mention one or we see someone post a title..we want to know..possibly, periodically we can find a way to form a list that would be available to those of us that are interested..without taking up space from our forum..thanx, Carol..jane —————————— Date: Tue, 31 Dec 1996 08:18:39 -0500 From: quiltmagmindspring.com (Jean Ann) To: Subject: QHL: florida squatters Message-Id: Content-Type: text/plain; charset=”us-ascii” josie…i am related to one of those Florida Squatters from the WPA, or probably from before the WPA. yes, it was before. My great-aunt came to Florida down the missippi on a flat bottom boat in the early 1900’s. They settled near ft myers where they had one of the first vegetable farms. The ranchers in the area hated the squatters (just like the old west) and ran their cattle over their gardens. She used quilts to make walls in the house they built out in the swamp until they could get real walls. I have a wonderful account of all this that she wrote herself before she died. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 08:34:11 -0500 From: Baglady111 To: Subject: Re: QHL: cleaning antique quilts Message-ID: <961231083410_876689703emout06.mail.aol.com> this is an excellent question..I have the crazy quilt top my husband’s g.parents made back in the 1800’s when they were courting..Yep, back in those days they did such a thing while the man was wooing the lady..(this was before drive-in movies)..there were some stains onthe back of the top and I could’nt find a cleaner who would touch it..and this also before quilting had surfaced once more..and I hae also been told that dry cleaning is more harsh than water..the chemicals are extremely strong..Jane —————————— Date: Tue, 31 Dec 1996 08:43:37 -0500 From: Baglady111 To: Subject: Re: QHL: Antique Quilts in Western Australia Message-ID: <961231084336_778457147emout04.mail.aol.com> I am so pleased that Bev ent her post..she had emailed me with this info and I felt you would enjoy readign it and it would give us pause for thought about other countries in comparison to quilting history in our country. THE FEEDSACK club is gaining more and more members from Australia and we are delighted to be able to share OUR vintage feedsack fabric with them as they inturn send us THEIRS..thanx Bev for insight into your history..Jane —————————— Date: Tue, 31 Dec 1996 09:00:55 EST From: woodnsplrma.edu To: Bev McGrath , Subject: Re: QHL: Antique Quilts in Western Australia Message-Id: <199612311400.3272700rma.edu> Content-Type: text/plain Content-Transfer-Encoding: 7bit Bev,     Yes, there was plenty of poverty in this country. The farmers wives did work hard and it will always amaze me that they did find time to quilt but them some of that but certainly not all was of a sense of necessity. My maternal born in 1891 couldn’t have been poorer and raised 8 children. Her quilts are pretty much utilitarian. But she had a eye for what was attractive. No matter how bad things were she always had some kind of curtain in the windows and potted plants. My Mother says they were never hungry but at time especially at the end of winter the quality of their food wasn’t so great. I do have one tied quilt she made and it isn’t bad at all.     On the other hand my paternal Grandmother born in 1864, while poor, had a higher standard of living. She did not marry so early and only had 3 children spread out over 11 years. She also worked hard but they did have more. She absolutely loved quilting and her quilts are just wonderful. Even her utility are well quilted though much plainer.     I don’t believe there is any way to really connect the two countries. The social system was so different. I don’t know but suspect that families lived closed to each other so were more able to help each other out and pass on ideas, trade fabrics, patterns etc. Ann in VA woodnsplrma.edu —————————— Date: Tue, 31 Dec 1996 08:58:17 -0500 From: quiltmagmindspring.com (Jean Ann) To: AJSNGS , Subject: QHL: whereis the old CCC camp? Message-Id: Content-Type: text/plain; charset=”us-ascii” >Jean Ann, > >Where is the old CCC camp? H nancy the old CCC Camp is in Hendersonville. it is called Kanuga and has become an Episcopal retreat center. It is near the end of the Skyline Drive. There are other church camps in the area that were old CCC Camps. After the program shut down a lot of the camps were given to churches. Kanuga is near Georgia Bonesteel’s quilt shop. Also lots of factory outlet fabric shopping. Good thing we didnt have such rigid separation of church and state back then! Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ —————————— Date: Tue, 31 Dec 1996 06:16:18 -0800 (PST) From: Michele Weise To: Subject: QHL: Australian beginnings Message-Id: <199612311416.GAA17011acme.sb.west.net> Content-Type: text/plain; charset=”us-ascii” To Bev in Australia, Your history is very fascinating. Tell us more if you can about the calico sacks and their labels. It makes me more aware of the heritage of quilting that we have in our country. I’ve often thought about how many old quilts are really out there and if there still are any unfound treasures that might make their way to my door. Listening to Bev, I realize what a cultural phenomenon quilting is and how lucky we are to have it. I think this group is fascinating and always, always, interesting. Happy New Year everybody! —————————— Date: Tue, 31 Dec 1996 07:47:24 -0700 From: “Mary E Scott” To: < >, “Bev McGrath” Subject: QHL: Re: Antique Quilts in Western Australia Message-Id: <199612310041.HAA20230 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Bev: How interesting. I knew that Australia was started as a penal colony but I didn’t realize what a struggle it was to make a go of it. I enjoyed your story. Thanks and Happy New Year . Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html —————————— Date: Tue, 31 Dec 1996 08:05:12 -0700 From: “Mary E Scott” To: < >, “Jean Ann” Subject: QHL: Re: florida squatters Message-Id: <199612310102.IAA20470 cybertrails.com> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Hi Jean Ann: You said that you had an account of your grandmother from early Florida. Could you perhaps share it with us piece by piece. Like a continuing serial. It would be so interesting to read. Is it a diary or what? I am really curious. Mary mscott28cybertrails.com http://inficad.com/~lightsp/suitee/index.html —————————— Date: 31 Dec 96 11:02:27 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: moth balls Message-ID: <961231160226_75444.1037_FHQ44-2CompuServe.COM> There are better things than moth balls but moth balls are ok if you put them into a storage sack and not have them loose. They off gas some pretty bad stuff but they are effective. A good thing to do is to hang the moth balls up in a bag not touching anything and stay away from yourself . —————————— Date: Tue, 31 Dec 1996 11:06:56 -0500 From: MHerron4 To: Subject: QHL: Keep sending digest Message-ID: <961231110529_1410908008emout16.mail.aol.com> Hi, As much as I treasure the knowledge gained here. I think I should just recieve your wonderful digest as I’m finding the quantity of mail somewhat overwhelming. Your digest appears to be a wonderful encapsulation of the best of the list. Thanks for all your trouble. MHerron4 —————————— Date: Tue, 31 Dec 1996 08:11:11 -0800 From: lrobinscclink.fhcrc.org (laurarm) To: , lrobinscclink.fhcrc.org (laurarm) Subject: QHL: More on linsey-woolsey Message-ID: <2c93d970cclink.fhcrc.org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part On Christmas day I was reading Roderick Kiracofe’s book “The American Quilt” and ran across a passage on linsey woolsey. It differs slightly from some info that has already been posted, but I guess you can always expect different interpretations of history. That’s what makes it interesting! The bottom line was that linsey-woolsey (linen warp and woolen weft) was first made in Lindsey, Suffolk, England (different spelling and different county than a previous posting). He also said that in the 20th century, that term has been used erroneously and that true linsey-woolsey (American) is rather rare. Some linsey woolsey fabric was made in the 17th century in the American colonies but was soon replaced by cloth using cotton yarn instead of linen for the warp and so it wasn’t true linsey-woolsey. He said that most solid color cloth that some people now call linsey-woolsey was actually “worsted” fabric (named after the English village Worsted in Norwich). Worsted fabric was a light weight cloth of long staple combed wool yarn. (I didn’t check out his sources, but I imagine his references are listed if anyone wants to read further. He might be right about linsey woolsey but the name has been used such a lot that it might be impossible to correct the mistake.) Laura Robins-Morris, Seattle lrobinscclink.fhcrc.org —————————— Date: Tue, 31 Dec 1996 10:19:54 CDT From: josiemtekstar.com To: quiltmagmindspring.com (Jean Ann) CC: Subject: RE: QHL: Unidentified subject! Message-Id: <199612311619.KAA27785perham> Its not Rabbit responding, but Jo from Minnesota who would say No, no, no! to using fibreglas anything near an old quilt. Having worked with fibreglas drapery of years ago, I know no matter how it was handled, you wound up with scratches and minute cuts on your hands. I think if you wished to use screening, carefully used metal hardware cloth would be the better choice of the two. But not sure I would use either! Jo in Minnesota —————————— Date: Tue, 31 Dec 1996 08:17:26 -0800 From: lrobinscclink.fhcrc.org (laurarm) To: , lrobinscclink.fhcrc.org (laurarm) Subject: QHL: quilts and moth balls Message-ID: <2c93edc0cclink.fhcrc.org> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: cc:Mail note part Someone mentioned using moth balls to protect her quilts. I’ve never known that moths were a problem with anything other than wools, so I wouldn’t have thought it necessary to use them with stored quilts. Other opinions?? Also, the mothball smell is so difficult to remove. We had a discussion of this on Quiltnet a while back. Some folks were able to remove the smell by repeated washing and/or airing out; others couldn’t get rid of it no matter what they did. Suggested alternatives (less smelly) to moth balls were bay leaves or cedar chips (but don’t let the raw wood chips touch the fabrics–use a sock or bag). Laura Robins-Morris, Seattle lrobinscclink.fhcrc.org —————————— Date: Tue, 31 Dec 1996 08:28:36 -0800 From: jhavermother.com (JoAn Haverstock) To: Subject: QHL: Dresden Plate Message-Id: <199612311628.IAA13149pa.mother.com> Content-Type: text/plain; charset=”us-ascii” Dear All, I am new to this list, but enjoying the exchange very much. Little did I know that I would have a question so soon. This weekend I was working as a hospice nurse and when I was in the patient’s home I asked about an antique quilt that was on the bed in the spare bedroom. It was made by the patient’s (in her 70’s) husband’s aunt. It was a scrappy fan pattern. I visited the house four different times that day and when I left the daughter gave me a bag and said you might find a use for these. What a *treasure*. In the bag were 11 scrappy dresden plates. They measure 14 inches across. Their are 20 sections and each fifth piece is the same fabric and comes to a point instead of being rounded as are all of the other pieces. I would like suggestions on how to put these together to make a bed quilt. Should I buy some 30’s fabric for sashing or borders, or would that just detract? I was thinking of using unbleached muslin. Is that the best selection? Thanks for being there. :^) JoAn in Davis, CA jhavermother.com —————————— Date: Tue, 31 Dec 1996 11:55:36 -0500 From: Baglady111 To: Subject: Re: QHL: Re: florida squatters Message-ID: <961231114230_1989943757emout14.mail.aol.com> Jean Ann, Mary’s suggestion is an excellent one..I’m sure we would all enjoy it. I know textile history HAS to be in there as well. And as to Bev’s post abut Australia..I am in hopes that our American members of THE FEEDSACK CLUB will take advantage of the opportunity to exchange feedsacks/other fabs my members are involved with with our Australian members..we had a member teaching English in Japan..Lorraine was from New England and had been over there quite awhile teaching..I don’t think many members took advantage of trading feedsack for Japanese fabs..I SURE DID..we have a tendency to think our world is our town, our county, our state, our country..NOT THE WORLD..and because of this..dont’ we miss alot. Lorraine is back here now, Japanese fabric (as well as Australian) is HOT!! AND IT’S TOO LATE for trading..as I look at my Japanese fabrics/quitls/items I acquired I say to myself..i got mine!!..and now, it is info we are trading..WONDERFUL!! Jane —————————— Date: 31 Dec 96 12:13:46 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: cleaning antique quilts Message-ID: <961231171345_75444.1037_FHQ50-2CompuServe.COM> the crazy quilt often uses textiles which would never have been wet cleaned in their normal use so washing the quilt is totally out of the question Besides the addition of metalic salts to many of silks cause what we cal lINHERENT VICE ( almost as good as the pop up turkey right) which means that the metalic salts used to weight and dye silks cause them to become brittle and fall apart. There isnt anything we can do about that really so they are doomed to die but washing is the worst thing for them and dry cleaning is also not a good idea. Living with it vvacumming is about the best —————————— Date: 31 Dec 96 12:13:47 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: Unidentified subject! Message-ID: <961231171347_75444.1037_FHQ50-3CompuServe.COM> Yes vacumming is the best thing for removing particulate dirst which is the real enemy The firberglass sreening is wonderful and I actually use a regular vac because the dust buster may not be enough but I dont use a shop vac. I dont look for cahnges that i can see to the textile though it still will look dirty but thats ok as far as I am concerned except for dealers selling modern quilts and I do understand that You need to be able to resell quilts but then you are talking about quilts which are mostly 20th century. Everyone knows my interest just about stops at 1900 right.? —————————— Date: 31 Dec 96 13:05:19 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: RE: QHL: Unidentified subject! Message-ID: <961231180519_75444.1037_FHQ52-2CompuServe.COM> Actually I have never had any trouble with fiberglass screening from the hardware store it is flexible and non abrasive. Metasl can be sharp and is less flexible. Let’s be clear about why we use a screen for vacumming. The screen in a fine mess keeps the fibers of the textile secure against the pulling power of the vacumn and allows the dirt to leave. One person holds the screen down tightly on the fabric the other person vacums by placing the vacum and lifting it up to move it from spot to spot do not run the vacum across the textile lift it and move it it takes time but is good for the textile I cover the edges of my screen with duct tape so that it is smooth. I vacumm the dirtiest side first. Rabbit —————————— Date: 31 Dec 96 13:05:17 EST From: Rabbit Goody <75444.1037CompuServe.COM> To: “INTERNET: ” < > Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231180517_75444.1037_FHQ52-1CompuServe.COM> His material seems accurrate as far as it goes. Certainly dont confuse “linsey-woolsey quilts” with the fabric linsey woolsey. THe quilts are qorsted and have nothing to do with linen and wool. The production of both cloths was well established both in Europe and the colonies from the 17th century on. But that is why we need to carry a portable microscope available from radio shack for 12.95 with 100 power magnification and check out what people tell us the only way to identify what a fiber is is under the microscope no one can do it without that and it takes less than 15 seconds and it doesnt harm the textile so if you want to know what something is you find out its simple fast and fun and makes you look really really good. —————————— Date: Tue, 31 Dec 1996 13:45:27 -0500 From: Baglady111 To: Subject: Re: QHL: cleaning antique quilts Message-ID: <961231134413_1591583546emout19.mail.aol.com> OK, I’ll be the first to ask..what is ‘wacumming??” —————————— Date: Tue, 31 Dec 1996 13:51:53 -0500 From: Baglady111 To: Subject: Re: QHL: Dresden Plate Message-ID: <961231134242_1122613127emout04.mail.aol.com> well, here I go again..let me know if you decide on feedsacks..Jane —————————— Date: Tue, 31 Dec 1996 13:00:51 CDT From: josiemtekstar.com To: 75444.1037CompuServe.COM CC: Subject: RE: QHL: Unidentified subject! Message-Id: <199612311900.NAA04572perham> Hi there Rabbit Goody: After working for a number of years around fibreglas drapery and winding up with minute( unseeable) cuts on my hands (the only way I would know they were there was by hand washing or rubbing my hands together) I would never use any type of fibreglas cloth around fragile old fabric. I just wouldn’t do it. I am no expert at all, just speaking from some experience, if it works for you, great, its just that I wouldn’t use it at all (Got to really hate the stuff after a while!) Jo in Minnesota —————————— Date: Tue, 31 Dec 1996 14:01:35 -0500 From: Baglady111 To: Subject: Re: QHL: quilts and moth balls Message-ID: <961231134123_1390931203emout02.mail.aol.com> In response to mothballs..msot people confuse eaten fabrics with moths..when in actuallity it is often silverfish..these little buggers can eat up a quilt in less than a months time..I had a friend who had one draped over th arm of her couch and before you knew it..BADLY DAMAGED..being an herbalist, she made up a batch of herbs and GONE!! Ever notice a towel or a washcloth alll of a sudden has a hole it in and you think something in your washer ‘tore’ or ‘ripped’ it? Ever think that NOTHING else was torn/ripped?? In thinking back it was something wet/or in contact with ‘wet’..moths, to my knowledge, do not attack cotton. Jane —————————— Date: Tue, 31 Dec 1996 14:14:19 -0500 From: Baglady111 To: Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231133556_643306479emout07.mail.aol.com> That is very probable, Laura..I am not sure of the correct spelling of the town in England. I’m guessing the person who gave me the info figured it was spelled the same way we have been spelling linsey wollesy..the piece that I have is wool and linen..the red is the wool and the ecru or off white is the linen. I can recall a lady in one of the audiences at my lecture said she thought linsey-woolsey was wool and cotton, as you mention..when I took that comment back to the lady who gave it to me she said, “well, I know it to be wool and linen because I helped to weave it. My mother and g.mother made my petticoats from it” Imagine sitting on something that rough (it’s like a horse blanket) all day in school and to boot her seat was DIERECTLY by the pot belly stove..her legs must have been rubbed raw by the end of the day. Thanks for adding to the discussion, Laura..this becomes more and more intriguing..Jane —————————— Date: Tue, 31 Dec 1996 14:36:26 -0500 From: Baglady111 To: Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231142506_1855753363emout05.mail.aol.com> Ok, I’ll be the first to ask..what is ‘qorsted?’ Jane —————————— Date: Tue, 31 Dec 1996 14:37:18 -0500 From: Baglady111 To: Subject: QHL: lost portion of a post Message-ID: <961231141727_1922856518emout15.mail.aol.com> Does anyone have teh entire post of Rabbit Goody’s post on 12/17..all I have is “carding is teh second step in preparation of short fibers such as cotton and wool for spinning or making batts” etc..I had been off the net for awhile, was trying to catch up and somehow did’nt get the entire post..also, Rabbit, did I miss you bio? Had you posted one? On your last post you ended by saying “everyone knows my interest jsut about stops at 1900 right?” I didn’t so thought it might have been in your bio..greatly appreciated..jane —————————— Date: Tue, 31 Dec 1996 13:51:37 CDT From: josiemtekstar.com To: CC: Baglady111 Subject: QHL: Typos? Message-Id: <199612311951.NAA06743perham> Hello: <> <> Am I the only one out here who assumes typos when I see these kinds of words? I wouldn’t occur to me to ask what they mean since I look at them and see “typo”. Now perhaps I am wrong in this assumption and if so, ignorance IS bliss! Jo in Minnesota —————————— Date: Tue, 31 Dec 1996 15:41:24 -0500 From: Baglady111 To: Subject: Re: QHL: More on linsey-woolsey Message-ID: <961231154119_1156180918emout15.mail.aol.com> Hi Laura, in reading over my post I realized it doesn’t read right..when I posted that the lady in the audience said she thought it to be wool and cotton..she was not referring to MY piece being shown..she was stating that she had heard that linsey woolsey was wool/cotton..when I inturn went back to Effie and told her about the comment, she said “well I know THIS piece to be wool and linen because I helped to weave it along with my mother and g.mother” and actually, she did not comment, to my knowledge, about the lady’s comment. I didn’t want you to think I was disputing your statement..I often wonder how many times myself and others write something and it sure doesn’t come out the way we are thinking..anyway, I thank you for adding to the subject and look forward more you can offer or from others as well..Jane —————————— Date: Tue, 31 Dec 1996 15:42:57 -0500 From: Baglady111 I would like to ask more about the cotton carding post of several weeks ago..does anyone have th eoriginal posts aobut cotton carding..Sadierose and several others sent me some of what I missed..but would like the entire posts if possible..Jane —————————— Date: Tue, 31 Dec 1996 17:12:52 -0500 (EST) From: Quilting Heritage ListServ I am forwarding this note from Jane Clark Staple AKA baglady111 . She sent it to me to make sure it was a viable topic for discussion, and I certainly think it is! I am not sure what we can do about it, but perhaps someone else does. Kris >I rec’d a box of acid free tissue paper >for storing quilts…It is from the HOLLINGER CO in VA…it is for >our prizes at convention..I called to thank them because it was such a nice >donation..spoke to Ann Russell..she tells me they are NOT a new company but >that they are also eliminating HER job because there isn’t any need for >paper/boxes/for storing textiles..everybody already knows it is available..I >COULDN’T BELIEVE what I was hearing..another assuming job..in fact, I am >guilty too..when I opened it, I tossed the tissue aside..NEVER THINKING..til >I read her letter..anyway, besides HER company’s attitude..she tells me MANY >of our museums aren’t concerned about protecting fabrics either..and yet, >they deal with a lot of museums..SMITHSONIAN being one of them..she in fact had >batch of 40×60 boxes that had been custom ordered. there was a mistake in >them, so they had them their hands..she contacted about 25 museums and >offered them at $15.00 (worth 65.00 to 70.00) NO ONE WANTED THEM..finally a >Civil War Museum took them..she was telling me various war stories..one >curator of a museum told someone to cut the buttons off the military >uniforms..and use in another way..it didn’t matter if you folded or >rolled..you can roll on cardboard, there is not any difference between >buffered and unbuffered tissue/boxes/etc..Kris, you would have been >amazed..,Ann is not computer literate..I told her ‘neither was I”..do you >think I should bring this up on the forum? Do you think we should share this >nightmare with others? Do you think quilters would be interested in writing >the company to tell them how important her job/info is? I had suggested she >do programs for guilds/quilt shows and she said the company didn’t feel there >was any interest out there..THEY weren’t interested..Jane > > —————————— Date: 31 Dec 96 18:19:24 EST From: Rabbit Goody <75444.1037CompuServe.COM> good linsey-woolsey is not rough at least the 18th century and early 19th century pieces I have examined they are extremely fine with end and pick counts in the high 40’s compared to silk of course that is a different story but the wool quality is usually very soft sometimes worsteds were used especially for garments. That is another reason why when we are examining textiles we need to check under the microscope and then take out our linen testers 9 pick glasses ) and count warp and filling so that we have some way of comparing textiles to each other it is not enough to say it is linsey-woolsey we have to be able to say whether it is fine or coarse and what that means and whether it is linen, cotton, woolen, worsted, or silk Rabbit —————————— Date: 31 Dec 96 18:19:26 EST I cannot spell or write so they certainly are my typos sorry I dont proof read either Rabbit —————————— Date: Tue, 31 Dec 1996 19:35:38 -0500 Rabbit, I would consider mailing you my piece for you to examine so I will know if I have linsey woolsey..it is irreplaceable but do you think if I insure/register/use overnight..it would be safe? I am so darn curious now..I’m guessing it was early 1900’s when this was done..Effie is in her 80’s and she wore petticoats..well, I’m repeating myself..the piece I have IS NOT of what she speaks..it is ‘LIKE’ what she wore.. Now, I would like to add another subject while I am replying to your post, Rabbit..folding to a quilt or rolling..opinions, please..and if you roll..ON WHAT?? open for discussion..jane —————————— Date: Tue, 31 Dec 1996 19:39:00 -0500 From: Baglady111 To: Subject: Re: QHL: Typos? Message-ID: <961231193900_2054115362emout20.mail.aol.com> with the wealth of knowledge you offer us, you don’t have to spell..I took the psot to a friend and she came up with worster and vacumming..then I saw it and it jumped out at me..talk about feeling foolish..righ now tho I am waiting for screaming after you read the post Kris did for me..jane —————————— Date: Tue, 31 Dec 1996 19:42:50 -0500 From: Baglady111 To: Subject: Re: QHL: Typos? Message-ID: <961231194250_812731771emout14.mail.aol.com> by the way, Rabbit..Kris and I figure the screaming will be coming from you..did I make mention of that?? Jane —————————— Date: Tue, 31 Dec 1996 19:44:50 -0500 From: Baglady111 Rabbit, what does “end and pick counts ” mean? I’m not familar with that term..jane —————————— Date: Tue, 31 Dec 1996 20:25:55 -0500 From: QuiltLine Hi all, RJR fabrics has a new website, where you can view all of their repro’s on line. I think it is at http://rjrfabrics.com It takes a while to open the whole site, but there are some nice designs on the ‘new designs’ page. Have fun! Debbie --- --- title: "December 16, 1996 to December 21, 1996" url: "https://quilthistory.com/96016-2/" lang: "en-US" type: "post" description: "Primary topics of this QHL Digest (mid-to-late December 1996): Oral history vs. documented evidence — a substantial, occasionally heated debate between Rabbit Goody (textile historian) and Jean Ann Eitel over whether family oral history is legitimate documentation for practices like" last_modified: "2026-07-27T13:19:45+00:00" categories: [Quilt History List Archive] tags: [Fabric Identification, Oral History & Documentation, Quilt Dating, Quilt History Resources, Restoration & Conservation] custom_fields: iawp_total_views: 3 --- # December 16, 1996 to December 21, 1996 [Fabric Identification](https://quilthistory.com/tag/fabric-identification/), [Quilt Dating](https://quilthistory.com/tag/quilt-dating/), [Quilt History Resources](https://quilthistory.com/tag/quilt-history-resources/), [Restoration & Conservation](https://quilthistory.com/tag/restoration-and-conservation/) 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 (mid-to-late December 1996):** - **Oral history vs. documented evidence** — a substantial, occasionally heated debate between Rabbit Goody (textile historian) and Jean Ann Eitel over whether family oral history is legitimate documentation for practices like hand-carding cotton batts, with several others weighing in on regional variation and primary-source research. - **American Quilt Study Group (AQSG)** — introduction to the organization, its journal “Uncoverings,” and the book _Quiltmaking in America: Beyond the Myths_. - **Paper and foundation piecing** — beginner questions answered with detailed how-tos distinguishing paper piecing from foundation piecing. - **Quilt cleaning and stain removal** — several members trading washing methods (Orvus, Biz, Axion) for removing water stains and dirt from vintage tops. - **Signature quilt authentication** — a request for help verifying signatures, including one attributed to a President’s wife. - **Amish quilt characteristics** — discussion of construction methods, machine vs. hand piecing, and quilts made for sale vs. for personal use. - **Feedsack and Rising Sun fabric** — sourcing hard-to-find reproduction and antique fabrics, plus feedsack quilt condition issues. - **Upcoming book preview** — Barbara Brackman and Terry Thompson’s in-progress Civil War quilts book, described via a forwarded guild report. - **Glazed wool and linsey-woolsey** — a technical exchange on 18th/19th-century whole-cloth glazing techniques. Date: Mon, 16 Dec 1996 04:53:19 +0000 | From: Susan Nixon I believe it was Carolyn Davis who researched and wrote about the quilts of an LDS woman in southern Utah. Pinedale, maybe? The woman, even into late in the century, grew her cotton, carded it for batts, spun it for thread, wove her own fabric, dyed her own fabric and used it for quilts. She also tied her thread in knots and all the knots are on the back. This woman was a genuine artist and I have seen one of her fabulous quilts. It is well documented that she did all these things. There was no easy access to the things we all take for granted, or that our grandparents took for granted! I doubt she was the only woman to continue doing these things well past the time we consider them outmoded. Women in many times and places, when they lacked access to what they want, have figured out a way to make it themselves. Susan in Sunny Phoenix, Arizona, USA ______ __/ | | \__ / | | \ \_/| / \ |\_/ | @ @ | Mooory Christmas! Ho! Ho! Ho! | | And a Happy Mooo-ooo Year! \ / | ^^ | \ __ / \/ Date: Sun, 15 Dec 1996 22:23:54 -0700 | From: “Mary E Scott” I also know that there was hand carding of cotton done well into the depression years. I have a quilt (look at my webb page it is there) that the batts in it are hand carded cotton. This quilt was put together in the middle to late 30’s. It was done in either Mumford or Obion, Tenn. I did not realize that was what the batts were until some ladies told me. I know there is a lot of cotton trash in the batts. Mary Scott mscott28 [at] cybertrails [dot] com http://inficad.com/~lightsp/suitee/index.html Date: Mon, 16 Dec 1996 03:41:05 -0500 | From: QuiltLine [at] aol [dot] com To All, If anyone can share any information with me regarding the responsibilities of guest curating, I would really appreciate it. Thanks, Debbie Date: Mon, 16 Dec 1996 06:07:57 -0500 | From: AJSNGS [at] aol [dot] com Hi Everyone! I’m trying to subscribe to the Nine Patch News! I found an online address through Jean Ann Eitel’s webpage, but when I mail my subscribe notification, the mail comes back! Anyone have any suggestions? The address I used is: ListServ@ListServ [at] aol [dot] com. I’ve checked this more than once. Also, when I posted a Help to QuiltBee, several people e-mailed me because they would also like to subscribe. Thank you in advance for your suggestions! Nancy in Virginia AJSNGS [at] aol [dot] com Date: Mon, 16 Dec 1996 06:47:50 -0500 | From: AJSNGS [at] aol [dot] com Hi, Forgive the BASIC questions once again! But what is paper piecing? And what is foundation piecing or quilting (see I’m not even sure what it’s called)? I’ve heard these terms and am not sure what it is. Thanks for your patience with a newbie. Nancy in Virginia AJSNGS [at] aol [dot] com Date: Mon, 16 Dec 1996 08:54:27 -0600 | From: “Lang” My mother grew up during the depression. She has always loved quilting. I remember as a child hanging some of the “old” quilts she had made during the depression years on the clothesline. When the sun would shine through the quilt you could see the “batting”. These quilts were filled with old worn out clothes. Use it up, wear it out, make it do, or do without was very true in those days!