March 28 - April 1, 2006

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

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

Primary topics of this QHL Digest:

Racial Imagery and Antique Quilts — The debate over Mammy imagery, collectors, and historical context continues with long posts from several members.
Underground Railroad Blocks and Cornerstones — A lurker asks about cornerstones for a school-made Underground Railroad quilt, and members respond with historical cautions. (see the article on Underground Railroad quilts)
Old Photo Images on Fabric — Members explain how early photographic images on fabric differ from modern transfers and how light affects them.
Cats and Quilts — A lighthearted cat thread leads to book tips and a few personal stories.
An Anne Orr Design Question — Members debate whether a small applique block came from an Anne Orr pattern or a similar source.
The Virginia Historical Society Quilt Exhibit — Members react to the split of a documentation exhibit into three rotations and share planning tips for Chicago show visitors.

Date: Tue, 28 Mar 2006 16:01:38 -0800 | From: “Alan”

We have to remember that these images were probably taken from life. You know the eternal black woman, probably a slave, in her long skirts, sleeves rolled up, and hair in a kercheif for convenience. But these snapshots of life are often how stereotypes start. People noticed, when it started to be noticed, that gay men are softer, gentler guys. That turned into the current stereotype. And though I’m drawing blank, I’m sure there are more. Humanity has this need to pigeonhole each other. I know I do it, hard as I try not to. I get pigeonholed severely, but that’s because I fit no one’s idea of who I should be ! <G>

Alan

Date: Tue, 28 Mar 2006 19:12:44 -0500 | From: “Pepper Cory” <pepcory@>

. Thank you, Ms. Ingram!

“Southerners generally don’t have to look too long or hard.”

Indeed. Now I can indulge my up-to-this-time-secret passion for polyester quilts, secure in the knowledge that the urge to aquire these objets d’art is merely an outgrowth of my Southern heritage. I am so relieved! Think I’ll sit a spell and grin while I rock. Pepper

Date: Tue, 28 Mar 2006 18:32:28 -0900 | From: Gloria hanrahan <gloria@>

“black people in our section seemed not to be seriously insulted by them.”

Well, some of us who are not white families, realize that you could easily get killed over objecting to this.

Those of us who are raising non-white children in this white middle class society of the US know that racism is alive and well and very much alive just as it was when “black people in our section seemed not to be seriously insulted by them.” It’s below the surface, but very much there.

We are leaving the realm of just documenting quilts for time when they are made and what the political climate was at that time. I believe that someone who wants to be mad over articles they find demeaning has every right to be mad and express that anger.

Racism in this country cannot be compared to other immigrant groups. I don’t believe that any Irish or Polish people have been dragged to their deaths behind a pick-up recently.

While the mammy pattern has it’s place in quilt history, just as the swastika pattern, to tell people not to be insulted is just plain insulting.

Gloria Hanrahan

Date: Wed, 29 Mar 2006 04:13:48 EST | From: Mitzioakes@

To all the readers of this site – I think it is about time to get back to quilts and the art of quilting – enough already with the UGRR and Mammy – they both are part of our history, good or bad, and they should remain so. White, black, yellow, brown or apple green – it is what is inside that makes this a beautiful country. Off my soapbox for this early morn and back to the wonderful history of quilts and textiles and the human individuals that love them. Have a wonderful Spring day Mitzi from Vermont

Date: Wed, 29 Mar 2006 03:36:27 -0800 (PST) | From: Pat Cummings <pat@>

Good morning,

Thanks to Jocelyn and to Gloria for having made some sensible statements in the last couple of days.

While we need not dwell any further on the injustice of the “Mammy” pattern, it is a part of needlework history, whether we like it or not. We may not perceive the designs as derogatory, and we do not know the original intent of the pattern designer, but the effect of these designs pack a terrific psychological whallop. A couple of you have even compared the images to that of the Swastika. Now, it doesn’t get much more powerful than that.