–Eula Date: Mon, 16 Dec 96 06:31:48 -0900 | From: Nick Fuller My mother has a quilt that she beleives is Amish. I don’t know for sure, but her aunt bought it from a neighbor and lived near Pennsylvania so it is possible. The front is a very thin-strip log cabin of mostly calicos, not Amishy except the wide brown border, which is quilted in an Amish cable. The back is wide vertical stripes (8 to 10 inches maybe) of red, blue, green, Amish tones. The back looked more Amish than the front! I thought the striped effect was a neat way to do a back and plan to do some myself this way. Now I can’t verify that this quilt is Amish, but for those just looking for a suitable style, I thought this might help. If you’re *really* interested I have pictures. Maybe after Christmas I’ll have time to design a webpage for them! Abby Fuller nickf [at] xyz [dot] net Date: Mon, 16 Dec 1996 11:36:37 -0500 | From: gridgees [at] algorithms [dot] com (Merry May) Re: Rabbit’s comments I wholeheartedly agree with you, Rabbit, on your comments yesterday about documenting what REALLY happened, as opposed to what we’ve been reading in romantic accounts of quilt history for so many years. This is what the American Quilt Study Group is trying to do – chip away at the hearsay, do the research, and document what’s really going on now. If you’ve never heard of AQSG (not to be confused with AQS, the American Quilter’s Society, which publishes books and sells them at a discount), you can contact them by e-mail at: aqsg [at] aol [dot] com AQSG sponsors an annual seminar where original research papers are presented. The papers are also published in an annual journal called “Uncoverings.” These journals are now widely accepted as resources in libraries throughout the country (including college libraries). If you contact AQSG, be sure to request a publications list along with your membership application. I can’t claim to not be affiliated with AQSG, as I’m one of their Regional Coordinators (volunteer position), but if you’re at all interested in quilt history, this is a very worthwhile group to be associated with. They’re also a very warm, friendly group – not snobby “egghead” types at all – so everyone can really feel at home with them, no matter what your skill level may be in quilt history. The overall impression I get is that we’re ALL still learning about this together! Sorry to ramble on so long – the AQSG is one of my favorite organizations to be involved in, and I hope to encourage everyone else who’s interested in finding out what REALLY happened in quilt history to join me! Merry May gridgees [at] algorithms [dot] com I live enar the Amish community of Middlefield, Ohio. And have met several amish quilters. The women here do all of their piecing by machine, and all of their quilting by hand. They may use the compressed air machines, but they also have a repairman who can turn any non-computerized machine into a treadle. They do a lot of treadle sewing.. They use all the modern fabrics, and (if they are making items to sell), will use the popular prints. I am not sure what they choose to use for their own quilts, though (haven’t asked). I know several Amish women who love rotary cutters and other modern time-savers. The Amish are not against modernization. They are only against those things which may break up and divide a community. The most important woman in the Holmes county Amish community still “holds” by the Amish beliefs. But she also has her own car (and driver), Lear jet (and pilot) so she can travel around the world to get her business completed. Mrs. Miller is a modern day Old Order Amish… > > Barb in southeastern PA > Date: 16 Dec 96 17:27:11 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> Thanks for the referrence Yes there certainly were women who did that but again, we have to be creful not to generalize from them to the entire population of 1890. They were as you say genuine artists and need to be recognized as such. As artists they hold a very special place and the understanding of textile process gets tranferred and diffused into and out of a culture is very important to understand their special place Date: 16 Dec 96 17:27:14 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> can you show some documentation for “hand” carded batts? other than some ladies said so? Thaty would be really important. Also, what happened in the depression is not what happened in the 1840’s or pre Civil War or 1890’s. We know a great deal about textile production in many places at many times it is extremely regional and needs to be looked at regionally and in terms of different socio-economic classes. What happened in one family living next another family may have been quite different. -************************************** Date: Tue, 17 Dec 1996 06:25:12 -0600 (CST) From: Amy Lauderdale To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V96 #14 Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII > I will look up the documentation after xmas…but I can tell you absolutely > that there was hand carding of cotton for batts in the South well into the > depression years. I am new to the list and haven’t seen this whole thread, but I can say with certainty that it was done even past depression years. I am from Mississippi and my grandmother lived in a community called “Swampers”, Louisiana. As a child I have seen her card cotton and I was born in 1953. But she quit carding sometime during my youth. I have some of her quilts made with flour sacks in the 30’s and 40’s, which have this batting though Date: Tue, 17 Dec 1996 06:39:03 -0600 (CST) | From: Mary Jo Kennedy ntent-transfer-encoding: 7BIT I am also new to this list and very interested in quilting. I sure wish I would have paid more attention to my grandmothers when they were quilting – in the 1950s. Please explain what “carding” is. Thank you. Also, I noticed people don’t sign their messages on this listserv, why is that? Part of the fun of belonging to a listserv is finding out where people are from and getting to know each other better. Just a suggestion. Mary Jo from BRRRRRRRRRRRRRR Mankato, Minnesota Date: 17 Dec 96 09:54:57 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> Thanks for the referrence Date: 17 Dec 96 09:54:58 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> carding is the second step in preparation of short fibers such as cotton or wool for spinning or making batts by the 1790’s this could be accomplished by water power although hand carding persisted in some areas for a long time in conjunction with water power Rabbit Goody 75444.1037 CompuServ.com textile historian Date: Tue, 17 Dec 1996 20:08:48 -0500 | From: Baglady111 [at] aol [dot] com Oh my goodness..so much has been going on while I have been held captive by my old server..mesgs out there that I am trying to access..on several digests I find such gret info..I’m happy to see Nancy of VA still asking great questions..I am interested in th discussion going on about cotton carding batt..also the 20 page bibliography on ‘history’ books..also glad to see two of my members from the Feedsack Club inin posting such great info..I have a BIG favor to ask..would it be possible to have Mary Persyn, Barb Garrett, Susan Nixon (about Carolyn Davis) and all others who posted about Amish and cotton carding PLEASE email me the posts on these subjects? Inturn, I have a member who is an expert, and most passionate on cotton, and I know she would be quite interested in sharing any info you might seek on cotton..also, Barb Garrett, are you interested in the Amish in the Pgh area, actually, north of Pgh? I thank you all. Sure have missed what has been going on..hope to learn how to copy. new address is in Pittsburgh, Pa..OLD address was baglady [at] nauticom [dot] net Date: Tue, 17 Dec 1996 20:45:00 -0500 | From: AJSNGS [at] aol [dot] com Hi, I bought an old quilt (c. 1930 Boutinere (sp?) pattern) in a medium bright green with lovely prints all set on an off white background. The front is pretty nice considering it’s an orphan, but the binding is badly deteriorating. The back is nasty, disgusting, etc. I saw that first and didn’t hesitate to throw it in the washer to soak. It was gross, and I wasn’t having it in my house until it was a bit cleaner! Anyway, I quickly pulled out ALL my recent notes from QHL on washing quilts and believe me, they are coming in handy. Now, I would like suggestions on how to dress this quilt up. As I said, the front is quite pretty–definitely worn but that’s okay. The back is yucky–looks like someone died on it! Well maybe I’m exagerating! Anyway, I would like suggestions on how to put a new backing on it, and how to repair the binding. Remember, you will be talking to a rank beginner! But this quilt is something I do want to fix up. So thanks in advance, Nancy Sentipal in rainy Virginia AJSNGS [at] aol [dot] com Date: Tue, 17 Dec 96 22:35:43 EST From: “Bob Mills” To: QHL [at] cue [dot] com Subject: QHL: Re: QHL-Digest Digest V96 #14 Message-Id: Hi Nancy in Virginia, Paper piecing is drawing the pattern on paper and then sewing fabric to the paper, rather than making templates. That is a very simplistic description. I think you would really enjoy rec.crafts.textiles.quilting newsgroup. You should be able to get that group and get the answers to many of your initial questions. Enjoy. Jan (not Bob) Date: Tue, 17 Dec 1996 23:15:27 | From: josiem [at] tekstar [dot] com For Nancy and others who are interested there are a number of websites that will give you good information about patterns and How-tos. Start out with the WWQP at http://ttsw.com/MainQuiltingPage.html, then visit Mary Ann’s Cyber Sewing Room at http://www2.nb.net/~maryann/ . Mary Ann has great links to all the best foundation patchwork sites including Zippy Publications, producer of the Foundation Piecer Magazine at http://www.other-world.com/ftp/QuiltersWeb/ZippyDesigns/index.html. Debby Kratovil also has great patterns and information at her website Quilter by Design http://www.his.com/~queenb/index.html. Most of these places will have patterns to run off on your printer and instructions on how to use them. Paper foundation patchwork is, to me, a wonderful innovation in sewing blocks. Because you sew on the pattern, you get precise and perfect points and a perfect sized block every time. Lots of mini blocks are available but a number of books today are published with 10 – 12″ blocks. Shirley Liby’s books, Jane Hall and Dixie Haywood’s Firm Foundations, plus many more will satisfy those piecers who want to use this method with larger blocks. I would be happy to share anything further with anyone who wishes to write me privately. Jo in Minnesota Date: Wed, 18 Dec 1996 07:53:52 -0500 (EST) | From: Beth Ferrier Merry Christmas all, My husband’s aunt has three old quilts that she is thinking about selling. (No matter how longingly I caressed them, there appears to be no chance of inheriting!) Being no way an expert, I guess that they are feedsack creations. They are not intricate, rather utilitarian patchwork, but they are in excellent condition. She would like to know where to sell them. I wish I could tell her that they are worthless and offer her $30 for the lot! My find this summer was a blue and white “T” block quilt. I believe it to be a Temperance quilt. I would love to date the quilt. It is in rough shape. It was $8, sold as a cutter! I washed it in Orvus in the bathtub, dried it on the lawn in the shade. It’s folded, good side out, on my hutch. By they way, part of the binding has been burned! Oh, how I wish it could talk!! Thank you for this list. I live in an 1860 house and would like to fill it with wonderful quilts, both old and new. I love history (though I wish I had paid better attention in high school!). It’s been fun learning the history of this house. Beth in Saginaw, MI Date: Wed, 18 Dec 1996 11:55:33 -0500 | From: SadieRose [at] aol [dot] com I have been busy with holiday preparations, had 2 parties, one at my home, on Monday. But, I took time to read each post on QHL….left the other e-mail messages to catch up on later….love this group!! (Thanks, again, Kris!) Thanks to Merry May for posting about the American Quilt Study Group. This excellent organization has done much to encourage the research and discovery of factual information on the history of quilts and their makers. They published a book in 1994, “Quiltmaking in America- Beyond the Myths”. This book, edited by Laurel Horton, contains articles by 17 different authors, which first appeared in the AQSG’s annual publication, UNCOVERINGS. Here, they are illustrated with color photographs, as well as b&w photos, maps, and newspaper reproductions. The articles cover a variety of topics, divided into 6 chapters: Pattern Development and Distribution, Quilts & Quiltmakers in Early America, Wars & the Work of Women, Textiles and Tools, Group Quilts, and Quiltmakers in the 20th Century. The significant difference about the information in this book, is that it is based on careful research, not on the myths about quilts and quiltmaking. Many “facts” about quilt history started as one person’s theory, but then were repeated often enough to become accepted as fact. These generalizations don’t stand up when research from many areas is combined to create a more accurate picture. If you are interested in quilt history, or women’s history, this is an excellent book to add to your library. It was published by Rutledge Hill Press, 1994, in hardcover, 192 pages, $34.95. ISBN# 1-55853-319-2 it should be available through your local book store. Karan Flanscha, from the deep freeze (-25 wind chills this morning!) Date: Wed, 18 Dec 1996 12:07:54 -0500 | From: SadieRose [at] aol [dot] com Jane, If you need some posts forwarded, I think I still have them all in my incoming mail. Let me know. Sorry to be brief, have to leave for work 🙁 TTYL…..Karan PS These are individual posts, I am not on Digest Date: Wed, 18 Dec 1996 12:55:15 -0500 | From: mgoodman [at] albany [dot] net (Mary Beth Goodman) Someone has written me (ah the price of being famous LOL) and asked for advice about a signature quilt she recently bought – she wants to track down the signatures and see if they are authentic – one is a President’s wife! Any helpful hints I can pass along? I pointed her to the State Museum/Library, which are probably pretty good resources but are notoriously not very user friendly….. and of course, I asked if she would like to display this quilt at our show! Mary Beth Goodman, Coordinator NYQuilts! Quilts, Fairfield Fashion Show, vendors, lectures, classes! June 7 & 8, 1997 Russell Sage College, Troy NY http://www.albany.net/~mgoodman/NYQuilts.htm Date: Wed, 18 Dec 1996 14:49:30 -0500 | From: “James M. Welch” Hi everyone, I have a question for you. I had a customer come into the shop and ask how to take what seems to be a water stain, brown streak, out of a circa 1930’s quilt top that had been given to her. She took it to the dry cleaner’s and when she saw the look on my face, she hastened to tell me that they wouldn’t touch it, they told her they would probably make it worse. I suggested she wash it in the tub with Orvus with a sheet under it and see how much that would take out. Any other suggestions? I am hoping that she will bring the two in she was given, just so I can get a peek! Debbie at QPs in NJ t Date: Wed, 18 Dec 1996 13:55:02 -0600 | From: R D Hi all, I used to be on AOL for several years before changing providers last summer. I wanted to keep getting the Ninepatch News, but I was told at that time that you had to be on AOL to actually get the newsletter mailed to you. However there were archives for the Ninepatch News that could be accessed and you didn’t have to be on AOL to get those. Unfortunately I do not have that address any longer. Someone on AOL should be able to access the quilters area, and easily get the current scoop on the Ninepatch News and post it to this group. Donna in Wisconsin Date: Wed, 18 Dec 1996 15:46:28 -0500 | From: AJSNGS [at] aol [dot] com Marilyn and others, Personally I like the title “Thread Heads”! My DH calls me “Quilt Momma” because our house has suddenly started filling up with old quilts, and tons of mail about quilts! He collect train memorabilia and I call his fellow collectors “Trainers”. He subscribes to a listserv about trains, and we compare notes about who is getting more e-mail. I have to tell you, quilters win hands down. Nancy in Virginia AJSNGS [at] aol [dot] com Date: 18 Dec 96 17:32:12 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> the census records are actually easy to use in a library and I never hesitate to go straight to the research librarian and say Help but gazetteers and local history collections are usually very helpful. Geneological information is of course available from the Mormons on line and through their great network. At least if a President’s wife name is on it you can date and place it remarkable well yes Date: Wed, 18 Dec 1996 19:52:30 -0500 | From: Baglady111 [at] aol [dot] com you are probably going to shudder..so sit down, prepare yourself..years ago a gal in Bronxville, NY told me this..she used Axion in her bathtub and cold water..she did not use the sheet to support it..good idea tho..anyway, she would soak an antique quilt in cold water and Axion for a week to two..RAVED about the results..naturally she would not wring the quilt/top but press the water, rinse, begin again for that week or so..I hae no idea the results of what they look like today..but that was HER method!! Jane (baglady111 [at] aol [dot] com> those 111’s are ones Date: Wed, 18 Dec 1996 20:26:13 -0500 | From: Baglady111 [at] aol [dot] com WOW!!! HOW EXCITING..last year. RITA BARBER of QUILTERS’ HERITAGE CELEBRATION shindig in Lancaster, Pa had signature quilts as their main theme..bet she could help..ditto, Brenda Groelz is very knowledgeable.. plus Jinny Beyer at jbstudio [at] inter-look [dot] com [dot] [dot] Brenda is at bgroelz [at] hamilton [dot] net [dot] [dot] can’t lay my hands on Rita’s right now..I can also go thru my American Quilt Study Group roster and see who specializes in signature quilts..can’t wait to see how this all goes..Jane Date: Thu, 19 Dec 1996 09:25:04 -0500 | From: Linda Stormo A note for those of you who are interested in bibliographies: there’s a web site for fiction books about quilts, quilters, and patchwork at: http://www.nmt.edu/~breynold/quiltfiction.html#F There are two categories, adult and children’s literature. Some books might interest those of you on the list as they are probably based on some historical facts Date: Thu, 19 Dec 1996 11:16:07 -0500 | From: QuiltFixer [at] aol [dot] com I have just sucessfully washed a 1930’s quilt by soaking it in warm water and BIZ for 10 minutes two times. Washed in a gentle soap on delicate. Rinsed 3 times. All this in the washing machine. Some of the brown water stains are still there but greatly faded out. The colors are much brighter and fresher. Whole quilt looks much better. Toni Baumgard QuiltFixer [at] aol [dot] com >From beautiful Spring Lakes on the Central California Coast, where the frost is like snow this a.m Date: Thu, 19 Dec 1996 14:27:51 -0200 | From: “Barry A. Cruikshank” Send e-mail to “NINEPATCH-request [at] LISTSERV [dot] AOL [dot] COM” Barry Cruikshank Date: Thu, 19 Dec 1996 14:07:10 -0800 | From: ADELAIDE LEWIS Foundation piecing is using a pattern drawn or printed on paper or cloth (muslin) as a base to which the quilt fabric is sewn. It is sometimes referred to as “sew and flip”. The first piece of fabric is placed right side up on the foundation; the second piece is placed along one edge of Piece 1, right sides together, a 1/4-inch seam is sewn along the raw edges; Piece 2 is then flipped over so the right side side up; Piece 3 is then aligned with the edge of Piece 2, right sides together, the seam is sewn, and Pice 3 is flipped so its right side shows (etc., etc.). This method is sometimes also called “string” piecing. In paper piecing, on the other hand, pieces of paper the size and shape of your finished block pieces are cut. The fabric is cut 1/4″ larger than the paper pattern and the fabric is placed right side up over the paper. The fabric edges are turned under and based in place. After the block pieces are all based to their paper bases, they are joined to each other by whip stitching the edges of the block pieces together. When the block is completely sewn together, the basting stitches are removed and the paper patterns separated from the fabric. The paper patterns can be used more than once. The Grandmother’s Flower Garden pattern and some star patterns are often done using this method. (After re-reading this explanation, I’m not at all sure I can understand what I just explained — hope it makes some sense to others out there.) Adelaide (In New York City, where the Rockefeller Center tree looks just beautiful in the rain) Date: Thu, 19 Dec 1996 17:12:45 -0500 | From: quiltmag [at] mindspring [dot] com (Jean Ann) Hey you guys! wait a minute… I mean, I only linked this page to mine as a favor to the AOL quilt forum that has always treated me like yesterday’s leftovers they never wanted in the first place anyway! I have absolutely no connection to the AOL Quilt Forum. Their Choice. They asked me to link their Nine Patch News website and I did. My Choice. If their page isn’t operational. their problem. not mine. I have copied this email to the two people at AOL Quilt Forum who should be able to fix their web site so you can subscribe to the Nine Patch News. I frankly never liked the Nine Patch News, but then I quit subscribing to it at least a year ago, and long before PamNana took over as the editor. I am sure it has changed, and I have always liked PamNana, which is why, when she asked if they could be linked to my page, i linked it. However…if it ain’t fixed so you can subscribe in a week….when I do my up-dates, off it goes. I get enough email without working on something to do with the AOL quilt forum that has let me know over and over again that I am persona non gratis….. so…email PamNana [at] aol [dot] com or Micki411 [at] aol [dot] com please! Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 19 Dec 1996 17:20:16 -0500 | From: quiltmag [at] mindspring [dot] com (Jean Ann) Rabbit says: >can you show some documentation for “hand” carded batts? other than some ladies >said so? Thaty would be really important. Also, what happened in the >depression >is not what happened in the 1840’s or pre Civil War or 1890’s. We know a great >deal about textile production in many places at many times it is extremely >regional and needs to be looked at regionally and in terms of different >socio-economic classes. What happened in one family living next another family >may have been quite different. Documentation is word of mouth from grandmother to daughter to granddaugter. It is good enough for me as oral history is every important and revered in the South. If that is not good enough for you, then fine. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 19 Dec 1996 20:53:24 -0500 | From: quiltmag [at] mindspring [dot] com (Jean Ann) Jean — can you explain what you mean by sewing old blocks over muslin? I bought 13 very small fan blocks that were pieced over muslin fabric much like we piece fabric over paper today. Only we remove the paper after the blocks are sewed. The muslin stays there to stabilize the fabrics. The fabrics in my blocks are silks, etc. fancy fabrics. Also, points meeting on old blocks? almost never. I just add sashings between the blocks and dont worry about the points. if they get chopped off, it is okay. I often sew with 1/8″ seams instead of 1/4″. I have seen many old quilts with 1/8″ seams. this doesnt chop the points off too much. Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: 19 Dec 96 21:06:09 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> Jean Ann Eitel’s comment about whether oral history is good enough or not good enough brings up avery important point about what documentation of historic process is and how we can use documentation of historic process to understand the wider culture. Oral history is extremely important and things past down are the way we learn about the past by documentation what I mean is referrence that we can then look at the larger group so for instance when someone says past down from mother to daughter etc I want to know more about the mother and daughter. I want to know who they were where they were what surrounded them etc how does it all fit together. The fact that hand technology ( hand carding) in this case continues long after we expect it to in some areas tells us alot about individuals preferrences, about the influence of culture about all the things that transcend the quilt and make quilting more important. That is why we ask for and want referrence and documentation so that we can better understand Date: Thu, 19 Dec 1996 18:28:19 -0800 (PST) | From: Michele Weise Hi everyone, I just finally had a minute to read over some old mail and Julie Gardner had a question about freezing dust mites. Here is a message that was sent to me last spring. I think it’s really interesting and good info. te: Fri, 3 May 96 10:31 PDT X-Sender: jgibson [at] crash [dot] cts [dot] com To: Michele Weise From: jgibson [at] cts [dot] com (Judy Gibson) Subject: Re: moths eradication Michele: Textile conservation is a bit out of my line–my professional responsibility is the care of dried plant specimens, and my museum does not “do” ethnological collections. So, since you have a serious textile conservation need (unlike most of the knitlist, who are merely interested in keeping their sweaters from being munched), I think you should consult with the best experts in the field. The first place I would try would be the Textile Museum in Washington, D. C. I have just looked around and I don’t seem to have their gift shop catalog any more, so can’t give you an address. But someone there should be able to point you in the right direction, and they probably sell some books that will give you the answers you need. Or call any major museum with textile collections; someone should be able to tell you who to talk to. As to the wooden boxes, I don’t know what the insect is–probably some kind of beetle–but freezing should be able to solve that one. I froze some Mexican weavings that had been hung on sticks, when the sticks developed the symptoms you describe. Both sticks and weavings came through just fine. Of course, I’d spent about ten dollars on them, so it wasn’t much of a risk. To be extra careful, try it first with a wooden box you’re not too attached to. Seal them in a plastic bag before putting them in the freezer (to keep scraped-off frost from getting on them), and leave them in the bag until they return to room temperature so they don’t pick up moisture from the air. The freezer should reach -20 degrees Celsius (zero, Fahrenheit) if possible, and should not be a frost-free type, since these have a warming cycle to remove frost. The objects should stay at the low temperature for three or more days. I usually freeze things for a week, but this is mostly for the convenience of knowing that I unload and load the freezer on Mondays. We have a chest-type household freezer in our department that we use for bundles of dried plants, and from time to time our education and exhibits departments use it to freeze taxidermied mounts–wood, plaster, mounted animal, acrylic case, and all–when they have any sort of insect problem. In six years in this job I’ve never seen damage to any item due to the freezing process. I have a book I bought about twenty years ago on textile conservation. It’s published by Watson-Guptill, the art publishers, so maybe it’s still available. It might not be the most up-to-date source of information, but it is very thorough: Caring for Textiles Karen Finch O.B.E. and Greta Putnam Watson-Guptill, New York. 1977. ISBN 0-8230-0564-X It talks about storage, display, repair, restoration, and washing of museum-quality textile objects, chiefly garments and tapestries. Well, I just sat down to write you a short note referring you to other people, and look what happened! I hope this points you in the right direction. Good Luck! –Judy Date: Thu, 19 Dec 1996 22:54:54 -0500 From: quiltmag [at] mindspring [dot] com (Jean Ann) To: QHL [at] cuenet [dot] com Subject: QHL: oral history Message-Id: Content-Type: text/plain; charset=”us-ascii” so you are saying that oral history, stories handed down from one generation to the next…is acceptable documentation. When i say *oral history* i am talking of something more formal than family gossip. I am talking about stories that have been memorized and repeated very much word for word. They are stories that have become part of a family identity. They are the kind of stories that the younger members of the family roll their eyes at cause they know they are going it hear whatever it is again, word for word….but then it gets memorized, whether they like it or not. and some day, when they are older, they will tell the story word for word too….and their children will roll their eyes. I have some pictures of old quilts with hand carded cotton in them. I have the stories that go with them. After xmas I will share with the list. Right now, i need to think about starting my shopping. On the lighter side…..Oral history very important in the South..we couldn’t buy paper and pencil after Sherman marched through…too poor! LOL Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Thu, 19 Dec 1996 23:12:12 -0500 | From: AJSNGS [at] aol [dot] com I would just like to add my 2 cents (if it’s worth that much!). I don’t know diddly about handcarding but I’ve listened with interest to Rabbit and Jean Ann’s conversation about proper documentation. Wasn’t a great deal of our history handed down orally for many many years? Most people did this didn’t they? I would imagine that a great many of our ancestors didn’t have access to books, paper, pencils, etc. like we do. And even if they did have access to this stuff, could they write, or read? Just something to think about. Nancy in Virginia where it snowed tonight Date: Fri, 20 Dec 1996 01:09:30 -0500 | From: SadieRose [at] aol [dot] com >From my perspective, oral histories are very interesting…but not always factual. Some of those stories “get a little better” or get embellished as they are told and retold. When we do “quilt identification days” (based on the state research project, and using similar forms and techniques), we invariably get someone claiming their quilt is 150 years old, when it obviously is a depression era quilt. Often, if you gently lead the conversation along, you can get them to concede that this quilt was made by “grandma” who didn’t live in the 1840’s. Usually, they become quite interested in how you can estimate the age of the quilt based on the fabric prints and/or colors. We always have Barbara Brackman’s “Clues in the Calico” on hand, which is an excellent reference and supports our estimate of the quilt’s age. We encourage them to go to older family members, to see if anyone can add more information on the quilt or it’s possible maker. We try to be very positive and do our best to educate these quilt owners…but once in while you get someone who is very obstinate and vocal. I had to deal with one woman who brought in a depression era quilt, which was very obviously newly quilted, with a polyester batt!! She insisted she had watched her mother and grandmother quilt this in the 1930’s….(too bad when the facts get in the way of a good story). You could still see some of the blue washable marker that hadn’t washed out….plus the polyester batting….didn’t add up to a 1930’s quilt. She may very well have watched someone piece the top…we finally quietly filled out the form, stating “old top, newly quilted”. Maybe someone else in the family had a top similar to the quilt she remembered (this was an unusual design)- and had it quilted, then passed along to her. Who knows….not worth a public row….but another reason to encourage everyone to SIGN and DATE your quilts!! Karan from frigid Iowa…..-8 degrees and dropping!! Date: Fri, 20 Dec 1996 06:44:24 -0500 | From: Baglady111 [at] aol [dot] com In adding to Nancy in VA and Jean Ann in GA, I have a residence in Floyd, VA, a very mt, rural area..word of mouth history is the GOSPEL. Many of my stories I tell on how quilt patterns were named is oral history that came ‘from my mama, who was told by HER mama, and so on. Nancy mentions not being able to read or write. I recall Barbara Brackman’s paper presented at the American Quilt Study GRoup’s seminar in Linclon NE about 4 yrs or so ago about our pioneer women heading west..Did they quilt?? NO diaries were found, no letters, no signs of correspondence..BUT, as Pat Cox of MN commented..WHAT ABOUT THE WOMAN WHO COULD’NT WRITE? Did she quilt but couldn’t write, but would pass along what we call oral history to HER children/relatives? Floyd is in excellent example of this because there are still folks there that can’t write their name but use an ‘x’. Sad but true. As Sadie Rose posts abut embellishing on stories..absolutely..we do it today..but the base of the story is there. Folklore, isn’t that close to our discussion? Storytellers, who went from village to village were also a form of oral history. Jane in Pgh where some of that VA snow blew in Date: Fri, 20 Dec 1996 06:56:39 -0500 | From: AJSNGS [at] aol [dot] com Hi, Karan from Iowa (in a post a week or so ago) mentioned the Amish had blue and white summer quilts. I’d love to hear more about these quilts. Are they easy to find? Or are these something that we “English” would have a difficult time coming across? And why did they make them in blue and white? Just interested. Nancy in Virginia where it is 19 degrees. (Excuse me, but you dear people up North can take this weather BACK!) Date: Fri, 20 Dec 1996 06:59:59 -0500 | From: “Perry C. Trimble” Good morning, Everyone! I have a question, please. A dear friend of mine was sent a box of items from her mother’s house. Inside the box was a packet of appliqued blocks. These blocks are in 2 sizes, about 9″ and 12″ squares. They’re very simple – appliqued tulips outlined in blanket stitches on unbleached muslin. The flower part is a solid color, the stems and leaves match on each block and are of the 1930s-looking era (turquoise, pink, salt-water taffy colors with flowers and hearts on them). I’d like to make a quilt for my friend out of these blocks (I bought some reproduction fabric that looks right), but would like some suggestions on patterns to use as sashing and borders (I think scrappy) that would fit the time period. This friend, BTW, has absolutely no idea of how to love a new quilt (as opposed to an old one) – she lets her dog lie on them! If she can’t promise to keep the doxie off of it after it’s done, I’m going to offer to buy it from her!!! TIA, Marilyn Trimble trimblep [at] indy [dot] net Date: Fri, 20 Dec 1996 08:13:57 -0800 | From: Rayna Gillman Thirties quilts tend to have either solid sashing (i.e.*that* green or depression orange) with corner blocks, or feedsack-type sashing. Borders tend to be the same. Question: why on earth would you want to put all that work into a quilt for someone who obviously doesn’t appreciate quilts?? Why don’t you just offer to buy the blocks from her and make the quilt for yourself? If she doesn’t value new quilts, much less old ones, chances are that you’ll do all that work and she’ll stick it in a chest somewhere (which is better than having the dog lie on it). Breaks my heart to think about it. Rayna in NJ RG2 [at] worldnet [dot] att [dot] net Date: Fri, 20 Dec 1996 09:58:09 -0500 | From: quiltmag [at] mindspring [dot] com (Jean Ann) hi….trimble asked for a good book on quilt history/sociology. here is one i just got to review. Hearts and Hands, Women, Quilts and American Society by Elaine Hedges, Pat Ferrero, Julie Silber it is the companion book to Pat Ferrero’s award winning film, Hearts and Hands by Rutledge Hill Press, 211 Seventh Avenue North, Nashville, TN 37219 Jean Ann Eitel America’s Favorite Quilter http://www.quiltmag.com Let’s Talk Quilting: dal.net IRC – /join #quilttalk http://www.quiltmag.com/QuiltTalk/ Date: Fri, 20 Dec 1996 10:45:45 -0500 | From: JQuilt [at] aol [dot] com I have reached a stage of enlightment which allows me to truly enjoy the journey and not the goal. Mostly because I find “reached goals” are so momentary and sometimes so far removed from the vision of them; that I realize the journey was a lot more satisfiying. For instance, when I am creating a quilt…..I love trying to define in fabric what I had in my fantasy….Piecing the squares and triangles to form a colorful little block…Then stacking them, each one an accomplishment, all of them waiting in joyful anticipation of becoming the “soon to be quilt “…Laying out the blocks for the first time and seeing my vision start to form… Sewing the blocks in rows and listening to the heavy sound of the full fledged fabric, of swirling colors and lines….The borders, the batting, the quilting or tying, and then…. the binding put on, with trembling and excitement…..The little label that tells me, I did this and when…Sleeping under it, before anyone else, and feeling the warmth of my hands, that cut and sewed each piece, comfort me…..The joy of creation and fulfillment that fills my body and soul… Whatever happens to the quilt from that warm delicious moment doesn’t really concern me… I send it out like a “feather on the wind” hoping that it will delight someone’s eyes and heart…that they will feel my fingers in the stitches…But that’s beyond the sphere of my creating….And so I just let it go…. I never cease to be thankful that I have eyes that are able to see and fingers that are able to sew… Merry Christmas and Happy New Year. Jean jquilt [at] aol [dot] com Date: Fri, 20 Dec 1996 11:25:43 -0500 | From: SadieRose [at] aol [dot] com I just received the Winter 1996 issue of “Blanket Statements”, the quarterly newsletter of the American Quilt Study Group. In the “News of Members” column, there is a paragraph: “Julie Silber, Pat Ferrero, and Elaine Hedges have released a second edition of their book HEARTS AND HANDS, published by Rutledge Hill Press in October with a new preface by Elaine.” As mentioned by Jean, this book is a companion to the movie HEARTS AND HANDS. Stay warm!! Karan Date: Fri, 20 Dec 96 11:56:52 | From: Sharon Harleman Tandy Dear QHL companions, Just saw Jean Ann’s comment on Hearts and Hands: Women, Quilts and American Society, and I whole heartedly agree. It is the one book, among perhaps a dozen or more, that convinced my professors that Quilt History was a legitimate subject for a Masters. But, let me back up and do my intro. I am a 56 year old woman, wife (married 34 years come January 20th, to the same man, Charlie) mother, grandmother living in Boise, Idaho. We’ve been here for 19 years and now feel “rooted” here. We have two grown sons, one married, one not and so very lucky that they both live in Boise. We include a wonderful daughter-in-law, a thirteen year old granddaughter (going on 39, you know) and a six year old grandson who has just started kindergarten. At the age of 41, when our sons were in high school, I went back to school, got my Bachelors Degree in Fine Arts, fooled around for a couple of years searching for a direction, found the MIS program and embarked on my masters in Quilt History. The Masters of Interdisciplinary Studies Program is a wonderful way of tailoring graduate study to a person’s search for a niche particularly their own. Anyone desiring more information on such a program with hopes of installing one in a local university, snail me @ Sharon Harleman Tandy, Quilts & Answers, 11602 Reutzel Drive, Boise, Idaho, 83709-4405, and I will send copies of info. I especially encourage women to create their own programs tailored to their chosen fields. In my fledgling business, Quilts & Answers, I examine, date, record, and research quilts and textiles for a modest fee. I travel the Northwest lecturing on how we find American Women’s history in the quilts, on the documentation process (we still have no state regis! ! tration project in place, which I hope to have a part in), and on various techniques of special help to quilters. Of course, I collect quilt history books, state project books, and textile history books. I just finished reading *Indigo Textiles: Technique and History* by Gosta Sandberg, pub. by Lark Books, Asheville, NC, 1989. Indigo is a special interest of mine and this book lavishly fulfilled some of my fantasies about working with indigo, and answered lots of questions. It frightens me to contemplate just what I might do to own ten yards of the fabric the man is wearing who is pictured on page 60. By the way, my special era of interest is the 1800’s, largely because there are so few 1700’s quilts and textiles available for examination/research here in the Northwest and because my own collection is primarily from that time period. I have done two small research projects at museums, one in Boise and one in Spokane, WA, for graduate work credit. Would love to do much m! ! ore of that type of work with an eye toward publishing, eventually. I’m sure this is long enough already, but wanted to say, Kris, this is wonderful. I feel connected to a world I was only vaguely aware of, the world of quilt and textile historians, and I am in touch with them every day, sharing and accepting not only knowledge but differing views and making friends. Thank you, Kris, from a *newbie*, Sharon Harleman Tandy in, as of this am, snowy, snowy Boise Date: Fri, 20 Dec 96 12:29:37 | From: Sharon Harleman Tandy Sadie Rose and all others, Just where can I rent, borrow, buy (I *could* get desperate!) the companion film to Hearts and Hands? TIA, Sharon in Boise Date: Fri, 20 Dec 1996 12:39:59 -0700 | From: kmccoy [at] glenerin [dot] com (Kay McCoy) Coming out of “lurkland” to wish you Happy Holidays and introduce myself. I’m very new at learning about old quilts but need to because: I have 9 “old” quilts which I have inherited. One is a postage stamp size pieced that was done by my husband’s great-grandmother when she was in her 90’s and almost blind. The top isn’t very square but it’s remarkable when you realize the work that went into it. Another utility top by her which is mostly sentimental in value. My MIL was going to trash them when I rescued them! She now claims she had no intention of dumping them and hints every once in a while for me to give them to her daughters–but I won’t. She had her chance and my husband deserves them as much as they do. Neither of them quilt or sew anyway. I also have 3 cathedral windows, one done by my aunt (she’s 91), one started by my mother and finished by this aunt, and one by her daughter, my cousin who died at 50 yrs. old. A candlewicked one by the same cousin, 2 appliqued ones, which are showing signs of deterioration and I don’t really know what to do with them, done by ladies at the turn of the century (both long dead) that my sister and I were named after, and finally the double wedding ring my grandmother made for the first marriage among her grandchildren–turned out to be me even though I wasn’t the oldest. The quilt lasted, the marriage didn’t!!!! Fortunately I now have a DH who indulges my quilting habit with pleasure. Katie in Colorado “A Quilting Sew & Sew” kmccoy [at] glenerin [dot] com Date: Fri, 20 Dec 1996 17:01:54 -0500 | From: Ricki Maietta Caught up reading this list & wanted to comment on several subjects: Back of Amish quilts – had an early 1900’s wool Amish in the antique show I guest curated last year (local museum), & the back was brown, also wool but lighter weight, & light & dark threads woven – not gingham, much smaller design. This quilt was also intense “grass” green & purple – quilting absolutely fantastic! My questions – where does one find this type of wool nowadays? It was so soft & drapey. I’ve often thought of replicating the 18th C. whole cloths that are waxed or pressed, or somehow made shiny (anyone know how?). Where to find that type of fabric, again???? I did meet an Amish woman while perusing the quilt show in Boyertown, PA about 10 years ago. Got to talking. She told me that when they make quilts to sell to the “English”, they have bees & lots of people quilt on them. When they make quilts for themselves, one person makes one quilt, alone, start to finish. She said they considered them heirlooms & do their best quilting, not necessarily their best on the quilts to sell. Did not think to ask if the fabrics or designs were different! Must remember – one person you talk to does not speak for the group. Laughed when someone said their house was piling up with quilts. I have 3 antique quilts/tops in my basement laundry room that my DH doesn’t even know about yet! And – I saw 2 fantastic Penny Square spreads (red embroidery on white) at a local antique shop last week, & I want one really bad!!! One was dated 1884 & was $275, the other was less elaborate (didn’t see a date) & was $120. I’d better not tary, they will be snatched up I am sure. Jane & others interested in feed sacks, I am almost finished quilting a feed sack Boston Common the lady said her grandmother made in the 1940’s. There is one fabric that caught my eye – a military motif – war years? This quilt has been a real problem in the borders – it’s so stretched out that I have had to applique “tucks” to make the border lie flat enough to quilt. I hated doing it – otherwise it is in perfect condition. But all those feed sack squares on point just stretched over the years, & I didn’t know how else to handle it. Anyone else had this happen? Ricki in PA Date: Fri, 20 Dec 1996 17:02:02 -0500 | From: Ricki Maietta Does anyone know if Sandi Fox, author of Small Endearments, has an e-mail address. I would like to contact her with a question. Please privately answer. TIA Ricki in PA Date: Fri, 20 Dec 1996 18:17:30 -0500 | From: Baglady111 [at] aol [dot] com Ricki, first off, the ‘war’ fabric..there is a wonderful piece that has alot of World War II on it,mine is done in red/blue/on white depicting Guam, Bataan, Flying Tigers, MacArthur, ChurchHill, Stalin, battleships, The Malta sign..when it is exhibited men stand by the hour and look at it, studying it, and I’m guessing reliving it..a lady did a quilt with red/white/blue borders..marvelopus piece of nostalgia for those of us who remember that era.. As to the flimsy feedsacks..just as we have the closer thread count and lesser today, so did the sacks. Depending on what was being stored in them..if flour, sugar, salt, etc..the thread count was much like your percale pillowcases on your bed today..If nuts, apples, beans, peas, etc, a much looser weave..sacks like this need stablizing..or ‘tucking’ as you are doing. Would enjoy seeing a photo of it when completed with any history you can share ie: owner, location, etc..The Feedsack Club has alot of albums that are historical records of what is still with us..Jane in COLD pittsburgh..brrrr Date: Fri, 20 Dec 1996 19:59:20 -0500 | From: QRestore [at] aol [dot] com I’m {{(desperately)}} looking for approximately 7 yards of fabric from the “Rising Sun” Smithsonian Collection. It’s the light blue print on a beige background, a toile design, floral and birds. There are no other colors other than blue on a beige background. I’ve contacted several of my sources with no luck. Unsure if RJR has any or will reprint any. Anyone know how to contact RJR? Anyone have any in their stash? Victoria Montgomery (Boise, ID with 8″ of snow and still snowing) QRestore [at] aol [dot] com Date: Fri, 20 Dec 1996 21:33:28 -0500 | From: Laurajbr [at] aol [dot] com I know they won’t reprint it as it was a one-time deal. I made a whig rose out of the reds and greens in the Rising Sun collection. A friend of mine managed to locate several yards of one of the prints about a month ago so they are still out. Try that Mary Jo’s in Gastonia, NC. (e-mail me if you need the number.) My freind just called every quilt shop she oculd and finally loated her fabric. Good luck! Laura in Tampa Date: Fri, 20 Dec 1996 22:46:02 -0600 | From: R D Hi All, The following letter was posted to another quilting group that I belong to. I thought the information would be interesting to our group, so I asked Julie for permission to reprint it. Julie said yes. It turns out she’s a new member of our group! Lucky us!! Welcome Julie! She is also going to pass on information about our group’s existance to Barbara Brackman. Wouldn’t it be wonderful if we could get her online with us?!! I am definately interested in this new book. I’m sure that others will be too so, Julie, please keep us posted. Donna in Wisconsin Here’s Julie’s letter: From: Julie Swords Subject: Civil War Quilt Book (long) Hello from the frozen Plains! Just wanted to share with IQ’ers some tidbits from our local guild’s meeting Tuesday. IQ member Karla Menaugh was also in attendance. We had a good time even if it was about 10 degrees outside, not counting the effects of a brisk wind. Instead of the usual monthly guest expert we all shared recent projects and Christmas presents in one long show and tell. This was made especially interesting because two of our guild members, Barbara Brackman and Terry Thompson, showed all the quilts they have just had photographed for their upcoming book on Civil War Quilts. The quilts made especially for this book are based on Civil War quilts made both in the north and south. Some of the new quilts were made by area guild members; others were made by other talented women all around the country. The new quilts were all on hand at once here in Lawrence, Kansas, because the photography for the book was done here the week before. So, lucky us, we got to see them all up close. The book will show and tell all about the various kinds of quilts made around the time of the Civil War. Included will be at least 20 projects with full instructions. All the project quilts are directly based on quilts typical of the time. Some are pieced only; some feature wonderful applique designs. Barbara has been researching and lecturing about this subject for some time so she has a tremendous base of knowledge. There will also be a great amount of historical background about what kind of quilts were made, how they were used, the colors and fabrics, how political sentiments were often prominently featured in the design through words and art, etc. The guild has heard Barbara’s talks on the subject and the stories are fascinating so the book should be great as well. If you have ever heard Barbara lecture, you know she is as interested in telling about the people who made the quilts and their stories as she is about describing the quilts themselves. She said her copy deadline comes up right after Christmas and the book is tentatively scheduled to be published in October. I don’t know who the publisher is. If any of you have a particular interest in this era of quilting let me know and I’ll post more details as I learn them. We were also privileged to see three very, very old quilts Terry is in the process of appraising. They are so old, in such incredibly great shape, and feature such remarkable quilting techniques that the process of appraisal will take some time. One of the quilts dates from around 1820. From a distance it looks like it has a rose-colored floral fabric border about 10 inches wide. However, Terry says the border was stamped on with the red ink and huge wooden stamps, one stamp block at a time around the outside of the quilt. The other two were probably from right after the Civil War. The intricate quilting designs (many of them trapunto-stuffed) were breath-taking. The quilts have been passed down through a family so the makers are known…isn’t that nice for a change?! I hope everyone has a wonderful holiday season! Best wishes from Julie Swords in very, very cold northeast Kansas Date: Sat, 21 Dec 1996 10:29:00 -0500 | From: AJSNGS [at] aol [dot] com Hi Everyone, I wanted to wish everyone here a very happy holiday. If you are traveling, drive carefully so that you can join us after the holidays! And for the rest of you staying home during the holidays, I hope you are spending it with the people you love. And if you ARE staying home during the holidays, please keep writing so the rest of us who are not traveling, will have something to read! Blessings of the season to all of you, Nancy Sentipal in cold Virginia AJSNGS [at] aol [dot] com Date: Sat, 21 Dec 1996 09:40:40 | From: jadavis [at] juno [dot] com (Julie A Davis) Happy Holidays Everyone! I just want you all to know just how much I am enjoying this list. I really don’t have much expertise in this area and I am learning so very much! When I have time, I have a beautiful story to tell about how I got my Grandmother’s machine and quilt frame…… Merry Christmas! Julie Davis jadavis [at] juno [dot] com Date: 21 Dec 96 14:40:24 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> As far as I know, written language is about 10,000 years old. I have been involved in oral history and folklore as legitamate studies and I love both studies for what they tell us about people and culture. But, we have written histories and many many ways of understanding the past that involve written language and not just oral history. For example, if you are interested in a small town in the southern appalachains and you want to find out about quilting traditions the newspaper archives listing the prizes at the local fairs, grange, church suppers, etc.. are great ways to figure out what type of quilting was being done. to corroborate the oral traditions. Probate records, store accounts, all those things are available, letters diaries, journals exist. Gazeteers exist. Agricultural magazines with womens pages listing what type of quilting is popular and how to do it. How to do it pages have been around since the 18th century in America. Thats how we substantiate or question oral histories. Oral histories tell us how people think and remeber their past. No two people perceive the past the same way. “Roshimon” the movie is a wonderful exploration of the concept that an event has truth only for each participant and observer and that truth is different. The place we can actually date and identify textiles in quilts is the microscope, the records of mills, and having signed and dated pieces as referrence. and then checking out the written information against the oral traiditons. No one aspect is really better than another they allmust work together. As I said I would be thrilled to find referrences for hand process continuing in the south we know they continued in Canada we know there were pockets elsewhere. But that certainly was not what was happening in New York State, Pennsylvania, New Jersey, What is vital is the contribution of all of this. THis is not a competition it is a learning process and an unbderstanding that quilts are a way to understand the past. Those of us who study textile history usually also study food history and other parts of vernacular life. Oral traditions are wonderful and Janette Lasansky and Sandra Rambo Walker in the PA oral histories project has done so much to contribute to the merging of written history with oral history and no, not all basket makers were gypsies and not all blacksmiths were muscle bound Many of you will be glad if I never respond again to these discussions but I feel that if we want womans history to be taken seriously and oral traiditons to be part of the referrence material we need to do it right or we will be repeating the secondary sources of the early 20th century that are romantic and not helpful to understanding the past Date: 21 Dec 96 14:56:06 | From: Rabbit Goody <75444.1037 [at] CompuServe [dot] COM> most early 19th century and late 18th century whole cloth quilts were made using a glazed worsted top and a woolen back. These have been mistakenly called “linsey-woolsey because of the shine or galze. We know taht several different glazing techniques were in use. One is simply calendaring which is a very heavy pressing ( not accomplished with irons at home) which self glazes worsted wool. Another was gum arabic glaze and another was a pressed wax but these are all only semi permanent glazes so many pieces lack the finish they once had. Thistle Hill weavers and Eaton