Probably no one today would readily admit to being a racist. Racism can be overt, like telling folks that they have to sit in a segregated part of a movie theatre, as Gail points out, or at the back of the bus. Racism can be more subtle, as in the creation of a seemingly (kindly?) Mammy pattern for Redwork. Just look at close-ups of the patterns to ascertain whether or not these are “homey” motifs. I would say that they are not.

In any discussion, give and take is the name of the game. It is only fair that everyone have a chance to speak. While other parts of quilt history may be more interesting, or more beautiful, or more uplifting or more whatever, this subject is the one on the table at the moment. Having provided as full and as knowledgeable a response as I could to the original question about copyright, and additional commentary, I am willing to move on to other topics.

To conclude, I will say that we need to be ever vigilant about discrimination of all kind. Alan mentioned being on the receiving end of hatred because he is “different,” in his words. Well, Alan, we are all “different,” and the only reality of who we really are lies within our own skins, whatever color that outer adornment may be. In the end, we all walk under the same sky, and are all creations of the same Supreme Being.

I would like to learn more about the Mammy patterns, where they originated, who is responsible for them, how and where they were marketed, etc. as a matter of historical record.

Thank you for reading this letter. I felt the need to say something else on this topic lest it get shifted aside without any concluding statement.

On a personal note, tonight I will be presenting a framed photograph of my Dad to the Credit Union that he founded and organized and where he was Treasurer/Manager for almost thirty years. He died in 1974. I could not be more proud to claim him as my Dad. He was a man of honesty and integrity, always giving himself to the service of others, in every facet of his life.

Going through a box of ephemera related to him, as well as old photos, I have been able to write a photo essay about his notable life. Through the careful examination of a paper trail, I have learned so much about the man and have been able to place events of his life in a chronological time frame.

Right now, I am feeling very blessed to have been the child of Elizabeth and John Grace. My mother taught me Redwork. My father and mother both taught me values.

Have a fine day!

Pat Cummings

–

Date: Tue, 28 Mar 2006 20:27:35 -0500 | From: Larry Everson <larry@>

Just a lurker here, but find everything interesting. This note was posted to the “Beyond Basic Quilting” list on quiltropolis. Does someone want to take a shot at this? Her e-mail address is:

kalenty@

Hi, I’ve been quilting for 16 years and this is the first underground railroad quilt I’m doing. I prepared 20 blocks: coordinated the colors/fabric; drew each block the back of fusible web; drew each block out in EQ5 and printed it…etc. Cut a much bigger background fabric block. Then took all this into my son’s second grade class where each kid ‘cut on the lines’, pealed off the paper of the fusible web, then arranged the pieces to match their respective ‘picture of the block’ and other Mom’s and teacher helped me iron them down onto the background fabric. They did a GREAT job! And we all had a blast!

Now I’m ready to assemble this into a quilt.

Question: Do Underground railroad blocks have cornstones blocks? All the blocks are various colors, mostly reproduction fabrics on a light tan background. I have a red repro fabric that I’m using for sashing (in between blocks) and a navy blue repro print for outer border. I was thinking about using the nave blue as corner stones also (corners of each block where sashing strips come together). Or should I just leave that red—no cornerstones? Which is the ‘preferred’ or ‘traditional’ method for quilts of this time period? Anyone know?

Thanks so much!! Debbie www.QuiltersObsession.com — Larry Everson Orlando, Florida larry@ http://larryeverson.com

Date: Wed, 29 Mar 2006 06:16:22 -0800 (PST) | From: Kris Driessen <krisdriessen@>

Well, you know, I firmly believe we can’t talk about antique quilts without knowing the events surrounding their creation. So I don’t have a problem with discussing the historical background in which Mammy was created and the life and times she lives in now.