Hill Textile both reproduce worsteds for glazing and do a limited amount of glazing on fabric. for more infor 75444.1037CompuServ.com Rabbit Goody Thistle Hill Date: Sat, 21 Dec 1996 16:07:12 -0500 | From: Baglady111 [at] aol [dot] com fOR rABBITT..I have a piece of linsey-woolsey but it doesn’t have a glaze or shine to it..it is a portin of woll and a portion of linen. It is my understanding that most thought ‘linsey-woolsey’ was so called because it was half wool and half linen..but later, someone discovered a town in England named Linsey-Woosley, hence the name. Jane My name is Debbie Roberts, and I’ve loved quilts for as long as I can remember. However, my main interest is focused on antique and ‘old’ quilts. I have a small antique business that I operate out of my home, that includes the sale of quilts. I am also an amature quilt historian, and love anything having to do with quilt history. I am an American Quilter’s Society certified quilt appraiser, as well as an instructor on quilt history, dating, and documentation. I would like to know more about curating. I have a web page at http://quilt.com/appraiser, if you would like to check it out, I would love a comment. Also, I will give a recriprocal link if you would like. As far as the rest of my life goes, I am extremely involved at my children’s school and I spend about 20 hours a week as a volunteer there. I have a daughter, 12 , in 6th grade and a son, 13 in 8th grade. Needless to say I am a busy mom. My DH is an airline pilot, but the only traveling I do seems to be for quilt related activity, no loss there, I love it! Oh yes, I am also mom to one 7 year old Lasha Apsa named ‘Hairy’ and a great big 109# Golden Retriever named BABY. I am anxious to learn from all of you what you know about the heritage of American Quilts. Thanks Kris, for getting this going. Debbie – Deborah Roberts QuiltAppraiser [at] wow [dot] com – my e mail will soon change, hopefully by next week   Date: Wed, 4 Dec 1996 09:43:01 -0500 | From: megm [at] MIT [dot] EDU (Meg Manderson) Hi Debbie, Kris and anyone else out there! My name is Meg Manderson. I’m a non-trad verging towards art quilter, with a strong interest in the history of the art/craft. My DH says I took up quilting to justify my fabric collection, but I tell him that is a totally separate, tho sometimes overlapping, hobby! I am currently beginning work on a Master’s thesis on the communications aspects of quilting – friendship, memory, mourning, political quilts – that sort of thing. I am very interested in what I suppose you would call the social history of quilting. For example, did you know that Carrie Nation was supported by the WCTU through the making and selling of “Temperance” quilts after her husband refused to support her? I recently joined the American Quilt Study Group because I am interested in their take on the place of quilts in our history and the controversies about who made them and why. Personally, I am the wife of a dear man who is a computer/network nerd by day and a bluegrass mandolinist by night, the proud mother of a 30 year old son and surrogate mother to 5 (!) cats. In addition to obessing about quilts, I design and make many of my own clothes, garden, read anything I can get my hands on and do a minimum of housework! Oh yes, and in my “spare time” 😉 I’m Director of Marketing Projects (part of Admissions) for the MIT Sloan School of Management which is fairly interesting work “requiring” some travel at this time of year – which I always try to make include trips to local museums and quilt shops! And the Masters is in Communications Management and *may* be finished before I retire! Looking forward to some broader discussions here than are the purvue of some of the lists which focus on the making of quilts. (Which I enjoy verymuch as well!) Thanks, Kris, for your efforts. Meg megm [at] mit [dot] edu   Date: Wed, 4 Dec 1996 21:55:39 -0500 | From: AJSNGS [at] aol [dot] com Hi Everyone! I’m Nancy Sentipal and I just joined the Quilting Heritage Listserv. I am married and we have two children. Andrew is 11, and Kara is 7. I live in central Virginia in a suburban area, but I’m definitely a country person at heart. I’m originally from Michigan, but have lived in Virginia for 18 years. I am married to an avid antiquer who has slowly recruited me to go antiquing with him. Now he can’t get ME out of the antique stores, and it used to be the other way around! I’ve always liked quilts but it’s only been in the past few years that I have really fallen in love with them. I’m probably unique for the fact that although I’m a quilt enthusiast, I don’t quilt! I don’t even sew! One of the things I’ve vowed to do in 1997 is take a handquilting course for beginners. I have the feeling I’ll be hooked. When (not if) I learn to quilt, I want to do it the “old fashioned” way–by hand. So don’t look for any queen sized quilts in this century! I am a preschool teacher and love it! I work for a wonderful friend, and work with great people who like to laugh and all enjoy being teachers. My job is part-time which allows me time with my kids (and their endless activities) and allows me the summers off. I also love to read…I consider this one of my vices. Some people smoke, some people drink, I read silly romances. It’s a great way to de-stress! I also love to go to flea markets, work in my yard, and cook. My husband and I like to go to Strasburg, PA at least once a year, and have visited several Amish families who sell quilts. We currently only have one, a beautiful Lone Star wallhanging, but one day would like to have several more of these beautiful quilts. I also love old quilts. There is such history behind them. I am intrigued by who made them, where they’ve been, and that sort of thing. I am a novice when it comes to collecting quilts so I have endless questions about all aspects of quilting. I am looking forward to “meeting” other quilt enthusiasts who can share their interests and knowledge with me. Thanks! Nancy Sentipal AJSNGS [at] aol [dot] com   Date: Wed, 4 Dec 1996 22:23:34 -0500 I’d like to hear what anyone in the know about cleaning old quilts has to say. I’ve heard there is a special paste you can buy, I’ve also heard some people say that you can try washing a fairly sturdy quilt in the washing machine on gentle with a non-detergent soap. What process do you think is best? Oh, I’ve also heard that various museums use a process of soaking their antique quilts in a bathtub (using a clean sheet under it to lift it out). Your ideas are welcome! Thanks, Nancy (AJSNGS [at] aol [dot] com )   Date: Thu, 5 Dec 1996 06:28:24 -0500 | From: AJSNGS [at] aol [dot] com Kris was asking me which quilting book I thought was good for beginners. First of all, most of the books I found were NOT for beginners–rank beginners anyway–even if they said EASY, for beginners, etc. I was online the other night and found a source for quilting books. I found a book that sounds like it REALLY is for beginners. It’s called “How To Make A Quilt; 25 Easy Lessons for Beginners”. It is written by Bonnie Leman and Louise Townsend, and published by Leman Publications which also publishes “Quilters Newsletter Magazine”. The chapters were titled “picking the pattern for your first quilt”, “how to choose fabric”, “what to do with your fabric”, and so on. It is specific about what quilting supplies to buy, how to prepare the fabric, and also talks about hand and machine quilting. It sounds like it walks a real beginner like me right through that first quilt. My copy will come next week and I’ll let you all know how I like it. In the meantime, does anyone else have comments about books they used as beginners? I’d sure like the info! Thanks, and have a great day! Nancy (AJSNGS [at] aol [dot] com )   Date: Thu, 5 Dec 1996 06:13:03 -0500 (EST) | From: jane stapel Hi, my name is Jane Clark Stapel from Pittsburgh, Pa and also, Floyd, Va. I lecture on quilt pattern names and the program includes a slide presentation of antique and new quilts from the Blue Ridge Mountains of Virginia. I am also the founder of The Feedsack Club with a membership of 660+ who buy/sell/trade/collect/ exhibit/lecture/and do research on feedsacks. Kris is a member of the club and you will probably meet more as this new exciting venture grows. I hope to post info on the history of feedsacks and tell you of the importance of their place in our textile history..Millions of families would have even less that what they did have if it wasn’t for feedsacks..they clothed the American farmers and their families. I am already interested in your subject, Debbie, and hope you’ll be sharing info on documentation..And Meg? mourning quilts and political quilts will be fascinating..our club produces a newsletter and we will soon be printing an article on mounring quilts..so it will be great to add even more to that subject..I too thank you, Kris..this is terrific..one of our members is in Australia and I know Bev will want to be part of this.. Jane   Date: Thu, 5 Dec 1996 06:13:06 -0500 (EST) | From: jane stapel < baglady [at] nauticom [dot] net > Meg, I forgot to add to your post about the WCTU..they used their official colors of blue and white,along with the pattern, THE DRUNKARDS’ PATH for making quilts for fund raising for their cause. Debbie, I am interested in knowing what is required to be an appraiser? And do you travel to do this? I would like to suggest we let each other know where we are located, also. Jane   Date: Thu, 5 Dec 1996 08:10:42 -0500 | From: AJSNGS [at] aol [dot] com Hi Jane, I was particularly interested to hear about your lectures on quilts from the Blue Ridge Mountains. Being in Virginia, that area is of particular interest to me. Where do you lecture? Anywhere in Virginia? Also, I have a friend who quilts and she is particularly interested in feedsacks. Could you send me the address for her to get information on your club? I think she might be very interested. Thanks, Nancy (AJSNGS [at] aol [dot] com )   Date: Wed, 04 Dec 1996 14:15:32 -0800 | From: “James M. Welch” < hawk [at] csionline [dot] com > Hi, My name is Debbie Welch and I own a quilting shop in Bayville, NJ. I have just become interested in antique quilts in the past year or so. I have 3 in my collection now, big collection!, two are finished from the 30s and one is a top from the same. I have customers coming in with antique tops they want someone to finish or want to know how to clean or have questions that I really don’t know the answers to so I am hoping to glean more information from here. I went to a flea market for the first time this past weekend with the express purpose of looking for quilts. I have decided that most dealers have no idea of what they have and most ruin what they do have trying to fix it! One dealer put a back on an antique crazy quilt so it would be “finished”. I just shook my head. I also saw a grandmothers flower garden from the 30s it looked like that had been appliqued to a huge piece of royal blue polyester. They wanted $35 and I should have bought it just to rescue the poor thing! Looking forward to the list! Debbie at QPs in NJ   Date: Thu, 05 Dec 1996 00:48:44 -0800 | From: “James M. Welch” < hawk [at] csionline [dot] com > We have the Leman beginners book in the shop but the one we use in our classses is put out by Leisure Arts and for the life of me I can’t think of what the name is right now. We looked at the Leman one and felt it wasn’t easy enough for a rank beginner to understand on their own, looked at Quilts, Quilts, Quilts and loved it but felt it was too pricey for someone to purchase not sure if they were really going to get into quilting whole hog so we went with the Leisure Arts one that retails for $9.95. It is written for hand piecers, which is how we do our beginners class, has full sized templates and takes them from buying fabrics to putting on binding. I think it is called Beginning Quiltmaking. I will check at the shop and post tomorrow. Debbie at Quilting Possibilities in NJ   Date: Thu, 5 Dec 96 09:31:28 -0500 | From: Gretchen.L.Cornnell [at] admin [dot] gettysburg [dot] edu Hi everyone! I have an antique red and white princess star quilt that has what appears to be some rust stains on or around the old fold lines. I faintly remember someone from another quilt group suggesting Fells Naptha in the bar form to remove this, I also faintly remember someone saying make a paste out of Biz detergent. Are these suggestions correct or are there any other “sure remedies” out there? Any suggestions would be welcome. Also, I’m very much interested in learning how to date quilts and other textiles, are there any good books available on this subject? I’m picking bits and pieces of knowledge up here and there about this subject but I want to learn more NOW. The afore mentioned red and white princess star has been guessed to be around late 1890s to 1920 (the guessing has been done by 2 other quilters and myself) but I would like to feel comfortable with this guess, right now I’m not sure. All you knowledgable antique quilt people out there – I want to learn what you know and don’t know where to start.. help 🙂 TIA ! Gretchen gcornnel [at] admin [dot] gettysburg [dot] edu   Date: Thu, 5 Dec 1996 07:12:13 -0800 (PST) | From: Michele Weise < michele [at] peppertreestudios [dot] com > Hi, I’m Michele Weise in So. Calif and love old quilts–particularly the 19th century ones with simple designs and interesting fabrics. I’m an artist who mainly paints dyes on silk and then quilts the pictures I’ve designed. My main work is doing commissions for private & corp. spaces–just finished a 10’x4’quilted mural which contains images of old pick up trucks, made into a very old quilt pattern of simple triangles and staggared block arrangement–it looks really modern & its a really old pattern. I have three teenage boys and the third one is an exchange student from Japan. My husband is a video editor & audience switcher and works on tv shows–lately mostly live production. When we get a break which isnt too often we like to watch him work on the set–shows like”Moisha & Everybody Loves Raymond.” I have just started doing some quilt shows in my area as a vendor, selling miniature quilts I’ve made from vintage fabrics & cutter quilts. I also custom quilt old blocks & frame them. I consider them collectible pieces of American history. I work one day a week at a state mental hospital doing art therapy and for the last month, we have been making a quilt. It will be fun when the clients get to see all the squares put together. I hope they will be able to remember which squares they made. I look forward to this list…thanks a million Kris. I want to learn about the old fabrics (how they were printed and the dye processes used). bye for now   Date: Thu, 5 Dec 1996 11:39:55 -0500 | From: SadieRose [at] aol [dot] com I am so pleased that this list has been started!! My name is Karan Flanscha, from Cedar Falls, Iowa (with 6″ of new snow in the last 2 days). I have been teaching quilting for 16+ years, probably quilting for around 25 years now. I was one of the Regional Co-ordinators for the Iowa Quilts Research Project in 1988. I wrote an article on IQRP for Ladies Circle Patchwork Quilts magazine, which appeared in the April 1996 issue. I have been interested in old quilts, old fabrics and dating both, for as long as I can remember. I was really thrilled when IQRP sponsored a weekend retreat with Barbara Brackman, as a training session for the Regional Co-ordinators. I think Barbara’s book, “Clues in the Calico” is the best resource for learning about quilt dating. Her book, “Encyclopedia of Pieced Quilt Patterns” contains over 3500 drawings, with names and references as to when and where they appeared in print. We used this book as our source for pattern names for the IQRP. This book is now available on a computer disk, called “Block Base”!! If you are interested in more information on it, let me know. (I am also a Rep for the Electric Quilt Company). Another source on dating quilts is a pocket size book by Helen Kelley, called “Dating Quilts- from 1600 to the Present”. This is intended to be a workbook, so you can add your own notes to the pages. It is small (about 4″ x 5″) and has a spiral binding, published by C & T Publishing. I also belong to the Quilt Restoration Society. Their newsletter contains excellent articles and information for quilt history buffs, even if you don’t intend to repair or restore a quilt. You can get more information on QRS at: ph 518-325-4502 or Fax 518-325-6625 or e-mail at qrs [at] taconic [dot] net (e-mail address is from several months ago, so hope it is current). Dues are $25 per year, for US & Canadian residents, $35 for overseas. I subscribe to a newsletter called “Quiltiques” published by Marianne Schweers, who also has a mail order fabric business called “Vintage & Vogue”. For more information, you can call 508-534-6542 or Fax 508-840-4013 (no e-mail at present). My current areas of interest include Amish quilts and quilters, and Baltimore Album quilts. I was in Baltimore last March, and one of my highlights was seeing 4 authentic Baltimore Album quilts. One was at the DAR Museum, in Washington, D.C., which has a fabulous, but almost unknown, quilt collection. Also got to spend a day in Lancaster County, PA, which was fabulous. I am also a “FeatherWeight Fanatic”, if any of you are sewing machine collectors, and don’t know about the FWFs e-mail list, let me know. It is great!! In addition to my quilt interests, I have a great DH of 21 years, two sons ages 16 and almost 18, and a Siberian Husky “daughter”, Casey Jo. I also have a daylily garden and am on an e-mail Round Robin for daylily enthusiasts! What did we do before e-mail?? Looking forward to hearing from other quilt history lovers! Karan Flanscha, from snowy Iowa!! (Would like to suggest that you include your location in your signature line, this is done on several lists I am on)   Date: Thu, 5 Dec 1996 12:47:30 -0500 | From: AJSNGS [at] aol [dot] com Debbie, Thank you for the info. on beginner books. I hope the book I ordered will work out, but if it doesn’t, I’ll think about getting the one from Leisure Arts. I’m in the process of finding a good quilting class for beginners here where I live and hope to start that sometime next year. Obviously a book can only do so much–a real live teacher answering questions is so much better!   Date: Thu, 5 Dec 1996 14:07:06 -0500 | From: QRestore [at] aol [dot] com Dear Gretchen; One of the best books you buy is “Clues in the Calico” (A Guide To Identifing And Dating Antique Quilts) by author Barbara Brackman. This book is used at many colleges throughout the country. Have a bookstore, such as Barnes & Noble, order it for you as it is out of print. It’s well worth the $39.95 cost. There are many others out there but you’ll find this one highly recommended. Victoria Montgomery, Quilt Restorer QRestore [at] aol [dot] com   Date: Thu, 05 Dec 1996 14:15:39 | From: josiem [at] tekstar [dot] com As a new member of this listserv, I have been asked for a bio. I am a retired person, who has been doing patchwork and quilting since the early ’80’s. My main interest in this area was wildly contemporary “art” pieces, had little time for the old-style quilt. That is, until the fairly recent (to me, anyway!) marketing of the 1800’s reproduction fabrics. My cousin had been working on our family genealogy and found that many of our female ancestors were “dressmakers” and I began to look at these repro fabrics as choices these long departed women might have made for “their” clothing or quilttops. And I just fell in love with the fabrics (many of them are quite funky!). I joined an 1800s repro block swap on Quilt Bee, done by Sara Maxwell and now, I am in way over my head.! It is my plan to read more about quilts of this era with a mind to reproducing them, in a limited way. So I guess I am here, mostly to lurk and learn from the rest of you. The era I am most interested in is from around 1850 to 1900. If anyone shares this interest with me, I would love to hear from you. All best wishes, Jo in Cold, Snowy Minnesota   Date: Thu, 05 Dec 1996 15:13:23 -0600 | From: R D ! I have been quilting for about 15 years. I’ve done a little bit of every kind of quilting – hand, machine, applique, trapunto, etc. I have taught basic quilting classes in the past. Every year I try to learn some new technique or aspect. This year I learned how to do silk ribbon embroidery, and I’m trying to better my machine quilting. — BTW, I have lots of UFO’s. Someday in the future, women, just like you all, will fondle my blocks and make them into something. I make treasures for the next generation!! — (VBG) I have been online with various groups for about 4 years now. I started out with AOL quilters – did lots of block exchanges, round robins and such. We had some Illinois quilters come to Wisconsin for a day. I taught paper piecing, and then we hit the Milwaukee quilt stores. A very nice time — wouldn’t that be fun to do with our new group? We could hit different antique stores, museums and other places of interest. I don’t even know you all yet, but I’ll help you spend your money and we’ll have fun doing it! 🙂 Anyway, some of the groups that I belong to are: Wisconsin Quilters, Southport Quilters Guild, American Quilters Society, Quilt Restoration Society and The Feedsack Club. I go to the AQS show in Paducah every other year. Online I belong to: QuiltBee, Interquilt, FeatherWeight Fanatics ( I have 2 ) and the Bernina Digest. I’ve been collecting antique fabrics, blocks and quilts for about 5 or 6 years now. That’s how I met Kris. I wish I would have started sooner. I do have a wonderful stash. I would like to learn and do more with quilt restoration. I have had DeQuervain’s disease in my thumb and wrist on and off for the last couple of years. It has definately slowed me down. It is like a tendonitis and can be very painful at times. I, too, highly recommend the book Clues in the Calico by Barbara Brackman for dating fabric. She was teaching classes on dating fabrics and quilt restoration at a quilt shop in Seattle called In The Beginning. (No affiliation) I ordered my book through them, and she autographed it. (Signed things are more valuable). I like the book Quilts, Quilts, Quilts for beginning quilters. I feel it is well written, and is a good basic reference book for most quilting techniques. I’ve been married for 16 years. We have an adopted son, Michael, who just turned 2. (SOB) We also have 2 hairy cats that like quilts (they were even written up in a quilt magazine a couple of years ago! Someday, I hope to make it in a quilt magazine 😛 ) I worked a few years at Ma Bell, and then I taught preschool for several years (Hi Nancy!) Now I am a stay at home mom for a few years. (This does cut into my budget though for old or new fabrics, quilts, trips, etc. 🙁 One other thing — as you can see from this long posting, I spend way too much time on the computer. I should be sewing more! Nice to meet you all! Donna Don’t ya love children’s naptime!!!???!!!   Date: Thu, 5 Dec 1996 17:11:36 -0500 | From: QRestore [at] aol [dot] com My name is Victoria Montgomery from Boise, Idaho. I own my own business, called Quilt Restoration. I’ve been been a quilter for 27 years prior to restoring quilts, with a large collection of vintage fabrics. I receive many requests to do hand pieceing, applique’ and hand quilting as well as restoration work. I’m fond of 17th and 18th cenutry textiles, quilts and designs. I’m a member of American Quilt Society, Quilt Resoration Society and an active Board Member of my local quilt guild. I receive and study many publications from leading Textiles Conservation experts across the country. I’m a firm believer in researching every available resource prior to working on any restoration project. There is a clear distinction between conservation and restoration of textiles. Best described by England’s leading experts at the Textile Conservation Center, Karen Finch and Greta Putnam: “Conservation requires that everything that is original on an object be retained, and nothing added. Restoration, on the other hand, implies a degree of repair so that the piece not only looks as nearly as it did originally but it may even be made strong enough for further use.” There is a great controversy among the experts regarding conservation and restoration. Not all quilts can be saved, and not all quilts in need of repair are of museum quality, therefore museum quidelines need not be followed by its owners. Although this type of work can be very detailed and labor intensive, I find it extremely rewarding. I’ve received many requests, recently, to restore Victorian silks (Crazy Quilts, Log Cabin, etc.). (?) I wonder, is this regional or is there a renewed interest in these quilts? I’d be interested in other restorers comments on this issue. I’m a mother of two sons, 22 and 19 and a daughter 13. My husband and I have been married for 25 years. I have a wonderful English garden with bird houses, feeders, fountains and arches filled with antique roses and climbing vines of various sorts. This is my favorite place to be when hand quilting. I feel truly fortunate to spend every day emersed in quilts and textiles, and couldn’t be happier! Thank you Kris for the opportunity to network with other quilt enthusiasts. Victoria Montgomery Quilt Restoration Boise, ID QRestore @aol.com   Date: Thu, 5 Dec 1996 17:20:17 -0500 | From: AJSNGS [at] aol [dot] com Okay all you quilting experts…and you ARE experts compared to me! Can any of you suggest an easy quilt pattern that would be a good “first” quilt? I’d appreciate any and all suggestions! Thanks, Nancy (the rank beginner)   Date: Thu, 5 Dec 1996 18:57:11 -0500 | From: QRestore [at] aol [dot] com In regards to your question about what quilt design would be easy for beginners. I would encourage you to challenge yourself to try several different block designs, making one block each. Which ones were you successful with and had fun piecing? Many quilters may agree that the basic nine patch design is an easy design to begin with. Besides being classic, there are dozens of ways to piece a nine patch, on the diagonal, on point, straight, with or without alternating solid blocks etc. Personally I feel you shoud try what appeals to you and learn as much as you can by reading, taking a class or maybe joining a quilt quild in you area. Most quilds regularly have workshops that are quite affordable and the relationships you develop there with others will be life long. One of my favorite books to give as a gift to friends and acquaintances interested in learning to quilt is “Quilter’s Complete Guide” by Marianne Fons and Liz Porter. It’s a large beautiful book filled with lots of colored photos and clear, visual instructions. I recommend the hard backed book which is a spiral bound copy and can be used over and over as a resource for making serveral block designs, choosing batting, binding techniques and much more. Don’t be afraid to try more difficult and challenging quilt designs, and don’t be afraid to fail. The most important thing is to enjoy the process. Best of luck to you. V ictoria Montgomery QRestore [at] aol [dot] com   Date: Thu, 5 Dec 1996 18:59:37 -0500 | From: SadieRose [at] aol [dot] com ng in the 19th century. I would make 6″ blocks, which would require squares cut 2.5″. Or, you could rotary cut and strip piece, there are lots of good books to teach those methods. Nine Patch is a fun block, because it can be set so many interesting ways. And colors can be anything you want….blue and white, antique reproduction prints, Amish….etc. Liz Porter does a great class and/or lecture called ‘The Power of the Nine Patch’ . I have a book called “Nine Patch Wonders” by Blanche Young and Helen Young Frost, pub.by First Star @1991. Don’t know if it is still available, but I really like it. Another book is “Nifty Ninepatches” by Carolann M. Palmer, pub by That Patchwork Place, @ 1992. A good beginner’s book, or just all around good reference book, IMHO, is “The Quilter’s Complete Guide” by Marianne Fons and Liz Porter. This is available in hard cover and paperback now….pb is a little easier on the wallet. For those of you interested in reproduction fabrics, the Vintage & Vogue mail order has had complete collections of the Smithsonian and now the new Shelburne Museum collections, as well as other repros. You can get fat 1/8’s up to yard pieces, one of EVERY print in the collection, and also documentation about each print in the line. I do my best to support my local quilt shops, but I love to be able to get the entire collection like this. Most local shops pick and choose the bolts they think will sell best in their area, and can’t afford to order in whole collections. So, I have “treated myself” to fat 1/4s of all of the Smithsonians, etc. then have purchased yardage for borders and backing from the bolts available locally. V & V has a toll free number, which I didn’t remember to give in my previous post: 1-888-My-Attic (I don’t have any affiliation with V & V, just a happy customer). Must turn this computer off and get some quilting done. I am half done quilting the “All American Eagle” quilt, from Mimi Dietrich’s book “Quilts from the Smithsonian”, for a Christmas gift. Love that book, and also the sequel, “Quilts- An American Legacy”. If you don’t have these, you might want to add them to your list!! (Have to admit, Mimi is a friend of mine, and I have a block in one of the quilts in the Q-AAL book). Happy Stitching to all, Karan from snowy Iowa, nice cold night to stay in and quilt   Date: Fri, 6 Dec 96 00:35:00 | From: hooley [at] genie [dot] com Hi – My name is Cathy Hooley, I live in upstate NY. I’ve been quilting for about 6-7 years. I’ve recently become interested in antique quilts, primarily from the ones I’ve seen while searching in books & magazines for quilt ideas. I love the subtle colors & intricate handwork. Unfortunately for me I only have one antique quilt that needs some restoration work. I’m anxious to get started on it – just need some fabric. It was appraised or dated I should say as being made during the 1880’s. Some of the fabric has totally disintegrated, mostly browns & one or two purples & burgandy’s. How hard is it to find fabric from that era? The restoration itself doesn’t seem too bad since I can (I think) use an applique technique to replace the worn squares. I’m interested in learning more about quilt restoration, dating material & appraising antique quilts – so this sounds like the right place. Thanks Kris for organizing this site. Look forward many interesting discussions. Cathy   Date: Thu, 5 Dec 1996 19:56:37 -0500 | From: SadieRose [at] aol [dot] com Great minds think alike, I guess!! 