I still wonder what people in 150 years will think of us…

But I digress. I wanted to comment on the Underground Railroad pattern. It is an actual pattern, also known as Jacobs ladder. It got the name Underground Railroad during the newspaper circulation wars of the 20’s and 30’s. You can see a picture of it at http://www.womenfolk.com/quilt_pattern_history/underground_railroad.htm

Kris

Date: Wed, 29 Mar 2006 10:36:02 -0500 | From: “Lucinda Cawley” <lrcawley@>

I think that the Virginia Historical Society has made a huge mistake by dividing the exhibit of quilts from the VA Documentation into three separate rotations (March 18-May 31, June 1-August 30, Spetember 1-December 3, 2006). Had they been willing to commit the gallery space (as the MD Historical Society did for “The Baltimore Album Quilt Tradition” in 2001) they could have mounted a blockbuster exhibit that would have been a “destination.” As it is they are showing 13 antique quilts and about half a dozen contemporary quilts at a time. It’s hard to justify traveling any great distance to see so few quilts (especially three times). I was in Central VA for Civil War reasons so the Historical Society was easy to do. My favorite quilt was a fabulous Farmer’s Fancy/Delight (a complex Sunflower variaton which appears to have been more popular in VA than anywhere else) circa 1850, 114 inches square, which has 2″ pinwheel sashing going across the whole quilt and right to edge of the borders. I found it strange that the stitches per inch were sometimes counted top and bottom (makes no sense to me) and sometimes top only. There’s a truly lovely Crazy with all the bells and whistles hanging next to a folky cotton Crazy which unfortunately has no signage. Speaking of signage a quilt called West VA Star (8 point stars in hexagons quilted in lines 1/8″ apart) had a wonderful label explaining that the maker “retired from all domestic duties at an early age and for the rest of her life sat by the fire with her husband studying Latin and Greek” and, presumably, making quilts. I like her style! This trip was an homage to Stonewall Jackson (Chancellorsville, Lexington and the Valley). Gail, what difference do you think Stonewall would have made at Gettysburg? At the Jackson house there were a couple of quilts (one a Rose variation with stuffed work) that the docents thought had family connections. Maybe they’ll turn up in the VA book. We went to Ashlawn (James Monroe’s home). I was really impressed by the reproduction quilts on the beds. They were appropriate to the period and very well done: a cut chintz applique medallion and a whitework. Our plan to drive home via Skyline Drive was stymied when the road was closed because of snow. But every cloud has a silver lining and I ended up at the VA Quilt Museum in Harrisonburg. I happened to walk in just in time to see their latest acquisition, a gift from a lady who thought the quilt should come home to VA. It’s a applique album quilt of flowers of Rockingham County. The large blocks (18″) are mostly original designs labeled in ink with the name of the flower. In the center is a block with two opposing rainbows one enclosing a sun, the other a moon and stars with an inked inscription “Esther B. Mathews 1858 age 82.” Another block has the quilted name of Esther’s grandson and the date 1859. The young man was killed at Chacellorsville in 1863. The quilt which is in pristine condition must have been preserved in his memory. It is glorious! The museum has a super raffle quilt. It’s a reproduction of a circa 1850 Crossed Laurel Leaves quilt in their collection. You can see the original on p. 8 of the VA Quilt Museum book. The stems and six of the leaves are indigo; three salmon colored leaves are appliqued to the tips of the branches. The quilting is exquisite. This is right up there with the Samuel Williams quilt in the “best raffle quilt ever” competition. Among the quilts on display were two, a Pine Burr and a Star, made by a woman whose husband died in the Union prison camp at Elmira, NY. Neither she nor any of her children ever learned his fate. The information was found by the donor of the quilts, a great, great granddaughter, when she was doing research before giving the quilts to the museum. Cinda on the Eastern Shore