🙂 I sent my message to Nancy, and received Victoria’s at the same time. We had some similar suggestions. One thing I did not say, which I should have, is that I encourage beginners to start with a smaller project than a bed size quilt. I’m sure some would disagree with me, but my suggestion is to start with a doll, wall or baby quilt, or maybe “throw” quilt size. This way, you can try all the techniques on a project that won’t take as long to complete. If you decide after doing a smaller project or two, that you enjoy say, machine piecing and hand quilting, then you can move on to a bed size quilt. I have taught many new quilters, who took a beginner’s class at a shop that started them on sampler blocks for a bed size quilt, then never taught them how to put the blocks together or quilt the top. These ladies came to me with a ton of guilt…they had spent so much money and time on this pile of blocks, and still had little to show for it. They only knew how to make more blocks. The DH was making them miserable wanting to know when they would finish the quilt, etc. None of this was fun for them!! So, start with something smaller….try lots of different techniques, until you know which ones you enjoy. (this could mean making a variety of blocks, and putting them together in a sampler, but on a smaller scale) Then, make some informed choices when you start a large project. There are aspects of quiltmaking that are tedious for all of us, but overall, we want to enjoy what we are doing!! I think that many quilters enjoy the history and “connection” with the past that quilting can provide. Many also agree, that it is easier to start a new project, than to complete an “old” one! Especially if it is large, and drags on because you aren’t enjoying it. Get those little silver needles flying!! Happy Quilting!! Karan (again)   Date: Thu, 5 Dec 1996 20:06:30 -0500 (EST) | From: jane stapel For Nancy..My first thought is a 9 patch. In colonial days, little girls did not go to school. Only boys received an education. Little girls were taught to sew a fine seam..Mother’s scrap bags held large pieces and small ones..Mother kept the bigger pieces for herself and the littl girl used what was left..and because they were small pieces and the only ones left..she had to be very exact..not only did she learn to sew a very fine seam, but it was also a lesson in arithmetic, and color combination..this was an easy pattern and would be mostlyu likely a utility quilt..(from one of my lectures HOW QUILT PATTERNS WERE NAMED)..Jane   Date: Thu, 5 Dec 1996 20:20:45 -0500 (EST) | From: jane stapel Excellent idea, Sadie Rose..a sampler class would allow several different and *uncomplicated patterns for an experience in different techniques..you will learn what you Like and do not like, Nancy..and if it is too small for your liking, *border* it like crazy..good suggestion, Sadie Rose..sometime it would be fun to find out HOW we picked our code names..when we have our first retreat!! Jane   Date: Fri, 6 Dec 1996 06:40:34 -0500 | From: AJSNGS [at] aol [dot] com Jane, where in Virginia do you lecture about Blue Ridge Mountain quilts? I’d love to come to one of your lectures. Thanks, Nancy   Date: Fri, 6 Dec 1996 07:04:27 -0500 | From: AJSNGS [at] aol [dot] com g quilts. It is available from The Kirk Collection and their # is 1-800-398-2542. It costs $39.95. Also, is this book, “Quilt Restoration: A Practical Guide” by Camille Cognac a good book? It sounded like it might be for people who have never restored a quilt. Victoria, I thought you might be able to answer this one! Thanks! Nancy   Date: Fri, 6 Dec 1996 07:50:21 -0500 (EST) | From: jane stapel I am originally from Pittsburgh and sitting there now. We moved to VA 20 yrs ago, still have our farm there, but because I travel extensivly lecturing to guilds/historical societies/etc..I need a larger airport to work out of. My lectures are abut quilt how quilt patterns were name. Some is factual/some is folklore. One story is teh Turkey Track. It was know before that as Wandering Foot, but did you know that BEFORE that it was a mourning quilt, always done in black and white, and was called TENTS OF KEDAR. Because it was a mourning quilt, it peeked my interest from Meg when she m,entioned HER interest in mourning quilts (a reason this forum is going to be so great!!)anyway, I hope to share more info on my programs with you as we move along. You asked about the Feedsack Club (of which Kris is a member along with 660+ others) so you can tell your friend to contact us and we will be msot happy to welcome her. For info on joining, check my web site at http://www.his.com/~queenb/feedsack.html> let me know if you have any problem accessing it. Teh Feedsack Club is a hobby for my publisher, Anna Eelman, and myself. We take nothing from the club. We are an informational group who buys/sells/trades/collects/exhibits/researches feedsacks and their history..I’d like to mention also that if in restoration you need feedsacks..they are available..Most of my lectures are for guilds, womens’s groups, museums, historical societies, educational systems, etc..we are always looking for ways to let people know we exist. We have a convention each April in Lancaster, Pa at the same time as QHC..where are you in VA? If close enough, come and see us..we have many members thru out the country and not all can get to Pa for one reason or another, so next year we will GO TO THEM..We will be in MI., Tn, Dillsburg, Pa, and MAYBE CA..if not in ’97 for CA. definetly in ’98. I am so excited about Kris’s forum because there will be so much info that my membership wioll be able to read about in our newsletter. And this will be a good time to ask..if any of you post material of interest, do you prefer I email you or ask on the forum, if I have your permission to print it, giving FULL credit as to who and wher it came from? Or can I print it giving FULL credit as to who and where, without requesting permission..and YOU, the source, will receive THAT issue of our switches ‘n swatches..thank you for asking, nancy..if it is acceptable, I can always post where I will be..incase I am in your back yard. And I inturn will be hapy to know where any of YOU will be..since I pay my own airfare..I can go just about ANYWHERE..Jane   Date: Fri, 6 Dec 1996 08:22:57 -0500 | From: AJSNGS [at] aol [dot] com am married to a man who LOVES the Pennsylvania Railroad and collects their memorabilia. He will drop everything to go to the Pittsburg area, and any other place that was on the PRR. We usually go through Pittsburg at least once a year, and love to antique in that area. Also, we go to Lancaster, PA at least once a year, although next year we are going in October–not April. You can e-mail me directly at AJSNGS [at] aol [dot] com anytime, especially if you are going to be lecturing anywhere in Virginia. Thanks again!   Date: Fri, 6 Dec 1996 08:37:48 -0500 (EST) | From: aardvark [at] ime [dot] net (A.A. Harkavy) ledgable about antique quilts. Have done a lot of reading on quilt history and am particularly interested in the history of quilted bed covers and garments as it pertains to all cultures in which such items are found. Personal data: Married to a man who understands about the fabric collection and never complains. We share our home with two dogs — Isaac, a 2-year-old Irish wolfhound who weighs about 200 pounds; and Boswell, a six-month-old briard. Kids are 24 (daughter, doing grad work at Purdue), and 25 (son, economist who does statistical modeling and forecasting of Pacific rim economies). Addy Harkavy   Date: Fri, 6 Dec 1996 09:06:56 -0500 (EST) | From: jane stapel   Date: Fri, 06 Dec 1996 08:41:48 -0500 | From: “Perry C. Trimble” ously in Atlanta, previously in Tampa, previously in Seoul, Korea, previously in Washington, DC, previously in London, England, previously in Long Beach, previously I wasn’t married to a navy guy and lived in St. Louis! I’m 47, we’ve been married 23 years and have a set of twin boys, now 18, who are absolutely dynamite kids. I have absolutely no expertise in any of the topics here so I will probably never contribute anything worthwhile, but I had to write to tell you how fascinating I’ve found the various discussions, particularly with regards to the origination of quilt pattern names. I love the old patterns and while everyone else I know is doing new and modern variations of old themes, I just keep choosing the straight old stuff (currently working on Rolling Stone and Wind Blown Square tops – in unbleached muslin and plaids, no less!). So, many thanks to Kris for starting the list, and many thanks to all of you for my further willing education in a field that I love. Marilyn trimblep [at] indy [dot] net —   Date: Fri, 6 Dec 1996 07:28:49 | From: janbrummond [at] juno [dot] com to quilts was at about 5, when my mother was helping my sister make a Sunbonnet Sue block. The block was to be made, and $$ put under the skirt. Not sure which fasinated me the most, the block or the $$. In the mid 70’s I began collecting quilt books and started a scrap quilt using a pinwheel block, and decided all the piecing should be hand sewn. I completed about 20 blocks before they went into a box, and concentrated on rasing my two girls, now 19 & 20. I did hand quilt a top my grandmother had made during this time. Took me 10 years, but is now one of my prized possessions. Maybe I can even get back to my pinwheel project. I love all aspects of quilting, and want to learn more on history, etc. I have been buying quilt tops at antique stores and collectors fairs, but have no idea on how old they are. I’m also interested in learning more about feedsacks. Am excited to be in the group   Date: Fri, 6 Dec 1996 09:18:11 -0500 (EST) | From: jane stapel exhibit for your guild/quilt show, etc..as long as you take the responsibility of the items, and their safe return, it is free except for postage and insurance. Jane   Date: Fri, 6 Dec 1996 09:39:08 -0500 | From: QRestore [at] aol [dot] com n. Camille suggests you take her book to the printer and have them cut the binding and have them hole punched it, this allows you to use it as a reference book. Victoria   Date: Fri, 6 Dec 1996 09:55:58 -0500 | From: QuiltFixer [at] aol [dot] com e quilts, quilt my own, collect antique tops, vintage fabric, quilts, blocks, current fabric, the list is endless! I am a happy Grandma who is married to a nice man named Charles. I live with two cats whose names are Millie the Cat and Minnie the “little bit”. Millie and Minnie run the house. I live in No. Calif. in a town called Scotts Valley. I belong to a quilt guild, a small quilt group, a needlework guild, an on-line guild and am a member of the Quilt Restoration Society. I am also a member and volunteer of the American Quilt Museum. I do volunteer work on the museum’s collection. I am constantly striving to increase my knowledge of vintage quilts and to learn new and better ways to restore them. I hope I may share some of my knowledge and, in turn, learn from the members. I have always found the people involved with quilts make the most wonderful and loyal friends and I look forward to expanding my circle of friends here. QuiltFixer [at] aol [dot] com   Date: Fri, 6 Dec 1996 09:19:51 -0600 From: “Carol R. Walton” carol [at] lim [dot] com > Hello from Austin, Texas where today’s temperature is supposed to hover in the mid-seventies. (READ:Just a little snow envy, Addy) I’ve been quilting for about seven years. I’m a lurker by nature and will probably remain so unless I have something unique to contribute. I have been married for over 23 years and have two wonderful children, a daughter 7, and a son 3. I’m employed as a software engineer at a financial database company. I joined this group after recently developing an interest in old quilts. Like many of you, I have seen many quilts and tops in antique shops and have wondered about their age and history. I took a class from a member of the Boxes Under The Bed committee (Kathleen McCrady) on dating quilts and fabrics and came away with just enough knowledge to encourage me to learn more. When I went to the International Quilt Festival in Houston this year, I was impressed with the huge number of old quilts and tops that were for sale. I bought a red and green four block Princess Feather quilt top that is in excellent condition except for some water stains. It’s estimated to have been made in the 1870’s. I am going to seek Kathleen’s professional advice about preserving this heirloom and what steps I need to take so that I can display it in my home. I’m interested in suggestions for good books on restoration and dating of quilts. Carol Walton carol [at] lim [dot] com   Date: Fri, 6 Dec 1996 10:05:03 -0600 (CST) | From: Cynthia A Wall 3 years ago when my Dad delivered a framed painting to me (he drove from Colorado), and the painting was wrapped in a KING Size Cathedral Windows quilt. My great aunt had made this quilt back in the 30’s. When I tried to return the quilt, he said, “ah, just keep it. I know you’re getting into quilting, and I thought that you’d like something from the family.” I about died! 8> The quilt meant more then the painting (and I had been coveting the painting since I was 13; am now 33). Well, now I want to hang in on the wall, but need to wash it first. Any and all suggestions are welcome. I haven’t washed it yet because I am afraid to. It is in good condition (no frays or loose windows – that I can tell). All feed sacks, and I think a charm quilt. It is heavy! Originally, I was going to put it on the bed, but the weight would crush me! Besides, Robinson & Caruso (cats) are not the type of “quilt-conesseures” that I want on an antique quilt. They think that each and every project is their’s to use. Anyway, more about me. I’m single (but looking for that perfect guy), and work at Auburn University in the Sportsmedicine department. My primary responsibilities include gymnastics, swimming, diving, soccer, and softball. I am also on IQ, and FW Fanatics. Just stumbled across Francis the FW at an Estate Sale this summer. I love her. She sews better then anything else I’ve ever used. I used to want a Bernina, but no longer. I can do just fine with Francis. My interest are quilts, triathalons, and pets. I have Rob & Caruso (tiger cats) and Shooter (8 mos black lab). The kids/pets run the house. I just do what they want (in my next life, I want to come back as a pet in my family) My Mom and I have regularly scheduled SEWING WARS! I go up to her lake house, and we sew our brains out. She won this year’s war because she has already finished, wrapped, and mailed ALL of her presents (yes, she’s terrible). I will probably lurk most of the time. But I’ll always be watching and learning from ya’ll. Bye for now, Cindy *********************************   Date: Fri, 6 Dec 1996 11:36:07 -0500 | From: QRestore [at] aol [dot] com Dear Gretchen; Without actually seeing or examining your quilt makes it difficult for anyone to tack down a precise time period. I’m unclear whether the quilt design is a Princess Feathered Star as you described. Is it a Feathered Star or a Princess Feather design? The two are entirely different. The Princess Feather design is an applique’ which can be a central medallion or a block repeat. Flowers or stars appear in the center space and on the ends of the arms. Barbara Brackman’s book descrbes; “The name may refer to the feathers that symbolize the Prince of Wales; women presented to the Prince at the English court were to wear plumes in their hair.” It is one applique’ design that maintained its popularity into the twentieth century, pastel versions were produced after 1900. Range: 1800-present. The Feathered Star design is a variation of the basic eight-pointed star design, and is one of many complex patchwork designs developed in the second quarter of the nineteenth century. Barabara Brackman’s book records; “Of twelve examples in the database, the earliest is 1838. Range: 1830-present. Borders on many of the Princess Feather designed quilts were applique’d designs such as swags, stars, feathers and some were made of motifs cut from chintz, etc. Others may have a simple border strip, single or double and yet others have plain white wide borders. Feathered Star designed quilts often have pieced sawtooth borders, some with applique’d designs (seen on earlier quilts). You described what was left of the border as badly worn and hanging by threads. Are you able to determine by looking at the threads what if any color or design may have been there? Depending on the books available to you, try visiting the library and researching the design you have, then you’ll know what to do with the border. Matching fabrics with the same color value (assuming there is some fading) will be an important step in restoring your quilt. The American Quilter’s Society (AQS) membership fee is $18.00 (1 yr) anyone interesed can become a member. You also receive six American Quilter’s Magazines during the year. The AQS has recently gone on-line. You can contact them at: AQSquilt [at] apex [dot] net or visit their web site at: http://www.AQSquilt.com. (You can inquire about membership, book catalogs and the AQS Quilt Show) The Quilt Restoration Society membership is $25, anyone interested can become a member. You can join by contacting either the Kirk Collection at (800)398-2542 and they will send you the registration forms and forward onto QRS or you can contact Kris by e-mail (QRS [at] albany [dot] net) and she can give you the QRS address in Albany, New York (they do not have an 800 #). Hope this helps and doesn’t confuse you more. Sorry I didn’t respond sooner, had previous commitments. Reagards, 🙂 Victoria Montgomery QRestore [at] aol [dot] com   Date: Fri, 6 Dec 1996 12:16:45 -0500 (EST) | From: Quilting Heritage ListServ QRS [at] mail [dot] albany [dot] net >From the list mom. I *love* all the activity on the list! I haven’t had a chance to take a deep breath yet. For those of you being overwhelmed by the mail, I suggest you unsubscribe from the list, then resubscribe to the digest. If you have Eudora Pro, I suggest that you create a mailbox just for us and use Tools to create a filter sending all notes to that mailbox. You can subdivide that folder into “bios”, “cleaning quilts”, “book reviews” and so on if you like. Either way you will be able to read your mail at your leisure, rather than having it fill up your mailbox. Now back to reading the mail…. Kris   Date: Fri, 6 Dec 1996 14:47:23 -0500 | From: JQuilt [at] aol [dot] com ing/art background. and I have just recently become very interested in creating reproductions of quilts from the 1850s to the turn of the century. Any info you can share with me will be greatly appreciated. TIA Jean jquilt [at] aol [dot] com   Date: Fri, 6 Dec 1996 15:15:51 -0500 | From: AJSNGS [at] aol [dot] com Cindy and Carol – now I know what I’m called…I’m a lurker! I KNOW I have nothing to add as far as knowledge of quilts (antique or new) but I have a ton of questions. So, about the only thing you’ll see from me are questions. And thanks in advance for all the wonderful answers. It’s nice to “know” so many knowledgable quilters. Nancy   Date: Fri, 6 Dec 1996 12:16:12 -0800 (PST) | From: Monika Jones is married with a 21 mo old son. (we’re lucky, she lives here in town and I can see my grandson a lot.) Son (25) is single and lives on his own. I love quilts and everything about it. Been quilting for about 6 years and have given up other hobbies I had. My son made the remark one day, that he was lucky I did’nt quilt when he was younger, because he would have been a neglected child. Well he’ll never find out 🙂 I’m drawn to old quilts and I try to give the quilts I make, that “antique look”. We are so lucky now, with all the reproduction fabrics available to us. A few years ago it was hard to find fabrics like that. I like the 1800’s fabric and right now I’m in my “brown phase. I have several quilts in the works. Trying to finish a “Red and Green” applique quilt, quilting on another applique (repro of a 1880s four block quilt). Also have a few pieced tops ready to go. Longer days are needed!!! I bought several 1930s quilts and some tops. My last acquisition is a 1800s top, judging by the fabric. It seems this group is off to a good start. Is see friendly “faces” from other quilt lists. Looking forward to some interesting discussions. Thanks Kris for starting the list   Date: Fri, 6 Dec 1996 13:00:28 -0800 (PST) | From: Monika Jones th repros of that era. Also Harriet Hargraves, Jenny Byer, Marsha McClosky, Roberta Horton and a line called Indo-us Sales inc, all have fabrics that fall into the catagory. I’m sure there are lots more. Patchworks In MT puts out fabric swatches from the 1800s. I have ordered from them. They have a homepage. http://www.alpinet.net/~ptchwrks/ Also study the fabric in the old quilts in books. So when you go to quilt stores you can recognize “the look”. Have fun. Happy Quilting Monika from the Rogue Valley in Oregon monikaj [at] cdsnet [dot] net   Date: Fri, 6 Dec 1996 17:25:02 -0500 | From: SadieRose [at] aol [dot] com Patchworks, in Amsterdam, Montana is a great source of reproduction fabrics. Margo has a web site: http://www.alpinet.net/~ptchwrks/ She also has an e-mail address: ptchwrks [at] alpinet [dot] net I belong to the Pride of the Patchworks, which brings twelve 6″ squares of new repro fabrics via snail mail, every other month. There is documentation as to fabric maker, price (if you want to order more), and historic info. I like the 6″ size, big enough to “do something with” at some time in the future! Margo is always looking for new, authentic repro. fabrics, and was doing it way before the current interest in these started. She has “Indigos from the Past” which are made from the actual copper plates used in the 1890’s to 1915 era. She also carries a product to set the color on these indigo prints! Sample sets are available from different eras from 1775- to the 1930’s to 50’s. these are $10 to $12.50, and include 30 to 50 3″ samples. It is very helpful to get a “feel” for fabric colors and prints from these eras, to have the sample groupings. There are also Collections of 1/2 yd. cuts from the various eras. Fabrics are mostly in the $5 to $7.50 price range. She also supplies fabrics for Costumers and Dressmakers, who need authentic period fabrics. I love the new catalog, printed with the gorgeous Indigo prints on the covers! Many shops carry some of the repro fabrics, but Margo has created a unique resource for those of us interested in new versions of old fabrics. Well, don’t want to tell you everything…just tempt you to find out more for yourself! (Again, just a happy customer!) SadieRose: When I signed on AOL, I was trying to find a “quilty” screen name, but about everything I thought of was already taken. I belong to a small quilt group we called SADIE Quilters, then had to come up with a definition of that. It became “Sick And Demented In Everything” (some of us do have unusual senses of humor) OR “Stitch And Devour Inveterate Eaters” (because we have breakfast when we get together). There is also a beautiful old applique block called Sadie’s Choice Rose. It appeared in Quilter’s Newsletter Magazine, issue #183, June 1986, pgs 18 & 19. I am planning to use this blocks as one of my teaching patterns for a new class I am teaching, called “Twenty First Century Applique”. Oops, I am getting off subject. Anyway, when I typed in Sadie for a screen name, it was already taken, then I typed SadieRose and that was it. Once you hit on a name, AOL grabs it and there you are!! Guess I am luckier than a friend, who’s screen name is the make and year of her DH’s antique auto!! I am really enjoying this new list!! Karan, from cold and sunny Iowa   Date: Fri, 6 Dec 1996 21:01:35 -0500 (EST) | From: jane stapel baglady [at] nauticom [dot] net in regards to Monika’s post about 1800’s repro’s.. feedsacks too are being reproduced..prints and colors are nice..texture isn’t the same in feel..but they will go nicely for those who can’t find enough of the orignal’s or need the colors..I think they are selling for about $6.50 a yd..tells us *feedsacks are hot!!!* Jane   Date: Fri, 6 Dec 1996 21:12:37 -0500 (EST) | From: jane stapel e quilt.I really would like to have a picture of it, Cindy, for our albums..jane   Date: Fri, 6 Dec 1996 22:13:09 -0500 | From: mgoodman [at] albany [dot] net (Mary Beth Goodman) I’m Mary Beth Goodman of Brainard, NY. I know Kris from various quilt shows and local quilty stuff…. I’m a long time quilter who is ga-ga over old quilts. Love to spend hours looking at them. Love to learn more about the fabrics etc, although I am not an expert by any means, just an interested student. At the moment, I am doing a quilt based on a pattern I saw in a certain quilt dealer’s booth earlier in the fall….. I am also, by way of introduction, coordinator of NYQuilts! – a new quilt show in Troy, NY. Some of you within travelling distance may be interested in knowing that we’ll be having Camille Dalphond Cognac teaching and lecturing both days of our 1997 show. So for now, I’ll be reading with interest and hoping to learn more about historical quilts etc. Mary Beth Goodman, Coordinator NYQuilts!   