Date: Wed, 29 Mar 2006 10:24:27 -0800 | From: <suereich@>

Somehow this was sent before I had a chance to spell check and review. Sorry, here is the finish. sue > > I am coming in to this discussion late, and do not necessarily want to spark previous discussion. I grew up in an immigrant neighborhood in Pittsburgh, PA. Most of the houses were built in the first decades of the twentieth-century to accommodate the growing numbers of Irish and Germans who their homeland in search of greater opportunity. I lived in the German neighborhood, two blocks from the German Catholic church. The Irish neighborhood was four blocks away and surrounded the Irish church. The Italian neighborhood was further down Lincoln Ave. (for those of you who know Pittsburgh) and its epicenter was the Italian church. During my 21 years there, the areas gradually changed, acquiring many of the same racial problems that other city neighborhoods of the late 60s were struggling with. Like most of you, I am a baby boomer. > With that history in mind, my view of Mammy images is that of a warm, soft, nurturing, colorful and always happy person. She prepares the best meals, and has the lap that you most want to snuggle and rock in at bedtime. The quint-essential Mammy to me is “Mammy” from “Gone with the Wind.” She was one of the only constants in Scarlett’s life and saw the family through the entire film. Her role character represented nothing but good, and she was a person of character. > In the ethnic neighborhoods of Pittsburgh during the 50s and 60s, there were plenty of “mammy” looking women around. They sat on their porches, scrubbed their sidewalks, hung out their clothes, cooked meals for their families and tended their children in “mammy-like” dress. Their hair was up in a babooshka. It hid pins, curlers and hair that didn’t come down until they went to church or the doctor’s office. They were dressed in house dresses, very utilitarian, cotton and washable. They were full-figured women who nurtured and whose laps beckoned you to snuggle into. My favorite baby doll was a little rubber, black baby. She was always naked and I named her “Pinkie.” There was no malice or prejudice in my 4 year old life. It is just the way it was. Just some thoughts. sue reich

Date: Wed, 29 Mar 2006 15:53:29 EST | From: MMiller138@

Karen…I have copies of Antiques from 1991 to March 2000…maybe missing a couple in there…I pulled the May 1998 issue…is that the right one? I can send whatever you want if you would be willing to pay postage? Mary in Ohio

Date: Wed, 29 Mar 2006 11:41:02 -0800 | From: “Shari Spires” <skspires@>

A stereotype that I am involved with getting rid of is the image of Native Americans as sport team mascots. As a mother and grandmother of native american children, I am appalled by these images and by the poor excuses that these are “compliments.” I have appreciated the thoughtful and considerate discussions on this list about stereotype and images. Shari

> We have to remember that these images were probably taken from life. You

Date: Wed, 29 Mar 2006 17:10:36 -0500 | From: “Newbie Richardson” <pastcrafts@>

This is worth reading as Cinda writes very well. N

—–Original Message—– From: Lucinda Cawley Sent: Wednesday, March 29, 2006 10:36 AM To: Quilt History List Subject: [qhl] quilts in VA

Had they been willing to commit the gallery space (as the MD Historical Society did for “The Baltimore Album Quilt Tradition” in 2001) they could have mounted a blockbuster exhibit that would have been a “destination.” As it is they are showing 13 antique quilts and about half a dozen contemporary quilts at a time. It’s hard to justify traveling any great distance to see so few quilts (especially three times). I was in Central VA for Civil War reasons so the Historical Society was easy to do. My favorite quilt was a fabulous Farmer’s Fancy/Delight (a complex Sunflower variaton which appears to have been more popular in VA than anywhere else) circa 1850, 114 inches square, which has 2″ pinwheel sashing going across the whole quilt and right to edge of the borders. I found it strange that the stitches per inch were sometimes counted top and bottom (makes no sense to me) and sometimes top only. There’s a truly lovely Crazy with all the bells and whistles hanging next to a folky cotton Crazy which unfortunately has no signage. Speaking of signage a quilt called West VA Star (8 point stars in hexagons quilted in lines 1/8″ apart) had a wonderful label explaining that the maker “retired from all domestic duties at an early age and for the rest of her life sat by the fire with her husband studying Latin and Greek” and, presumably, making quilts. I like her style! This trip was an homage to Stonewall Jackson (Chancellorsville, Lexington and the Valley). Gail, what difference do you think Stonewall would have made at Gettysburg? At the Jackson house there were a couple of quilts (one a Rose variation with stuffed work) that the docents thought had family connections. Maybe they’ll turn up in the VA book. We went to Ashlawn (James Monroe’s home). I was really impressed by the reproduction quilts on the beds. They were appropriate to the period and very well done: a cut chintz applique medallion and a whitework. Our plan to drive home via Skyline Drive was stymied when the road was closed because of snow. But every cloud has a silver lining and I ended up at the VA Quilt Museum in Harrisonburg. I happened to walk in just in time to see their latest acquisition, a gift from a lady who thought the quilt should come home to VA. It’s a applique album quilt of flowers of Rockingham County. The large blocks (18″) are mostly original designs labeled in ink with the name of the flower. In the center is a block with two opposing rainbows one enclosing a sun, the other a moon and stars with an inked inscription “Esther B. Mathews 1858 age 82.” Another block has the quilted name of Esther’s grandson and the date 1859. The young man was killed at Chacellorsville in 1863. The quilt which is in pristine condition must have been preserved in his memory. It is glorious! The museum has a super raffle quilt. It’s a reproduction of a circa 1850 Crossed Laurel Leaves quilt in their collection. You can see the original on p. 8 of the VA Quilt Museum book. The stems and six of the leaves are indigo; three salmon colored leaves are appliqued to the tips of the branches. The quilting is exquisite. This is right up there with the Samuel Williams quilt in the “best raffle quilt ever” competition. Among the quilts on display were two, a Pine Burr and a Star, made by a woman whose husband died in the Union prison camp at Elmira, NY. Neither she nor any of her children ever learned his fate. The information was found by the donor of the quilts, a great, great granddaughter, when she was doing research before giving the quilts to the museum. Cinda on the Eastern Shore

Date: Wed, 29 Mar 2006 15:12:05 -0700 | From: Jennifer Hill <jennifer.hill@>

>…..They referred to every quilter nowadays having a “fleece wall” >on which to display their emerging designs, to step back from and >view the composition as it develops. Was there a corresponding >method 100 years ago…

Ummm, that “every quilter” thing is an overstatement. I’m as obsessive a quilter as they come, and I don’t have a fleece wall. I have no wall available to make one. But I do have what I call my “design floor”. I have to work quickly to keep things from being messed up by kids, cats, and air currents. If I need some distance to observe the emergent design, I stand at the top of the stairs and squint. I’m sure similar technology was used 100 yrs ago, as it will 100 yrs in the future.

Jennifer Hill Calgary, AB

Date: Wed, 29 Mar 2006 17:30:08 EST | From: RAGLADY@

For those of you who enjoy not only books with eye candy quilts, but also like to learn about the quilter’s background, life and periods of time when the quilts were made, this is a marvelous book. It would be of particular interest to those who might live in Georgia and Alabama or who have family roots there.

<quote> Overview: Legacy is the story of master quilter Talula Gilbert Bottoms, born in 1862 in Fayette County, Georgia. From early childhood, Talula’s great creative passion was making beautiful quilts, and she is known to have made between 200 and 300 quilts.

Often choosing words taken from a memoir written by Talula in her eighties and hidden away in the bottom of a chest, the author – a granddaughter – has carefully and lovingly woven a tapestry as intriguing and attractive as her grandmother’s quilts.

Letters from rejected suitors, daily account books, hand-drawn maps, old photographs of Talula and her kin, and the quilts themselves are creatively combined in this unforgettable personal history. 175 pages. <end quote> ====== ======= Talula was born in Georgia just one year prior to the Civil War and grew up there. The book is filled with stories she heard from her family and neighbors and the struggles and hardships they indured during and after the war, which she also experienced. Later as a young married woman with several children, her husband decided to move the family to Alabama.

I received my copy a couple of days ago; it is definitely is a book to be slowly savored and enjoyed with a cuppa your favorite whatever during quiet times. A bonus was the price: $6.99 for a $18.95 book. Nayy: http://www.bookcloseouts.com/default.asp?R=1558532366B

Gloria raglady@

Date: Wed, 29 Mar 2006 17:36:24 EST | From: RAGLADY@

Of course, that should have read: one year after the start of the Civil War….sorry

Gloria raglady@ RAGLADY@ writes: > ======= > Talula was born in Georgia just one year prior to the Civil War and grew up