Date: Fri, 6 Dec 1996 23:01:53 -0700 (MST) | From: gardner [at] kewlaid [dot] highfiber [dot] com llege years, I bought my first ,a 30’s yo-yo, at an upstate NY farm auction, inherited a couple after that, and just recently started buying tops and quilts at garage and estate sales(I was really looking for a FW). I tried to get my Mom interested in making quilts but haven’t had any success. But she just sent me three tops that she found in Vermont. I need to start cleaning, repairing and finishing these goodies. I’m interested in hearing the stories of your quilts. Has anyone heard of placing a quilt in the freezer for a day to get rid of dust mites?? Julie Gardner Albuquerque,NM   Date: Sat, 7 Dec 96 13:00:00 | From: hooley [at] genie [dot] com f the fabric has deteriorated – completely gone. It’s strange though that it’s all the same fabric – squares of the same fabric have deteriorated, while others are fine. There are also some striped fabrics where one of the stripes is gone, while the rest of the fabric is fine. The colors that have deteriorated are browns and I think from what I can salvage, some maroons or burgandies. Could someone shed some light on this for me? I’m going to repair the quilt – luckily they’re small squares & I think I can replace pieces without it being noticeable. This is probably a stupid question, but is it better to use 1880 vintage fabric if I can find it, or new repro fabric. I’ve seen some colors that would blend in with the old fabrics. Thanks in advance for the info. Cathy – in upstate NY   Date: Sat, 7 Dec 1996 08:46:07 -0500 | From: AJSNGS [at] aol [dot] com Hi, Last week-end I was browsing in an antique mall and came across a small quilt that I liked. It’s small, 38″ X 38″ but in beautiful vibrant colors–purple, royal blue, navy, burgundy (all solid fabrics), and I picked it up and bought it for next to nothing. I thought it was a project that some lady made and then decided she wasn’t that crazy about since the quilting at first glance didn’t appear to be that well done. Last night I started looking at it again, however, and I realized that there is alot of ornate quilting around the border, as well as the quilting through the middle. The binding is fairly narrow and done in navy blue. The border is about 4-5″ wide and done in royal blue. Each corner is a purple block with an 8 point star quilted on it. The body of the quilt is comprised of small blocks about 1 1/2″ wide that are pieced together to form sort of a checkered pattern. Sorry, I’m just not very good at describing these things. The whole quilt is backed in a solid vivid purple. It looks like Amish quilts I’ve seen before, but what really got me wondering was on the back of the quilt, the name “Daniel J. Zook 1985” is written in some sort of indelible ink. You can’t find a more Amish name than Zook! So now I’m wondering if this is a crib quilt from an Amish family? The quilting is not the best, but as a whole the quilt seems to be quite well made, and I’m 99% sure it is ALL handmade. Well I’d love your opinions on this. I’m sure some of you know Amish quilts alot better than I do. Thanks for your help. Nancy   Date: Sat, 07 Dec 1996 09:33:55 -0500 | From: Kathy DeSchuit [at] ix [dot] netcom [dot] com I thought I would introduce myself and give a little information about me. I have been quilting since 1988 and ever since taking up quilting I have been interested in the history of it. The patterns, the fabrics, the women who made them. I love to read the historical type of quilting books telling the stories of quilts and the quilters who made them. I have several in my collection. I will probaly not be able to contribute much because I have not done any research just reading into the subject nor have I taken any classes in this area but who knows. I am 39, married for over 21 years and have two children. A daughter who is a freshman in college and a son, who is a freshman in high school. I will soon start a new job in a new field and am looking forward to it. I will be working in Desktop Operations as a Senior Systems Representative. I am working towards becoming certified as a Microsoft Systems Engineer. I am not a computer guru but a wannabe. I belong to a large Quilt Guild and am very active in it, having been president, newsletter editor, quilt show facilitator, membership chair along with a bunch of other activities that don’t have a title. I enjoy the companionship of fellow quilters and also belong to a smaller group called the Northwood Naggers. I run a bus trip every year to Quilters Heritage Celebration in Lancaster, PA and will be attending the show on Thursday and hope some of us can meet there. A friend in quilting, — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com   Date: Sat, 7 Dec 1996 11:13:47 -0500 | From: SadieRose [at] aol [dot] com a wall quilt or baby quilt. The pieces they make for sale are often planned to appeal to the English (non-Amish) buyers. I would contact the shop where you purchased the quilt, and ask them for information. The pattern sounds like “Sunshine and Shadows”, which is similar to the “Trip Around the World” quilts, made of squares pieced in repeating rows of colors. The quilting designs you mention sound typical of Amish quilting motifs. There are quite a few excellent books on the Amish and Amish quilts. You might want to check with your public library – “try before you buy”. There are 3 books on Amish quilts that have been published this year: Rodale’s “The Classic American Quilt Collection- AMISH” contains a dozen Amish inspired quilt projects, some of the quilts were made by the Amish, and some are made by “English” quilters in the Amish style. (My “Chinese Coins Variation” quilt is one of the quilts in this book). Gorgeous color photos and detailed instructions, hard cover, $19.95. Roberta Horton’s book “An Amish Adventure” has been re-published. Since the first version was printed in 1983, over 90,000 copies have been sold. This new book is almost identical to the first, some different photos and a tiny bit more information. The big improvement is that the new version is “perfect bound”, which should hold up much better than my well worn first edition! No patterns, but basic instructions for rotary cutting and machine piecing (the Amish machine piece on treadle machines). Paperback, $19.95. Amish Kinder Komforts by Bettina Havig, presents Amish baby and children’s quilts from the collection of Sara Miller of Kalona, Iowa. I have been visiting Sara’s shop since 1982, and it is not to be missed if you are traveling through Iowa….not too far off I-80. These quilts are all made by the Amish. Paperback (AQS) $14.95 Amish quilters vary in their interest and technical ability in quilting, just as we non-Amish do. I have seen some fabulous Amish made quilts, and some with huge stitches, with the quilting designs marked in red ball point pen (the maker thought it would wash out…it didn’t). Nancy, hope your new acquisition will start you off on a new area of quilting to explore. Even if you don’t choose to make an Amish inspired quilt yourself, I think it is fun to learn all I can about different types of quilts and quilters! Enjoy the journey!! Karan (still cold and sunny in Iowa)   Date: Sat, 07 Dec 1996 10:33:33 -0600 | From: “D.Elliott” e of the first quilt I came into posession of…my husband visited his mother, who send home with him a box of frozen veggies from her freezer in a box, and ….you guessed it, the veggies were wrapped up in a fine old quilt. When I called to question her about it, she said, “That old thing!!! It was right ready to be thrown away”….. Needless to say after our long talk she gave me the finest selection of old family quilts … she never thought anyone would care about them. They are hanging all about my house. And every day I thank my husband’s long gone ancestors for the lovely rememberances. Another story …. my husband’s great, great grandfathers sister commissioned a quilt to be made for his use, and to be handed on through the family to the first born son. The quilt made it throught several generations…. and going through the estate of another elderly aunt, we found this fine old quilt. No one knew the story, until another elderly relative arrived and said “That’s Grandpa Sebe’s quilt. I wondered what happened to it….” Seems like one little old aunt decided it was too valuable to be passed through the family so she saved it aside. The quilt missed my husband, his father and grandfather, who never knew of it’s existance…. It is finally in the hands of my son and we hope it will continue to pass throught the family as it was originally intended to!! I need to figure out a way to keep that story with the quilt …. If only all those fine old quilts could tell us their story!! Best regards ……………..Dot Elliott   Date: Sat, 07 Dec 1996 12:33:34 -0500 | From: Kathy DeSchuit [at] ix [dot] netcom [dot] com Dot, You mentioned you need to try to think of a way to keep the story with the quilt. You could type up the story and then print it on muslin and applique the story to the back of the quilt or you could embroider the story on a piece of aida cloth and attach that to the back of the quilt. A friend in quilting, — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com D.Elliott wrote: > > I was much amused by the young lady whose father brought her a painting > wrapped up in an old Cathedral Windows Quilt. Reminds me of the first quilt > I came into > posession of…my husband visited his mother, who send home with him a box > of frozen veggies from her freezer in a box, and ….you guessed it, the > veggies were wrapped up in a fine old quilt. When I called to question her > about it, she said, “That old thing!!! It was right ready to be thrown > away”….. > > Needless to say after our long talk she gave me the finest selection of old > family quilts … she never thought anyone would care about them. They are > hanging all about my house. And every day I thank my husband’s long gone > ancestors for the lovely rememberances. > > Another story …. my husband’s great, great grandfathers sister > commissioned a quilt to be made for his use, and to be handed on through the > family to the first born son. The quilt made it throught several > generations…. and going through the estate of another elderly aunt, we > found this fine old quilt. No one knew the story, until another elderly > relative arrived and said “That’s Grandpa Sebe’s quilt. I wondered what > happened to it….” Seems like one little old aunt decided it was too > valuable to be passed through the family so she saved it aside. The quilt > missed my husband, his father and grandfather, who never knew of it’s > existance…. It is finally in the hands of my son and we hope it will > continue to pass throught the family as it was originally intended to!! I > need to figure out a way to keep that story with the quilt …. > > If only all those fine old quilts could tell us their story!! > > Best regards ……………..Dot Elliott   Date: Sat, 7 Dec 1996 16:43:14 -0500 (EST) | From: jane stapel feedsack envelopes, stitches it to the back of her quilt and then writes a story/history about the quilt and slips it into the envelope..I thought that was pretty neat too. jane   Date: Sat, 7 Dec 1996 17:46:42 -0500 | From: Debbie Roberts QuiltAppraiser [at] wow [dot] com Cathy, The reason for the deterioration is the mordants that were used in the brown dyes at that time were harsh on fabric. One will find that many browns in quilts from that time have caused drop out areas in the fabric. The same thing happens with some of the black dyes that were used. The restoration would depend upon what you want to do with the quilt. If it is something that is a family piece, that you want to preserve,then a reproduction fabric from the same time period would probably work nicely. If you really want authenticity, then send a small cutting of the fabric that is left to the KIRK collection and they may be able to match it with one of many vintage fabrics that they have. I also know of another vintage fabric dealer who may also be able to help you, her prices are reasonable, and she has great fabrics. If you are interested in contacting her, e-mail me privately and I will send you her telephone number. She does not have e-mail, and I don’t feel right about giving a telephone number out over a public forum. They type and quality of restoration will affect the overall value of your quilt, and you may want to check beforehand to see if the quilt warrants restoration, and how restoration will change the value. This is really a fun group. Debbie – QuiltAppraiser [at] wow [dot] com   Date: Sat, 7 Dec 1996 21:14:01 -0500 | From: Debbie Roberts QuiltAppraiser [at] wow [dot] com > Nancy, I forgot to add with the last post, that the name and date on your quilt are significant, and the Amish have made many, many, small wall quilts that fit your description. It is a way that visitors could afford to buy an ‘Amish Quilt’ during the Amish Quilt boom of the 1980’s in the Lancaster Area. It would be fun to find out what area your quilt originated from. But that would be my guess from your description. I travel to that area usually about every 2 years, and have seen wall quilts that match your description, in various gift and ‘quilt’ establishments. It is probably quite striking. Speaking of forgetting a thought in the middle of a post…do any of the rest of you have children that wait until you are corresponding on the computer to ask you for help, or have an important question? It used to only be when I was on the telephone, now it’s while I sit here in front of this screen. Actually, now my dog even gets into the act. Whenever I sit down here, he’s right next to me with paw in my lap asking for attention. …….Maybe I’m spending too much time at the keyboard….. Bye for now, Debbie Roberts   Date: Sat, 7 Dec 1996 22:02:21 -0500 | From: AJSNGS [at] aol [dot] com Hi, What is a mourning print? What is shirting? And does indigo refer to a color of fabric or a type? Isn’t indigo a color? I know these must seem like such BASIC questions, but I’ve heard these things mentioned time and again and don’t know specifically what they are! Thanks, Novice Nancy   Date: Sat, 7 Dec 1996 22:49:28 -0500 | From: Debbie Roberts QuiltAppraiser [at] wow [dot] com Dear Nancy, NO question is every dumb, except the one that isn’t asked. A mourning print is also known as a ‘shaker gray’ print. These prints are small figured gray and black prints on white or gray grounds or white on black grounds.Held away from the viewer, they appear gray. These prints were called ‘mourning prints’ because in the late 1800’s ( when they were popular) widows would wear dresses in these fabrics to show that they were still in mourning, but it was past the time of mourning they were in when they were expected to wear all black. Shirting prints (I have heard) got their name because back in the late 1800s when very young boys wore dresses, it was not vogue to call them “dress prints”, men (boys) wore shirts, thus shirting prints. I don’t know for sure of the accuracy of that story, but it sounds good. A shirting print is a very small scale stripe or design of florals, sprigs or geometrics, with very little detailing. They were mostly black printed on white, but there are also shirting prints in gray,indigo light and medium blues. Indigo is just what you thought, indigo blue. A color that has been popular throughout the centuries. This blue has been appealing to quiltmakers and dressmakers throughout the centuries because if is a fast color, although not always a dark blue. Dyers worked on a number of different blue vats, depending on the shade of blue they wanted. It was very popular in quiltmaking in the 1700s and 1800s. Earlier it was use in toiles from France, and wax relief prints for whole cloth quilts, and later in patchwork styles, was popular as a blue and white small scale print and also in blue and white patchwork quilts. Barbara Brackman’s book (as mentioned) is a great reference for these types of questions. Another great resource is Roderick Kiracofe’s, “The American Quilt, A History of Cloth and Comfort, 1750-1950”. Used in combination, both books provide great detail to textile and quilt history. Debbie Roberts – changing e-mail to QuiltLine [at] aol [dot] com   Date: Sat, 7 Dec 1996 23:07:15 -0500 | From: AJSNGS [at] aol [dot] com I hear them mentioned. As this happens, I’ll know where to look for my answers! I take it you are not using AOL at this moment right? Hopefully you won’t have as many problems getting on as I have recently. The access # is always busy! Good luck! Thanks again, Nancy   Date: Sun, 8 Dec 1996 06:58:16 -0500 (EST) | From: jane stapel Nancy, I am so pleased you asked aobut mourning fabrics, indigos, and shirting..yes, they are basic questions but to me basics means beginning and that is what this forum is all about..so good for you..plus it gives ME a chance to contribute..I feel that I ‘take’ all the time, and now I can ‘give’.This is one of the stories from my lecture that is a favorite..The TURKEY TRACK is also known as ‘WANDERING FOOT’ but DID you know that before that, it was known as TENTS OF KEDAR, named after the nomadic tribes that chased around the desert in their white sheets so many years agoo (some still do)TENTS OF KEDAR was a mourning quilt and made in solid black and solid white because prints had not yet been made..when prints DID COME ABOUT, they then used black, white, and a black&white print..and it was used to cover the casket of a family member and ONLY a family member could rest under it..it was much like a blanket of flowers or a flag as wse use today..if you were too poor to afford one, then a family member would lend you their’s..well, people back then were very superstitious and apparently a hubby/father deserted his family and it was thought it was because he had slept UNDER this quilt (it was probably because of the bad stitches)so the beganto think that if a man slept under this quilt/pattern he would ‘WANDER’ off..and if a young lady slept under it..she was SURE to come to no good..hence the name WANDERING FOOT was attached to it..well, along came a VERY wise quilter who used yellow and red..and that broke the superstition. Another way patterns got their name..change the colors, the design a wee bit, or location where it was made.and you change the name of the pattern..there was an wonderful article in PIECEWORK magazind ’94 and I have the permission of GAIL ANDREWS TRECHSEL to reprint it in my newsletter and also an article by CAROL WILLIAMS GEBEL who I met thru the AMERICAN QUILT STUDY GROUP..I would enjoy sharing the article if you would like to have a copy of it..or info from them here on forum..for anyone who does not know of the AQSG, it is organization of quilters/historians who are involved in indepth research of the subjects we who are here on this forum have..BLESS THEM!! they do the hard part and we do the best part..READ IT!! Now, I feel MUCH better that I can contribute..Jane   Date: Sun, 8 Dec 1996 07:34:47 -0500 | From: AJSNGS [at] aol [dot] com Jane, Good Morning! Thanks so much for your wonderful in depth background stories on various aspects of quilts! I find them really interesting. Any articles you find particularly interesting and can steer me towards, I’ll be glad to read. So let me know if you need a “real” address… Have a good day! I’m sure you will see some more BASIC questions from me from time to time. Oh, before I forget. Does the American Quilt Society (or a similar organization) have a list of all local quilt guilds? I looked in the phone book in this area but found nothing. I don’t really know where to start. Northern Virginia has a number of quilt stores (which may have info. on quilt guilds in No. Virginia) but those are 60-70 miles away and I want to find one closer to home. Thanks. Nancy   Date: Sun, 8 Dec 1996 07:44:57 -0500 (EST) | From: jane stapel You are more than welcome, Nancy..where are you in VA? No, AQSG does not have a list of guilds other than the ones who are members of the group, but I am a member of the VA CONSORTIUM of QUILTERS and they take in all the guilds in VA..just let me know where you are. Alot of the members on this forum state where they are from..I’m sure it is optional..I am from Pittsburgh and also Floyd, Va..you can write me at 25 S. Starr AVe #16, Pgh. Pa. 15202..jane..and Debbie, I enjoyed your infor for Nancy at the questions she asked..is teh dyeing principal for indigos rather intricate? There has to be something special because they are rather expensive..Jane   Date: Sun, 8 Dec 1996 08:30:41 -0500 | From: AJSNGS [at] aol [dot] com Hi Jane (again), I’m in Fredericksburg, Virginia. Any articles you have can be sent to 2 Rosemont Ct. Fredericksburg, VA 22405. Please let me know if you find a local guild for Fredericksburg. Thanks! Nancy   Date: Sun, 8 Dec 1996 10:36:38 -0500 | From: ektupper [at] garden [dot] net (EK Tupperw) >Kathy in NH wrote: > >I have been quilting since 1988 and ever since taking up quilting I have >been interested in the history of it. The patterns, the fabrics, the >women who made them. I love to read the historical type of quilting >books telling the stories of quilts and the quilters who made them. I >have several in my collection. I will probaly not be able to contribute >much because I have not done any research just reading into the subject >nor have I taken any classes in this area but who knows. > I am also interested in the history behind quilts and reading books with stories of quilts and quilters. I’m sure others would also be interest in a list of books and their authors that you have read. I would love too look for them and would greatly enjoy reading them. Betty in NJ ektupper [at] garden [dot] net   Date: Sun, 08 Dec 1996 10:49:02 -0600 From: “S. Scruggs” To: qhl [at] cuenet [dot] com Subject: Re: QHL: How Glad I am to See this List Make a Debut! Message-ID: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I look forward to the many historically significant postings to be made to this list. I have been a quilter for about 7 years now and was a designer/sewer/knitter for many years prior. In recent years magazines such as Piecework and now this list are adding the historical features missing when one simply knows how to construct blocks and quilt designs. Plus I feel that as I make art quilts, I am setting the stage for more history to be written. Hopefully we will all write down stories of our own that indicate the effects of history upon our own quiltmaking progress. Sharon — Jim & Sharon Scruggs sharon [at] 2access [dot] com   Date: Sun, 8 Dec 1996 10:00:44 -0700 | From: “Mary E Scott” I will definately second the motion!!! I have some old quilt tops that were made by my grandmother. In fact on my webb page there is a picture of a quilt that was pieced by my Great Grandmother & Grandmother, quilted by my Mother, and left for me to bind. I am going to just turn the edges and leave a part of it for my daughter to finish. That way there will be 5 different generations of Ashley’s that have worked on it. Needless to say this is a very Special quilt to me. I took this quilt to the Quilters Ranch in Phoenix, AZ in November and some of the ladies dated the materials in the top as being out of the late 1800’s. I never had any idea that this quilt was that old. I knew it was from at least the 20’s or 30’s (early) because my GGM was still alive then. I also have some quilt tops that are not finished. One of my biggest problems is finding material to finish them with. I have one in particular that I am looking for a yellow material to go with it. I was at one time going to make some more starts (6 points) to go with the ones that I have. I have now decided that if I can find some soft yellow (Cub Scout yellow) I will just finish it out to what ever size I can make out of what is there. One of the problems with today’s material is that it is of a much better quality than what was available at the time that these tops were made. Does any one know of a place that old material can be bought? I would like to know it you do. Well I have rambled on too long. So happy that this list is beginning. Mary Scott mscott28 [at] cybertrails [dot] com http://inficad.com/~lightsp/suitee/index.html   Date: Sun, 8 Dec 1996 12:20:21 -0500 | From: QuiltFixer [at] aol [dot] com Here are two ways to keep that lovely story with the quilt. Write out the story on fabric with a permanent marker and sew to the back of the quilt or make a little pocket for the back and place the story inside. If you do it on fabric, it will stay even if the quilt gets wet at some time in the future. I prefer sewing it on. That way, it can’t get lost   Date: Sun, 8 Dec 1996 12:20:32 -0500 | From: QuiltFixer [at] aol [dot] com How about two cats crying so sadly outside the glass door to the computer/quilting room? Mercy, mercy, please you guys. I need some time not petting and talking to you! 🙂 Toni QuiltFixer [at] aol [dot] com   Date: Sun, 08 Dec 1996 12:26:02 -0500 | From: Kathy EK Tupperw wrote: I am also interested in the history behind quilts and reading books with stories of quilts and quilters. I’m sure others would also be interest in a list of books and their authors that you have read. I would love too look for them and would greatly enjoy reading them. > > Betty in NJ > ektupper [at] garden [dot] net Betty, Here are four of the titles I could locate quickly. “A People and Their Quilts”, by John Rice Irwin published in 1984 and the first book with history of quilts and the women that made them that I read. “Treasures in the Trunk”, by Mary Bywater Cross published in 1993 the stories of women and their quilts who traveled the Oregon Trail. “The Quilters, Women and Domestic Art” by Patricia Cooper and Norma Bradley Allen Stories as family members remember them about quilts and the woman who made them. “A Patchwork of Pieces, An Anthology of Early Quilt Stories 1845-1940” compiled by Cuesta Ray benberry and Carol Pinney Crabb published in 1993 by AQS. Individual stories about quilters and their quilts. A friend in quilting, — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com   Date: Sun, 08 Dec 1996 12:30:34 -0500 | From: Kathy If you can’t locate any type of book you are looking for I have found a web site that I can usually order any type of book from and their prices are usually discounted. Here is the place: http://www.amazon.com/exec/obidos/subst/index2.html I am not affiliated in any way with this company, just thought I would share this information with you. — Kathy in NH DeSchuit [at] ix [dot] netcom [dot] com   Date: Sun, 8 Dec 1996 12:40:48 -0500 | From: SadieRose [at] aol [dot] com Here are a few of my favorite books with stories of quilts and quilters, lots more to add to this later! Karan (from Iowa where the wind is whistling!) “Dear Jane- The 225 Patterns from the 1863 Jane A. Stickle Quilt” by Brenda Manges Papadakis is one of my favorite new books from 1996. This book contains patterns for all of the 4 1/2″ blocks in a wonderful sampler quilt made by Jane A. Stickle, completed in 1863. Brenda became intrigued with this quilt, and working from a photograph, started making little blocks. She soon became obsessed with the quilt, and even traveled from her home in Tennessee to the Bennington Museum in Vermont, which is now the home of Jane’s quilt. She eventually drafted patterns for all the blocks, and for the border “ice cream cone” triangles, which were also elaborately pieced blocks. Brenda taught classes with theses blocks, and the subsequent quilt projects have been dubbed “Baby Janes”. The book is filled with Brenda’s “letters” to Jane, following her steps as she discovers more about the quilt and Jane herself. Pub. by Quilt House Publishing, 1996. ISBN # 1-881588-15-7 “Remember Me When This You See- Women and Their Friendship Quilts” by Linda Otto Lippsett pub by The Quilt Digest Press 1985 ISBN # 0-913327-03-4 (pbk). Linda researched the family histories based on 8 antique signature quilts. These are poignant stories, illustrated with gorgeous color photos of the quilts, and b&w photos of the makers & family members. Strips away any rosy pictures you might have about living in the “good old days”. Families were torn apart by death, which happened without warning to young and old…as well as moving west as the country expanded. Quilts were often the only tangible connection with loved ones. Linda did further research on the story of Ellen Spaulding Reed, who’s story is begun in “Remember Me”, and published a sequel, “Pieced From Ellen’s Dress” pub by Halstead & Meadows Publishing 1991 ISBN # 0-9629399-0-0 This second book was based on 12 years of research, and was made possible by the wonderful discovery of a box of letters from the 1850’s- the letters written between Ellen and her family back East. (These 2 books are older and are probably out of print, but worth tracking down!) Because of the signatures on these quilts, the stories were able to be traced. One of the most frustrating things in our state research project, was how many quilts we saw with no indication of who had made them, where, or when. I am encouraging every quilter to document her own work, sign and date your quilts!! Also, to document and sign any old quilts, epecially those who’s “story” you know!! Mary Ellen Hopkins, of Crazy Ladies & Friends quilt shop, told a “joke” about looking down from Heaven, and watching your heirs give credit to the grandma on the “other side” of the family for the quilt you had made!! If your name and other info is on the quilt, this won’t happen!! If you are interested in writing on quilts, either on the front or for the back, there are several excellent books by Susan McKelvey. Her newest book, “The Signature Quilt” was co-written with Pepper Cory. It is a very interesting book, actually 3 books in one. The first section is on the history of signature quilts. Part 2 includes techniques such as how to do Inking, stenciling or rubber stamping on blocks, and tips for making signature quilts in a group situation. Book 3 is a pattern book of quilt designs suitable for signatures….not all of these are traditional blocks, and they show some very contemporary sets and colorations. The book is filled with excellent color photos of antique quilts and new quilts. It was pub. in 1995 by Quilt House Publishing, ISBN # 1-881588-14-9   Date: Sun, 8 Dec 1996 12:41:04 -0500 | From: SadieRose [at] aol [dot] com Here is a little more information on Mourning: “Mourning dress and fashion went hand in hand. The signals of mourning were definged to a large degree by both color and texture. Black was the predominant color, worn by young women or to indicate grief for children. The addition of white to the costume also marked certain stages of mourning. Fashion magazines presented the latest styles, including accessories from black-edged handkerchiefs to parasols. “For men, the etiquette of mourning was less severe, sometimes requiring only bands on hats; the width of the bands indicated the closeness of the relative or the length of time in mourning. Even if it was a man’s relative who had passed on, his wife was the one who had to separate herself from society for the appropriate period of time. A widow’s mourning was the longest- more than two years, made up of one year of deep mourning followed by stages of “slighting the mourning” and “half mourning”. (Half mourning colors were gray, lavender, mauve and violet). All of the widow’s dress and activities were regimented within the stictures of mourning codes, from the jewelry she could wear to the exact size of the black borders on her stationery. The mourning period for a child’s or parent’s death was one year; for a sister or brother, six months. Lesser time periods were specified for more distant relatives.” The previous 2 paragraphs are quoted from “On Women & Friendship- A Collection of Victorian Keepsakes and Traditions” by Starr Ann Ockenga. If you subscribe to VICTORIA magazine, you may recognize her name, as she is a frequent contributor. The photography also reminds me of VICTORIA, exquisitely done. This is a fascinating book, documenting the importance that women in the 1800’s placed on their friendships with one another, and the tokens of these friendships which still exist today: autograph albums, needlework tools & stitched items such as samplers and quilts, to daquerreotypes & photographs. There is also a section on the “Hidden Languages” where flowers, colors, and everyday items carried a hidden meaning, whereby Victorian suitors could sneak messages by the chaperones. The book is full of quotes of poetry and prose. This book is hard cover, published by Stewart, Tabori & Chang, 1993 ISBN # 1-55670-242-6 One of those “worth the investment”. TTFN…..Karan   Date: Sun, 8 Dec 1996 15:04:26 -0500 (EST) | From: jane stapel Your local guild is Virginia Star Quilt Guild at P O Box 41103, Fredericksburg, 22405. contact is Janice Fletcher at 10811 Ann Davis Dr..540 898 1824. they meet the 3rd Wed at 7pm at Harrison Rd Community Center..I lectured for that guild, a great group of quilters and they can tell you of other guilds/quilt bees in their area..quiltbees are great for experience..my home in VA is wayy down in VA, almost in to NC. You are in a great area for EVERYTHING   Date: Sun, 8 Dec 1996 15:23:22 -0500 | From: CTislander [at] aol [dot] com Another book with good color photos of old quilts is called “Ho for California!: Pioneer Women and Their Quilts” by Jean Ray Laury and the California Heritage Quilt Project, E.P. Dutton, New York, copyright 1990 by the California Heritage Quilt Project, $22.50, paperback, ISBN 0-525-48533-3. There are 140 color plates and many black and white photographs of the women who made the quilts. Many of the quilts were made in the eastern U.S. and transported to California. I loved the family stories. The oldest quilts are from the mid 1800. The quilts came by covered wagon and ship in the early days. The newest quilts are from the 1940s. In the introduction by Gloria Ricci Lothrop: “In the belief that ‘men make history; women simply are history,’ the contributions, in fact the very presence of women, have until recently been overlooked. Equally neglected has been the entire field of social history that could have surveyed the fragmentary evidence relating to these anonymous and unheralded trailblazers.” Christine T. in the California Delta   Date: Sun, 8 Dec 1996 15:20:41 -0500 (EST) | From: jane stapel Betty, I too prefer the history on quilts and their makers..I bought quilt books and magazines just like everyone else. Then one day I realized all I was doing was buying the same pattern, put together in a different way, and in a different color..so I started with history books..I find that the state quilt search books are a great source. Naturally, I am always looking for feedsack quilts as well and luckily they always seem to pop up.I’m sure that you have now asked, lots of titles will be forth coming. If anyone has in interest in feedsacks, then one of my members wrote the bible on them, and I’ll be happy to share the info. I am about to get into the OHIO quilts published by Rutledge..GEAT BOOK!! JANE of Pa/Va   Date: Sun, 08 Dec 1996 16:01:46 -0500 | From: “Perry C. Trimble” Hi, everyone! I just wanted to add my voice to Kathy’s in recommending *The Quilters: Women and Domestic Art” by Patricia Coooper and Norma Bradley Buferd. This is the only such volume I own (but it will have many siblings very soon, thanks to this list), and I bought it many, many years ago at the Smithsonian Institution – they were having a book sale! At any rate, I have never felt so connected to other women before in such a way. This is a wonderful accounting of the women in Texas and New Mexico – the “sod busters” – and their personal and community accounts. I really recommend this book, especially if you want to be bitten by the quilt history bug – REALLY HARD! Marilyn in Indy trimblep [at] indy [dot] net OLD QUILTERS NEVER DIE – THEY JUST GO TO PIECES   Date: Sun, 8 Dec 1996 16:00:48 -0500 | From: AJSNGS [at] aol [dot] com Jane, thanks for the local quilters guild information. I appreciate it! Nancy   Date: Sun, 8 Dec 1996 16:13:43 -0500 | From: Debbie Roberts The Texas Research Project books (2) are great. They go into great detail regarding the quilter, and give very vivid descriptions of the photo quilts themselves. These books were great tools for studying for the appraiser certificaton test. Debbie Roberts – changing e-mail to QuiltList [at] aol [dot] com   Date: Sun, 8 Dec 1996 16:06:05 -0500 (EST) | From: jane stapel Wow! Sadie Rose..that’s a great beginning for books..can’t wait to see what others post..great subject and so glad Betty in NJ asked..so glad EVERYONE who has asked has done so..it’s wonderful we don;’t feel intimidated..I think it is because we all got in on the ground floor..it has always given ME more confidence..ever when I do find out there are so many much more advanced than me..I jsut figure we all walked thru the door at the same time..by the way, SadieRose, I have a healing quilt and one of the patterns in the sampler is Sadie Rose’s Choice..Jane   Date: Sun, 8 Dec 1996 16:40:02 -0500 | From: Debbie Roberts Nancy, Regarding AOL, the access # it used for my area was also always busy, so in the sign up mode, I looked for alternate access numbers, of which there were 20-30 available for my area in So.California. I changed the access number and have not had a problem. YET?????? Debbie   Date: Sun, 8 Dec 1996 16:38:26 -0500 (EST) | From: jane stapel I tried to access the web site for Gwen Marson and up came, you can’t without a frames-capable browser..anyother way I can reach you on the web? Jane   Date: Sun, 8 Dec 1996 15:17:32 -0700 | From: “Mary E Scott” Hi all: I am Mary Scott and I live in a small town in North-east Arizona. It is called Taylor, I have been quilting for only about 2 years but I love to do it anyhow. I am learning. I enjoy making pieced traditional quilts. I have involved myself in a Folk Art swap that I think is going to almost be a college education. I am looking forward to doing it. I also enjoy applique. I have about 5 applique quilts in the dream factory.. I hope to get a couple of them done this year. I am a stay at home MOM. Now it is Grandma. I have 3 grown children that all live somewhere else except tTaylor. I have 6 grandsons and no granddaughters. I hoped for a long time but I think that my kids have decided to stop having kids – at least for now. I really can’t think of much to say. You can check out my Web page and it will tell you a little more about JJ and I. Thanks for your time. I think that I am really going to enjoy this group. I love antiques. I’m one of them so I must love them. Mary Scott mscott28 [at] cybertrails [dot] com http://inficad.com/~lightsp/suitee/index.html   Date: Sun, 08 Dec 1996 22:57:36 -0800 | From: “Arlene G. Goldberg” The books of Linda Otto Lipsett, including Pieced from Ellen’s Quilt, are available form Halstead & Meadows Publishing. Their web page is http://home.earthlink.net/~halsteadpub/ No affil. Arlene arlenegg [at] icanect [dot] net   Date: Mon, 9 Dec 1996 06:06:29 +0000 | From: Susan Nixon Here is my understanding of the indigo cost. The dye process is extensive, but it is the dye itself that costs so much. Indigo comes from a plant and it takes a *large* number of the plants to produce a small amount of dye. There is a weed which grows here in Arizona which can be used as a substitute for indigo – it actually is a variety of the original plant, apparently. However, it also takes a *large* amount of this plant to make a small amount of dye. Susan in Sunny Phoenix, Arizona, USA ______ __/ | | \__ / | | \ \_/| / \ |\_/ | @ @ | Wishin’ I could just sit around on | | the cowch for a few days! \ / | ^^ | \ __ / \/   Date: Mon, 9 Dec 1996 09:45:46 +0000 | From: “Kathleen Duvall” Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Kris, thanks so much for organizing this list! I know some folks here from other lists and am glad to be a part of this. By way of brief introduction, I make and sell “timeworn” type dolls and other fabric crafts fulltime at shows and at a craft mall. DH is a parttime antique dealer and keeps his eye out for old quilts for me. I use the somewhat raggedy ones for table covers for display, the really raggedy ones for cutter quilts, and others I collect. I also buy old quilt blocks when I run across them. Saturday DH came home from garage sales with three beautiful old quilts in perfect condition — for $10 each!! I’m not very skilled at dating quilts, and I guessed these are from the 20’s and 30’s, but I’m not sure. I wish I could hold them up to the computer and you could tell me! One is a bowtie made out of assorted fabrics with white sashing between the blocks. I’m guessing this was made in the 30’s because of the colors and fabric — one fabric is a white with flowers in turquoise and orange and yellow (the colors of the Fiesta dinnerware DH collects). There is a blue with white paisley. Several striped fabrics in reds and blues. Another quilt is roughly pieced — no particular block used. Looks like a real utility quilt. The fabrics are the “bubble gum pink”, stripes, plaids and a variety of prints that could be house dress fabrics or feedsacks? Small florals in pinks, reds, purple and green. One large print is a white background with blue, yellow, and pink circles. The backing is a grey fabric. VERY large quilting stitches. The third quilt is made up of three rows of four patch strips put together with sashing in between to make up large blocks. The fabric includes some of that “indigo” (I believe) — the navy blue with tiny white flowers. There are plaids, stripes, small prints, and a small amount of “deco” looking design fabric. Kris suggested maybe you all could help me date these? Sorry this first post is so long! The quilt I use on my bed is what I think of as an orphan quilt — a Grandmother’s Flower Garden that is totally made out of 60’s polyester fabric! DH brought it home from a garage sale one day and I thought, “Who could love this?” A quilt made when quilting was too old fashioned and there weren’t quilt shops everywhere full of beautiful cottons. This quilt washes like a dream, though, and I do recognize fabric I used to have in some pant suits!! I feel that by using it I’m honoring the woman who spent so much time making it. Again, sorry so long! And glad to be here. Kathleen Duvall in Florida nanwkshp [at] lc [dot] gulfnet [dot] com   Date: Mon, 9 Dec 96 15:27:15 | From: “JoAnne ” I am trying to reproduce the piecing, if not the fabrics of the Jane A. Stickle quilt in the Dear Jane book……….I have lots of fabric collected that I think accurately reflects the time period……..but I need lots more!! Close inspection of the wonderful photos included in the book show more geometrics than I can find……….anyway, in general I am a newbie to this time period………am looking forward so very much to this list…..learning more and more and finding the sources I need………glad to meet you all!!! JoAnne jbstan [at] msn [dot] com   Date: Mon, 9 Dec 1996 09:50:17 -0600 | From: “Lang” Hello, my name is Eula, I live in Kansas and am new to this list. I Love quilting, do machine piecing and hand-quilting. I am a stay-at-home mom with 4, not-so-small-anymore kids–20, 17, 14 and 12. I enjoy hearing stories of how different patterns got their names, I like to go to estate auctions and have managed to latch onto some late 1800’s blocks (shirting prints) at one and some 30’s prints at another. I am already enjoying the postings here and look forward to learning more. Eula   Date: Mon, 09 Dec 1996 07:20:07 -0800 | From: Kathy Patterson aking quilts when I was growing up. Unfortunately I wasn’t interested in making quilts when I was younger. I have been making quilts now for about 3 years. I am still learning all of the different tricks. My husband and I both grew up on farms and we have a small farm with a few animals. Our children are now both in middle school and I have extra time so I am able to devote more time to the quilts. I am very interested in the history of the different quilts. Thank you to all of you experienced quilters who have taken the time to learn about the history of quilts and to pass it on to the rest of us. Kathy from wet, wet Washington (the state)   Date: Mon, 9 Dec 1996 12:59:33 -0500 | From: SadieRose [at] aol [dot] com I purchased fat 1/4s of the “Madders” collection from Vintage & Vogue, to use for my ‘Baby Jane’ blocks. This line of fabric is by P & B Textiles, came out this spring. Here is the description of the line from the “Quiltique” newsletter: “34 fabrics, 8 distinctive motifs, drawn from the companies extensive collection of antique fabrics, blocks, etc. Madder, a plant, was used to perfection in the 17th, 18th, and 19th centuries by first the Indian and Middle Easterners, and subsequently, the Europeans. Used in conjunction with mordants, the coloring material in the madder plant gave a rich range of colors: including black, brown, crimson, purple, lilac, and pink. Accents of blue and green outlined floral motifs. “Madders” from P & B Textiles, recreates authentic motifs in four distinct palettes. The first is deep, dark and very brown. The second features lighter shades of browns (towards goldish), purples and lilacs. The third group accents blues and tans, the fourth accents the black, pink, cocoa, and green shades”. Quoted from the Feb. 1996 issue of Quiltiques newsletter, by Marianne Schweers. I called Marianne to see if she still had the “Madders” available, and she said yes. So, if you want to treat yourself (only you and Santa know how truly good you have been this year ) this might be a good reproduction line to add to your fabric collection. I think the scale and designs in this line are especially good for the 4 1/2″ size of the ‘Baby Jane’ blocks. There are also several stripes in the collection. The colors are well described above, except that there is also a nice sort of smoky or grayed aqua, which is one of my favorites. Yum!! This is my ‘after Christmas’ project, can’t wait to get started!! Happy Monday, Karan from Iowa   Date: Mon, 9 Dec 1996 06:06:29 +0000 | From: Susan Nixon Here is my understanding of the indigo cost. The dye process is extensive, but it is the dye itself that costs so much. Indigo comes from a plant and it takes a *large* number of the plants to produce a small amount of dye. There is a weed which grows here in Arizona which can be used as a substitute for indigo – it actually is a variety of the original plant, apparently. However, it also takes a *large* amount of this plant to make a small amount of dye. Susan in Sunny Phoenix, Arizona, USA   Date: Mon, 9 Dec 1996 09:45:46 +0000 | From: “Kathleen Duvall” < nanwkshp [at] lc [dot] gulfnet [dot] com > Kris, thanks so much for organizing this list! I know some folks here from other lists and am glad to be a part of this. By way of brief introduction, I make and sell “timeworn” type dolls and other fabric crafts fulltime at shows and at a craft mall. DH is a parttime antique dealer and keeps his eye out for old quilts for me. I use the somewhat raggedy ones for table covers for display, the really raggedy ones for cutter quilts, and others I collect. I also buy old quilt blocks when I run across them. Saturday DH came home from garage sales with three beautiful old quilts in perfect condition — for $10 each!! I’m not very skilled at dating quilts, and I guessed these are from the 20’s and 30’s, but I’m not sure. I wish I could hold them up to the computer and you could tell me! One is a bowtie made out of assorted fabrics with white sashing between the blocks. I’m guessing this was made in the 30’s because of the colors and fabric — one fabric is a white with flowers in turquoise and orange and yellow (the colors of the Fiesta dinnerware DH collects). There is a blue with white paisley. Several striped fabrics in reds and blues. Another quilt is roughly pieced — no particular block used. Looks like a real utility quilt. The fabrics are the “bubble gum pink”, stripes, plaids and a variety of prints that could be house dress fabrics or feedsacks? Small florals in pinks, reds, purple and green. One large print is a white background with blue, yellow, and pink circles. The backing is a grey fabric. VERY large quilting stitches. The third quilt is made up of three rows of four patch strips put together with sashing in between to make up large blocks. The fabric includes some of that “indigo” (I believe) — the navy blue with tiny white flowers. There are plaids, stripes, small prints, and a small amount of “deco” looking design fabric. Kris suggested maybe you all could help me date these? Sorry this first post is so long! The quilt I use on my bed is what I think of as an orphan quilt — a Grandmother’s Flower Garden that is totally made out of 60’s polyester fabric! DH brought it home from a garage sale one day and I thought, “Who could love this?” A quilt made when quilting was too old fashioned and there weren’t quilt shops everywhere full of beautiful cottons. This quilt washes like a dream, though, and I do recognize fabric I used to have in some pant suits!! I feel that by using it I’m honoring the woman who spent so much time making it. Again, sorry so long! And glad to be here. Kathleen Duvall in Florida nanwkshp [at] lc [dot] gulfnet [dot] com   Date: Tue, 10 Dec 1996 11:33:56 -0500 | From: JQuilt [at] aol [dot] com I am looking for a book, about the history of quilts…..Particularly during the post-civil war period 1865-1900. I read one very interesting book titled “Stitched from the Soul” about the sewing/quilting done in the slave quarters, of many plantations… I would love to hear about any books that anyone out there can recommend. TIA Jean jquilt [at] aol [dot] com   Date: Wed, 11 Dec 96 00:19:00 | From: hooley [at] genie [dot] com I have a question about the batting used in antique quilts. The one I have is so soft, and thin it doesn’t even seem as though there was any batting used, but some of the fabric is gone, so I see it. I’d like to know what batting is available today that replicates the antique batting. I’ve used Mountain Mist Blue Ribbon cotton, but it’s stiff, I’ve used Thermore, but it’s too light & ripples. I’m considering flannel or wool? Any suggestions would be appreciated. Thanks. Cathy in upstate NY   Date: Tue, 10 Dec 1996 22:07:59 -0500 | From: QRestore [at] aol [dot] com Cathy; You may want to try Hobbs, Heirloom Cotton Batting, it resembles the thin cotton batts of old quilts our grandmothers had. It wears well, quilts well and is quite soft. I use it for most of my handmade quilts. Victoria Montgomery QRestore [at] aol [dot] com   Date: Tue, 10 Dec 1996 22:23:59 -0500 (EST) | From: aardvark [at] ime [dot] net (A.A. Harkavy) Cathy asked about batting for antique quilts: >I’d like to know what batting is available today that replicates >the antique batting. I am not a polyester fan for a variety of reasons, which I won’t use bandwidth to go into here and now. > I’ve used Mountain Mist Blue Ribbon cotton, but >it’s stiff, This is true. > I’ve used Thermore, but it’s too light & ripples. And it is polyester and I think it should not go into antique quilts. > I’m >considering flannel or wool? Any suggestions would be appreciated. 1. Hobbs 100% wool is a nice batt, but I probably would not use it in an antique. It performs more like poly than like cotton, and though it may eventually “felt” as did the old wool batts, it has been resinated (resin coated) to prevent exactly this. I have not been impressed with other wool batts because a.) some contain lanolin and b.) others are difficult to hand quilt. 2. Of the cotton batts, Quilter’s Cotton Request (lightest weight) and Select (next to lightest) are good for hand quilting. Both have what I’d call a “believable” antique feel after a few washings, particularly if closely quilted. Both are available in many sizes in natural and in white. 3. My previous favorite was Hobbs 100% cotton organic. Several quilters have reported problems to Hobbs (seeds, oil stains), and Hobbs has not been as responsive to these problems as one might like. The problems all appear to have occurred (according to Hobbs) as a result of a substandard shipment of 500 pounds of cotton. To be on the safe side, though, I would recommend the Quilter’s Cotton. 4. Fairfield Soft Touch is another all-cotton batt that can be hand quilted. I find it more difficult to hand quilt than QUilter’s Cotton Request weight (white or natural). It seems comparable to Quilter’s Cotton Select weight, bleached (not natural). Quilts made from this batt are slightly less supple than those made from Hobbs 100% cotton organic or QUilter’s Cotton request weight; they do soften up over time, as would any product made from 100% cotton. Remember, the bleaching process makes the cotton a bit tougher and somewhat more difficult to hand quilt than natural. Hope this helps. –Addy aardvark [at] ime [dot] net   Date: Wed, 11 Dec 1996 07:03:09 -0500 | From: AJSNGS [at] aol [dot] com Victoria, I read your post to Cathy about the Heirloom Batting. I’m so glad that I read that because it sounds like something I would like to use too. You answered a question that I wasn’t even asking YET, but would be sure to in the near future! Thanks for this good information. Nancy AJSNGS [at] aol [dot] com   Date: 11 Dec 96 08:37:55 | From: Rabbit Goody < 75444.1037 [at] CompuServe [dot] COM > The swap sounds good. We at Thistle Hill reproduce document checks and stripes in cotton for the period 1725 – 1870. You can get our samples by writing or calling us We would be glad to be involved. We also offer many other historic reproductions things such as dimities both cap and upholstery weights, dommet flannels, jean, linsey-woolsey etc. our full sample pack is $5. you can email us at 75444.1037CompuServ.com our new web page should be up and running in about 30 days. We are strictly a weving mill reproducing historic textiles at the present time we dont do any printing but who knows. We also supply worsted and cotton twill tapes and clothing fabrics to reenactors. We do the majority of our own research Rabbit Goody has been involved in textile technology and textile history resesearch in the museum field for a long time. I would be glad to answer questions about fabric dating and identification   Date: Wed, 11 Dec 1996 10:02:59 -0800 | From: dancheryl [at] delphi [dot] com (Daniel N. McWilliams) rator @ 1796-1820 French Colonial Louisiana plantation for several yrs. It was the perfect “job”; had time to learn about historic quilt collections; as well as establish special grant programs that enhanced the public’s awareness of the quilts they had. Book of interest to me: “The American Quilt: a history of cloth and comfort, 1750-1950” by Roderick Kiracofe with Mary Elizabeth Johnson. It is rather expensive book, but might be found in your local library. am interested in the author of “Stitched from the Soul”. Thanks, Cheryl dancheryl [at] delphi [dot] com   Date: Wed, 11 Dec 1996 14:31:00 -0500 | From: QRestore [at] aol [dot] com ac’s book “Quilt Restoration A Practical Guide” states “If ten collectors were asked how to clean quilts, ten different answers could be expected.” She also points out “The most dangerous aspect of cleaning any quilt is what it may do to dye rot. Some quilt fabrics were produced by using iron as a mordant to set the dye colors”. . . “In my experience, dye rot is made worse by laundering.” . . . “Not cleaning a quilt is the least stressful method for the quilt.” “One must first determine whether the fabric(s) are color fast by rubbing a dry white cloth over the fabric. If it remains white, then dampen the white cloth in cold water and rub the fabric again. If the cloth remains white, repeat the process with warm water; and finally repeat the process with the soap product to be used. Even though these steps will help, fabric colors may still run once immersed in water and agitated.” Quilt Cleaning Debate: Bathtub vs Machine (Portions described in Camille Dalophond Cognac’s book Quilt Restoration A Practical Guide) Bathtub: Lower a quilt into a tub of tepid water lined with a clean, white sheet (edges hanging over the tub). Soak, with several changes of water, drain for several hours so the quilt’s weight presses the excess water out. Machine: Primary use of the machine is to spin the excess water out, and not let excess water stay in the fabric for any length of time. Washing quilts in a bathtub causes the weight of all the water to put a strain on the stitching and makes it very difficult to get excess water out of the quilt. “If any bleeding is likely to occur this will surely aid the process.” Jinney Beyer (The Keepsake Quilter) Many report washing quilts in the machine on a gentle cycle, with minimal agitation and no adverse affect. Others use the bathtub to wash the quilt and take it to a washing machine tospin the excess water out. Some recommend, once a quilt washed in thebathtub has drained, roll it up in the sheet used as a liner. This helps lessen the strain put on the stitches while moving. Drying: Most all agree never use the dryer to dry a quilt. Lay the damp quilt out flat on top of sheets (flannel is good). Never hang a wet quilt, it will cause distortion. Use large fans to help speed the drying, reversing the quilt and drying the back. Make sure the quilt is thoroughly dry (it can take several days) before storing. Storing: Roll your quilts don’t fold them. Folding over time causes damage. Never store quilts in a plastic bag unless your shipping it somewhere (it will cause mildew). Quilts can be stored, wrapped in natural, unbleached, untreated (no sizing, etc) cotton muslin once it has been protected with acid free paper between the layers to prevent dye migration. Cotton allows the quilt to breathe. Three major considerations for all quilts; Keep Away From: Heat, Light, and Moisture. Let’s hear from you members out there about this topic. This is just a fraction of many issues regarding the cleaning of quilts. Victoria Montgomery QRestore [at] aol [dot] com   Date: Wed, 11 Dec 1996 14:28:40 -0600 (CST) | From: celmore [at] ksu [dot] edu I have been lurking on this listserv because I haven’t had time to read or respond to any messages but now need help. Debbie Roberts called me and left her e-mail address but I could not understand the part before aol.com. Debbie, send me the address again. Carol Elmore   Date: Wed, 11 Dec 1996 15:28:26 -0500 | From: AJSNGS [at] aol [dot] com I think one thing that has to be considered in whether or not you clean a quilt is whether or not you would use it–for anything–if it isn’t cleaned. I saw a pretty, old quilt at a flea market this summer. Price was pretty low and you could see that it was pretty. But it was the filthiest thing you ever saw! A quilt like that might have great history behind it but there is no way I’d consider using it for anything–to display, cut up, bed cover, etc. unless it was washed. I didn’t buy it. But next time…I just might! Just a beginners point of view! Nancy in Virginia (raining again) AJSNGS [at] aol [dot] com   Date: Thu, 12 Dec 1996 06:50:39 +0800 | From: balfourk [at] echidna [dot] id [dot] au (Kath Balfour) More greetings from sunny Western Australia, Fremantle, to be exact. Picture this, as you warm your little tootsies, meditating by the fire in the lands of ice & snow — 85 degrees, balmy sea breeze, blue-blue Indian Ocean, xmas shoppers in shorts, t-shirts & thongs…jingle bells blasting away on department store muzak… I’m Kath Balfour, and I am fascinated by antique textiles and processes. But the social history of the women who made and used threads and fabrics are the main attraction for me, and I’m thrilled to find like-minded afficianados (sp?) here on QHL. Kris D, please stand up and take a big bow for making it all happen. Amazing how the chorus has swelled (thought you were a just a lone little voice in the wilderness???) It’s sheer delight being able to absorb the information and insight shared in just the few days the list has been running! I’m interested in finding out more about Victoria Magazine. I couldn’t locate it on www. Sounds worth subscribing to. Can anyone provide more information? OK, Kris, I read the rules, so here is my Once Upon a Time: As a little girl back in the 14th c I grew up in Allentown PE. I Must’ve been smitten by wanderlust in the 50s when my brave mother struck out on her own with me for the greener pastures (mountains & forests) of Spokane WA. The 60s I can’t quite remember (but I don’t think I inhaled…). Attended EWSC in Cheney WA, majoring in art ed. Spent several years travelling in Mexico and Central America, England, the middle east and India. I bought a lot of textiles because they were easy to carry and the quest enabled me to meet the local women. In the late 70s, after many adventures and an empty bank acct, I found myself employed as the art teacher in a tiny tech school in Kalgoorlie, a gold-mining town in the middle of Western Australia. Met my DH out there when art met science! I also met my best friend and business partner Lyn Dale there. Opened a ceramics studio at an old gold mine and taught myself the potters craft, mainly out of books. Moved to Fremantle, and earned a living as a studio potter for 15 years until one day I ‘reinvented myself’ and enrolled in law school. That was my first half century. Now I’ve graduated & am working as an ‘articled clerk’ (read apprentice) specialising in family law. The transition has been a real shock to my system. As an artist, my hands & my brain worked in tandem. In law school my hands were switched off & it was a struggle to keep my brain from just sliding into neutral without that tactile stimulation. I was always chided for being so ‘practical’ in my approach to problem solving! On a trip home to the USA I came across a fascinating quilt top in a tiny antique shop in Yazoo City Mississippi. It consisted of large GFG hexagons of printed calico appliqued onto a sheet of muslin dyed green. In chasing up info about the fabrics, the stains & the fading green dye, the world of antique quilts began to unfold for me… Tucked inside the quilt top was a simple newsy little letter written from a father to his grown-up daughter on xmas eve 1932. No drama, just a little note. But what a thrill for me to feel somehow connected to these people and wonder who and what and why and when. I bought a lot of quilts on that trip and have been buying them ever since. These days I operate a small business as a sideline (saneline) with my dearest friend, Lyn Dale. We import and sell old American quilts here in Australia. It has been suggested by a certain DH that we are actually quilt-addictos who support our own habit by buying for others. I guess he’s noticed we don’t make any money, but every inch of space is covered with quilts! Happy holidays one & all! Kath Balfour Yesteryear Quilts 37 Gibson St Hilton WA 6163 AUSTRALIA phone +619-335-6401; fax +619-336-4230 e-mail: balfourk [at] echidna [dot] id [dot] au   Date: Wed, 11 Dec 1996 17:56:01 -0500 | From: “Jeri E. Smith” I have been wondering something about the cleaning of quilts. Do you all think that the same thing applies to new and old quilts? I have always washed my new pieced quilts (applique may be another story) in the washing machine using a gentle cycle and some detergent. And ohmygosh, yes I have put them in the dryer to fluff them up a bit – I do not totally dry them in there though. I love the way they turn out that way – a little puffy. But I would not dream of putting an antique quilt (anything older than say 20 years) in a washing machine – I would be too afraid that the fabric would come apart — but I would also be afraid to wash it in the tub for fear of the stitches popping from the weight of the water. What a dilema! Oh my – this is going to be interesting! Jeri in Pa smitte [at] voicenet [dot] com   Date: Wed, 11 Dec 96 16:59 | From: Mornes Hi everyone, I just signed up to be on this list. I’m very interested in quilts used during the time of the Civil War, expecially used in conjunction with the Underground Railroad. I have on my Christmas list “Stitched from the Soul” and can’t wait. I caught the tail-end of Eleanor Burns’ program on PBS today, and she was talking about the Harriet Tubman star. I’m sorry to have missed her show today. At the end of the program I read from the credits that she used the book: A Separate Battle, Women … Civil War. I cant remember the ending of the title exactly. I checked and our library has it and I’m going right away tomorrow to check it out. I’ve been purchasing quarter-yard pieces of reproduction fabrics. I someday want to do a blue and white temperance quilt possibly in the lady-of-the-lake pattern. One of my favorites. I saw one in an exhibit last summer and fell in love. How long has this list been around? I’m sort of interested in the FQ exchange. What are the rules? I don’t pre-wash though. Will this be a problem? I wouldn’t want mine washed. Leslie in Lakeland MN   Date: Wed, 11 Dec 1996 15:59:43 -0700 | From: “Mary E Scott” I have a questionon the cleaning quilts theme. I often have my quilts dry-cleaned. I have not doen anything with my old quilts because most of them are tops. I plan on finishing the tops into a quilt before doing anything else to them. My question is: Will it hurt or harm the fabric of these old quilts to be dry-cleaned? I will be using cotton batts (Quilter’s Cotton) along with new muslin for the backs. I really am curious now. TIA Mary Scott mscott28 [at] cybertrails [dot] com http://inficad.com/~lightsp/suitee/index.html   Date: Wed, 11 Dec 1996 19:07:27 -0500 | From: SadieRose [at] aol [dot] com Greetings from cold Iowa. Before we take off to go Christmas tree shopping…. I would like to hear about museums that have quilt collections. This can be a local historical society, college musuem, art institute, etc. But, please, someplace you have visited, not just heard about. I would like to start a list of “vacation destinations” with quilt related exhibits to view, preferrably with historical content. Please give the name and location of the museum, what type of collection they have: quilts, blocks, books, etc. If the quilt related items are on display frequently….or if you can make an appt. to view certain items. Any quilt shops nearby?? Anything else pertinent you want to include. Also, if you know of a show that features antique quilts, I would like to read about it here!! Many local shows have a special area featuring antique quilts, along with the ‘new’ ones. Hope this will give some of our new members, who haven’t posted yet…a topic that they can jump in on!! TTYL…..Karan   Date: Wed, 11 Dec 1996 19:09:33 -0600 | From: Rose Marie Mize The book Stitched from the Soul was used in a history class at Illinois State University. I bought one. The work these women have done is simply incrediable. One day at work we were talking about wishing and someone asked me what I would wish for. I said if this was purely a selfish wish it would be to have one of my quilts hanging in the Smithsonian. How is that for high hopes. Kindest regards, Rose Marie, where the Christmas cactus is just beginning to bloom   Date: Wed, 11 Dec 1996 20:41:21 -0500 (EST) | From: Quilting Heritage ListServ Well, it is probably blasphemy, but I have do admit I wash quilts in the washing machine. Or, at least, I use the machine as a giant tub. I fill the washer, swish the soap (everyone take a deep breath – I often use Tide with bleach alternative) then put the quilt in and let it soak. I don’t let the machine agitate – I do that by hand – but I will let it spin the water out. I hang them over my upstairs bannister, with a towel protecting them from the wood. And, yes, before you ask, I have damaged quilts slightly doing this. That’s why I won’t wash anyone else’s quilts, just my own. My friend Shelley (waves to Shelley!) sold me a green and red applique quilt (civil war era?) with a lot of gorgeous quilting and some absolutely awful staining. It was in a garage – I am really not sure what the stains are. I have soaked it twice, once in Tide and once in a special concoction Camille Cognac gave me. Both times I have drained coffee colored water from the machine. I am afraid to soak it any more, I think the green may be starting to fade. The red is *very* deteriorated, but I expected to replace that anyway. Has anyone done anything with spot cleaning stains of unknown origin? Becky Herdle mentions using denture cleaner in her book, and I did do that once on a different quilt, but it made the stain whiter than the rest of the quilt! This is *such* a beautiful quilt, I am really looking forward to working on it. In my spare time, of course. Kris   Date: Wed, 11 Dec 1996 22:10:46 -0500 | From: “Jeri E. Smith” This book – Stitched from the Soul – sounds wonderful – could someone please list the authors name. Thanks, Jeri in Pa smitte [at] voicenet [dot] com   Date: Wed, 11 Dec 1996 20:31:21 -0700 | From: ayjones [at] tacoma [dot] nwrain [dot] net (Yvonne Jones) I am so happy with this new list, it is just the kind of thing that I’v wanted but could not find. I feel on the other lists if I said for example “I think that cotton batting should be used in an antique quilt top”, others do not agree or understand the value of keeping the tops intergrity. Right at the moment I have many things going like my daughter is quite ill, plus family demands & then there is Christmas ect. I will try to be active on the list and hope that many others are too just to make it very interesting. My name is Yvonne, and I do collect antique quilts. I also have as many books as possible about Antique quilts and I just love reading them. I love quilting myself, and anyone that knows me will tell you that I love Red and Green floral applique quilts from about the 1850’s, and I love quilts with LOTS of beautiful hand quilting.More from me later! Yvonne Gig Harbor, Wa. QUILT-R   Date: Wed, 11 Dec 1996 22:21:23 -0500 | From: QRestore [at] aol [dot] com Dear Jeri; Stitched From The Soul is authored by Gladys-Marier Fry, PH.D. and sells for $18.98 – the ISBN# is: 0-525-48535-X It is wonderful! Victoria Montgomery QRestore @aol.com   Date: Wed, 11 Dec 1996 22:23:06 -0500 | From: QRestore [at] aol [dot] com I believe I mispelled the author’s name, I’ll try again: Gladys-Marie Fry, Ph.D. Sorry, Victoria 🙂   Date: Wed, 11 Dec 1996 22:27:57 -0500 | From: QuiltLine [at] aol [dot] com To Jean -jquilt [at] aol [dot] com Regarding the 1800s repros. A friend and extremely knowledgable quilter, Sharon Newman has just (in November) come out with a new fabric line of c1850-70 prints, through MODA/United Notions. It is wonderful, comes in several color waves, and every fabric has a coordinate of about 6 other fabrics. Sharon spent a lot of time researching the fabrics and colors, and did use actual 1800’s fabrics for the printing of this line. Sharon also has a book on replicating the look of antique quilts, “Treasures of Yesteryear” (there are 2 volumes) published by That Patchwork Place. The repro swap sounds great – count me in. To Nancy – AJSNGS [at] aol [dot] com – yes 2 adolescents! I need prayer. Debbie   Date: Wed, 11 Dec 1996 21:49:59 | From: jadavis [at] juno [dot] com (Julie A Davis) Hello out there! I have an old quilt — 1920’s I’m guessing and I washed it once with great success. I used liquid Woolite and filled the washer tub up and agitated the soap to really mix it up — then I carefully pushed the quilt down into the water and I used my bare arm (yes, I was up to my arm-pit!) and sloshed it around a little bit — then I let it soak about ten minutes. I let the washer (on gentle cycle) spin out the water — but not wring the quilt — then let it re-fill and sloshed it again to rinse and spun the water out. I did not let the machine spin hard and I did not let it wring the quilt! I then gently took it out of the machine and put it on a table covered with fat towels. I rolled the quilt (which was pretty wet) along with the towels fairly firmly. I had an unfinished room in my basement at the time and it was OK that the water squeezed out onto the floor (it wasn’t alot — I’m just saying this so you won’t do it the dining room!) I then unrolled it and lifted it off of the wet towels — I then layered the table again with more towels and repeated the process. By this time it was about as dry as it would have been if it had spun out in the machine. I then used 4 of those wooden drying racks (I had to bum a couple from my Mom and a friend — I only had one of my own) — spaced them slightly and put more towels on the corners of the racks so they wouldn’t poke a lump in the quilt (I’ve had that happen to sweaters before!) and gently laid the quilt across the racks making sure that there wasn’t an area where it was stretching/sagging . Then, when it was about 95% dry I put it in the dryer on low heat/fluff for just a couple of minutes to soften it up. It really looked clean and fresh and it didn’t damage it at all! Sorry this is so long — but it was a long process to wash the quilt. Someone tonight asked about dry cleaning — cottons really shouldn’t be dry cleaned — the dry cleaning fluid leaves a grey tinge. Julie Davis jadavis [at] juno [dot] com   Date: Thu, 12 Dec 1996 00:18:50 -0500 | From: SadieRose [at] aol [dot] com Greetings, Kath, Here in Iowa it is cold (currently 34 degrees) with freezing rain predicted over night. YUCK!! Don’t know if I would like Christmas at the beach…but I might like to try it!! 🙂 I was the one who mentioned VICTORIA magazine in one of my posts…just got the January issue today, haven’t had time to even peak inside. I don’t want to mislead you…this is not a quilting only type magazine. Actually, it has very little about quilts. The photography is exquisite, here is the advertising on the subscription card: Endearing fashions, a touch of lace, old fashioned delights, the charm of yesteryear. In the fine print (good thing I am near-sighted!!) it says $19.97 per year, USA, and $ 35.97 for Canada and all other countries. Twelve issues per year. I really love this magazine….they have a “writer in residence” and have wonderful short essays written by readers. It is just a ‘time out’ of my hectic everyday life…and a look at a calm, refined life I hope to achieve (someday- maybe when my teenagers are grown!!) The December issue is always fabulous…and it is still out at the grocery store. If you want, I will get one and snail mail to you. A single issue is $3.00 (US). If you want to, I would love an Australian quilting magazine in exchange. A local shop gets the “Australian Patchwork & Quilting” and I have several issues of it…just got the new Applique Special which is wonderful. Fun to see a different perspective on quilting! Well, let me know….must run. #2 son needs the computer to type up a paper for school. TTYL…..Karan Flanscha   Date: Thu, 12 Dec 1996 04:51:55 -0500 | From: quiltmag [at] mindspring [dot] com (Jean Ann) EEEEEK! do not dryclean old quilts. Have you ever visited the cleaning area of a dry cleaning establishment? Dry clean is NOT a correct description of what happens there. Everything, and I mean everything is through into a very big commercial washing machine. Instead of water, CHEMICALS are used to clean everything in there from your precious old quilt to someone’s bathroom rug! All in one very big commercial machine with the chemicals. I am surprised your old tops have survived this treatment./>   Date: Thu, 12 Dec 1996 06:02:35 +0000 | From: Billie Corgan booth in Oklahoma. I began quilting to learn more about the quilts for resale and now my quilting passion has overtaken the antique search. My method to clean old quilts is all outside in good weather. At an auction I bought for $2.00 the old double wash tubs on a stand. Fill both sides with lukewarm water and soak, drain, and gently lift quilt from side to side, occasionally use just a little liquid soap. I often use a little Calgon. I repeat this until the water runs clear not that foul smelling yellow gunk. I gently squeeze out excess water while the quilt is still in the tub. To dry I lay sheets over two picnic tables, the mesh kind, carefully lifting the quilt on to the table so not to pull stitches while its wet. Then I cover the quilt with another sheet to prevent sun damage and bird droppings. This summer I bought one quilt out of a group that must have been in that musty basement for sixty years. You could smell them ten feet away. Should have bought more to resale, that quilt is now hanging in my living room. I was just too scared that they would not clean up. When I buy old quilt tops, I try to quilt first if I can, the quilting holds the blocks together. I have had more trouble washing old quilt tops than completed quilts   Date: Thu, 12 Dec 1996 20:09:43 +0800 | From: balfourk [at] echidna [dot] id [dot] au (Kath Balfour) lean them and take the smell out, but the batting puffs up and they look much more attractive. Any piecing that looks fragile is covered with a bit of muslin tacked onto it then removed when the quilt is dry. I don’t know whether we were crazy or courageous, but we couldn’t bear to touch a grubby quilt, let alone sell it. My partner in crime here, Lyn, has a large Sanyo top loading automatic that does not have an agitator, the tub rotates back & forth. First she sprays the stains, spots or marks with an ordinary pre-wash laundry spray, then she soaks the quilt in warm water for about 24 hours in a diaper soaking product. She may repeat this two or three times, depending on how dirty to water is, and how stressful it is on the quilt. Very occasionally, she will use laundry detergent. After the spin cycle, she drapes the quilt over one a gently warm oil-filled electric radiator, turning the quilt now and again until it’s dry. The quilts dry overnight. She never hangs a damp quilt on the line or puts it in the dryer unless its very nearly dry just to finish it off. Sometimes colours do run, seams do open, material does disappear but the improvement is usually worth it. I once tried doing this in my agitator washer and ruined a quilt! It was pieced in a voile-like fabric and the stress of twisting and pulling tore some of the pieces to shreds. Definately now a hanger!!! I wash old quilt tops if they need it, and I do this in my agitator machine just using laundry detergent. I fill the tub to the max, use cold water, soak overnight, and finish on the lingerie cycle. I hang them with clothes pins on the line with two cut edges together (not folded over the line!) and tug them straight. Usually I iron them, too. No, we absolutely don’t wash any quilt or top that has satins, velvets, wools, etc, or looks as though it may fall to pieces, or anything that is foundation pieced (because of the weight). We get a quilt dry cleaned if it is really musty or grubby and we can’t risk washing it. Camille Cognac’s book is filled with common sense and we have referred to it quite a lot. We like the comment she made reminding the restorer to take a realistic look at the quilt and determine whether it is a Dior original or a Sears housedress! Sometimes we’ve paid Dior prices for that Sears housedress, however… Now I’ll jut tiptoe back in to finish addressing those Christmas cards before I’m observed hunched over this blasted machine! Kath Balfour Yesteryear Quilts 37 Gibson St Hilton WA 6163 AUSTRALIA phone +619-335-6401; fax +619-336-4230 e-mail: balfourk [at] echidna [dot] id [dot] au   Date: Thu, 12 Dec 1996 08:29:29 -0500 | From: QRestore [at] aol [dot] com Dear Kris; In reference to your red & green quilt (that sounds wonderful) and the stains. First I have a couple of questions. Do the stains appear in the red or green fabric or are they in the white area? Also, do they appear to be in the area where the quilt may have been folded? You may have already tried many of the suggestions I could think of. There are many remedies others may also suggest. Many quilts folded and stored for years will have brown stains that often look like furniture polish or rust but are actually caused by dye migration. Changes in temperatures (cold and heat) can cause this to happen and most stains caused by dye migration cannot be removed because the dye has permanently stained adjoining fabrics. You can do more damage trying to remove dye migration. I f one suspects rust or blood, which can look like dye migration, there are a couple of ways to check that. There is a poison, called Whink Rust Stain Remover, that will remove rust in minutes but must be handled with gloves and rinsed thoroughly, many times. Blood stains can be removed using a product called New Again (in the women’s hygiene section of the supermarket). A method described in Camille Dalphond Cognac’s book “Quilt Restoration A Practical Guide” says “to use a Q-tip applicator to dab a small amount of New Again onto the blood stain and rub gently with the cotton applicator to loosen the blood. Rinse by applying a wet face cloth over the treated spot which is resting on an absorbent bath towel.” You may have already tried this also, to spot clean an area, try isolating it by draping it over a cooking pot and pouring warm water over the area to be rinsed, then patting the area dry with towels. This way your not having to treat the whole quilt. When all else has failed, sometimes just living with and accepting the stain as part of the quilt’s charm is quite acceptable. I know many quilt collectors and enthusiasts who don’t mind a quilt with stains (it may have a interesting story behind them) and feel if the quilt is clean and does not have an offensive odor, they can live with that. As Camille in her book often points out, its your decision, “who owns the quilt?” Not sure if this provides any helpful information that you haven’t already tried, maybe someone else out there will benefit. Victoria Montgomery   Date: Thu, 12 Dec 1996 09:14:44 -0500 | From: “Perry C. Trimble” Rose Marie, Could you possibly send the ISBN for Stitched From the Soul so others of us have a better chance of finding it? Many thanks. Marilyn in INdy Old Quilters Never Die – They Just Go To Pieces   Date: Thu, 12 Dec 1996 10:21:37 -0500 | From: QuiltFixer [at] aol [dot] com In a message dated 96-12-12 06:15:12 EST, you write: > I agree with this. Take the time to carefully go over the seams, especially if they are hand sewn. Be very careful to lift the whole top from what ever you are washing it in in a way that does not strain the seams. Toni Baumgard QuiltFixer [at] aol [dot] com   Date: Thu, 12 Dec 1996 10:21:36 -0500 | From: QuiltFixer [at] aol [dot] com I do alot of quilt washing for my customers and I have to decide how to do on the basis of each quilt. I go from practically washing by hand to machine washing. I base it on the condition of the quilt and how likely it is to run or fall apart. I recently complete a 1930’s quilt that a dog had used as a bed and had chewed a couple of holes in the middle and all the sides. It is a fan quilt and I knew I would have to cut off the edges and repair all the rips and holes. The quilt was so filthy that the first order was washing. With my customers permission I washed this quilt 3 times in Tide with Bleach. I washed it in the gentle cycle and only let it agitate for about 2 minutes. I rinsed and rinsed. Then spun out the excess water and dryed folded with towels on top of the dryer. This quilt was a “basket case” and it survived this ordeal and was pretty clean afterwards. At least it did not smell anymore! You might well ask why even bother to try to do something with it. The owner’s mother had made it and then given it to her grandson. Needless to say this boy did not take care of it. The owner really wanted it for a memory of her mother. I have another quilt that is comming up that has stains on it and I am going to soak it in BIZ to see if I can remove. They appear to be water stains and those are very hard to get out. I will try the lemon and salt as a last resort if this does not work. Anyone else with some ideas? Ton Baumgard QuiltFixer [at] aol [dot] com >From No. Calif. at Spring Lakes, where we will soon need an ark!   Date: Thu, 12 Dec 1996 10:44:34 -0500 | From: SarahOz [at] aol [dot] com Hi all! I’m just now taking the time to post. First, my name is Rose Gray –even though my email address says it’s sarah. Long story but I’ve had this address a long time and it would be a real pain to change it now. I live in Tempe Az (Phoenix) and it is warm and lovely here. But, I miss the snowy, cold holiday weather in Ohio. I’m having a hard time adjusting to wearing shorts and sandals when I’m christmas shopping. And, it’s real interesting that I’m not risking my life to get that extra special gift while driving on icy roads… I love antique quilts, sewing items, linens…you name it. I’m so glad this list was formed, since I’m in the process of writing a book and making a quilt to go with the book that is placed in the 1860’s. The book & quilt are going to go much more slowly come Monday, since I’m going to begin working at the Quilted Apple in Phoenix full time. And, I’m the newsletter editor for the Arizona Quilter’s Guild (1200 members statewide) and is published monthly. I’m also trying to figure out where I’m going to actually squeeze some time in to quilt…UGH!! I became interested in that time period, 1860’s, when I came across an antique quilting book at an antique shop back in Ohio. Now, the book has taken on a life of it’s own and I’ve found out so much information that I never even dreamed of finding. Seems that once you look for one piece of information you stumble across another and that leads you off in another direction. Thanks again, Kris, for beginning this list and I look forward to chatting with all of you! Rose Gray Tempe AZ (85 degrees, sunny and they’re trucking in a ton of snow this weekend for a christmas festival….too funny!)   Date: Thu, 12 Dec 1996 11:40:15 -0500 | From: SadieRose [at] aol [dot] com Here are a couple of additional titles of books about quilt history: KANSAS QUILTS & QUILTERS by Barbara Brackman, Jennie Chinn, Gayle Davis, Sara Farley, Nancy Hornback and Terry Thompson pub by the University of Kansas Press 1993 ISBN # 0-7006-0585-1 paperback This book is based on the Kansas Quilt Project and while some of the information is very pertinent to Kansan quilters….most applies to quilters everywhere. The Kansas Quilt Project has documented over 13,000 quilts, and information from the huge database they have created has been translated into interesting articles on topics from how scarce fabric was in Kansas in the 1850′ and 60’s- which meant little if no quiltmaking, as there was not sufficient fabric available for clothing…to African-American quilts and quilters. One of the things I like the best about this book, is that it does not put a “politically correct – 1990’s slant” on women’s history. Women’s diaries are quoted….but not re-interpreted. There is an excellent chapter (4) on “Fabric and Conversation Prints” written by Terry Thompson and Barbara Brackman. Also a chapter featuring 2 famous Kansan applique artists: Rose Kretsinger and Charlotte Jane Whitehill, with some color photographs of their exquisite quilts. The book is illustrated throughout with b&w and color photos of quilts and quilters. It ends with a chapter on quilt guilds of today, and an Appendix with information from the Kansas Quilt Project database. An excellent book to add to your collection, or just borrow from the library to enjoy. GATHERINGS: America’s Quilt Heritage, text by Kathlyn F. Sullivan, based on an exhibit currated by Paul D. Pilgrim and Gerald R. Roy, published by the American Quilter’s Society 1995 ISBN # 0-89145-860-3 $34.95 pbk This book, and the exhibit is was based on, was a “gathering” of quilts and information from the quilt documentation projects undertaken in many states, starting in the late 1970’s, and continuing today. There are photos of quilts and quiltmakers which were “discovered” during the quilt documentation days. I was especially pleased that one of the 2 quilts chosen from the Iowa Quilts Research Project in 1988, was one that I had documented. It was a case where we really wished the “quilt could talk”. The quilt was laid out on several tables, pushed together. It was what I would call “Cherry Basket” but in Barbara Brackman’s “Encyclopedia of Pieced Quilt Patterns” it was #665.2 “Basket Design”. The basket triangles were turkey red, the base and handle were dark green. The background was off white. The baskets were set together with narrow sashing strips of a dark tan, with corner squares of off-white. Four baskets, set on point, faced towards each other in the center (handles to the middle). Each row out continued this placement, so as you looked at the quilt, only the bottom quarter had quilts sitting “upright”. The 1/2 triangle blocks that filled out the edges had a simple wavy vine with a few simple, almost kite shaped leaves. The baskets were each “filled” with different fruits, flowers and leaves. Then, I started to notice that some blocks (7 out of 40) did not “hold” anything. Upon closer inspection, you could see that these blocks, too, originally were filled….there were holes from the stitches!! By this time, the quilt had created so much interest that a crowd gathered around it, exclaiming at it’s beauty, creativity and how good it’s condition was (the quilt was made circa 1850). Then, the lady who had brought the quilt to the documentation day stepped forward…explaining that she had brought the quilt in for a friend, and had a letter about the quilt. We were so glad that “this quilt could talk” as it was not signed or dated. The quilt’s maker, Eliza Hicks, died young, and her husband re-married. The second wife got so tired of the attention given to Eliza’s quilt, that she decided to take it apart, so she could use the muslin for a bedsheet!! Someone in the family stopped her, but not before she had removed the applique pieces from 7 of the basket blocks!! I bet Eliza would be pleased, that her quilt has been “re-discovered” and has now appeared in several quilt shows, the GATHERINGS book (p92), and also on the cover of the April 1996 Ladies Circle Patchwork Quilts magazine! (This quilt and several others were shown to illustrate an article I wrote on the Iowa Quilts Research Project). The second “Iowa” quilt shown in the GATHERINGS book (p 38), is a Schoolhouse Scrap Quilt, made by Hannah Stone in approximately 1900. This quilt was chosen as the “poster child” of the Iowa Quilts Research Project’s exhibit: “The Thread That Remains” in 1990. Many of us who worked during the IQRP chose to stitch our own version of this quilt (a single schoolhouse block, surrounded by rows of rectangular scrap pieces) as a momento of our participation in this project. The GATHERINGS book combines information from 59 different quilt projects, and there are tables at the end of the book, with information on each of these. Some are ongoing, some were for a limited time. It also tells whether the project published a book or catalog, and if the data gathered is available on computer. There are contact names and addresses for each. There is now an interest in combining this wealth of information in a central source. Terri Nyman, of Ladies Circle Patchwork Quilts magazine, has been featuring a different state research project in each issue of the magazine, so that interest would not dwindle in these efforts. So much about quilts and the women who made them have been recovered by these documentation projects. It also has given the public a higher opinion of the value of the quilts. One of the lady’s, who’s family quilts I had documented, told me later that her grandson took one of the old quilts out to lay on when he changed the oil in his car ---