Date: Wed, 29 Mar 2006 18:48:05 -0600 | From: “Steve & Jean Loken” <sandjloken@>

I met a woman who is a patron of the Gees Bend quilters, bringing them hundreds of pounds of donated fabric each year. She has a great scrapbook of her times visiting them, and was invited to the opening of their show in Atlanta this month. She hasn’t seen any quilting done with black and/or embroidery floss. She says they use pretty much whatever they have. And I sure learned lots about their style, individually and collectively. Some prefer blue, some corduroy, some brights, etc. She packages her donated fabrics to each one’s wishes, and delivers on her way down to our winter getaway in Gulf Shores, AL. She speaks about the quilters in venues in Michigan and receives donations that way. Next year I may visit myself while we’re there. They’re very much as they were depicted in the film documentary that was shown on PBS stations, I learned. Jean in MN

Date: Wed, 29 Mar 2006 23:06:13 -0600 | From: Gail Ingram <gingram@>

> “black people in our section seemed not to be seriously insulted by them.” > Well, some of us who are not white families, realize you could easily > get killed over objecting to this.

How could anyone read the first two paragraphs of my posting to QHL and not grasp my abhorrence of the demeaning character of racial segregation? The first sentence states my position. I agreed with the writer who had reminded us that “culturally, one … way to put down a group is to trivialize them, to turn them into objects for another group’s amusement or entertainment.”

Moreover, I noted my own sensitivity to such trivialization precluded my having in my home a childhood relic, for in maturity I recognized it as a an insulting racial stereotype.

My friend Sue Reich says she saw the Mammy figure as warm and maternal. What she describes is not “Mammy,” though. I grew up in the South, and I know such stereotypes perpetuated a myth about the South that was demeaning to white and black alike. All that “Gone With the Wind” stuff. Had this robust woman been welcoming her own children, it would have been one thing. But she was caring for the children of others, people who all too often knew nothing about her family. How many times I have heard a friend or relative say, “Why, Norah just RAISED our children. She is a second mother to them. We consider Norah one of our family”—and then admit she did not know the names of Norah’s children. The writer Peter Taylor perfectly captures the position of such women in his stories (e.g., “A Wife of Nashville”).

Re: “I believe that someone who wants to be mad over articles they find demeaning has every right to be mad and express that anger”: I agree that a person “who wants to be mad” may be angry if she wishes. When she is speaking in a public context, however, she is obliged to show the wisdom and justice of her anger. Responsibility requires her to show the validity of her “finding.”

To say that anyone in Louisiana “could easily [have gotten] killed over objecting to [sundry segregation policies]” is a rash generaliztion that will not bear historical scrutiny. A black person then as now stood a far better chance of being killed by a member of her own race than by some villainous white. As with the Holocaust, even one death is too many. Yet, that general violence occurred neither against African-Americans nor white Americans in a time of such extraordinary tension as the sixties suggests the vast majority of Americans, including southerners, respected the laws of the land and basic human decency more than they cared about skin color or origin.

Because if ever there were a chance for widespread violence in the 20th century, it was in the South of the sixties, where demagogues of all varieties cultivated hatreds for private political gain. It was a hard time for people of good will. Students at the University of Alabama were insulted when Robert Kennedy ordered U-2 flights over their campus, the same flights that were routinely flown over the Soviet Union, an arch enemy. Alabama students who sought legitimate admission to their state’s university were insulted when the Governor of their state stood in the door and told them their skin color precluded their admission. It was a terrible time, a dangerous time. But we survived it as a people; we overcame both legal and social barriers that had stood between us for a century or more.

I cannot understand the grounds by which any group would have a special right to be offended by racism, which denies the fundamental humanity of the individual. Do you really think being mocked or excluded from subdivisions or private clubs because one is Jewish or Polish hurts any less than it hurts when the excluded person is African-American? I don’t. I think the failure to recognize the humanity of any person is an equal-opportunity heart and spirit breaker.

I still find it a matter of curiosity not explainable by “racism” that icons that trivialized members of a race are now sought out by their sons and daughters. I wonder what it tells about the collectors. About the nation. Why do African-Americans want to purchase the childhood relic I myself could not bear to keep? Interesting questions.

To me, that people can collect textiles with these images on them as records of another time is good news.

I myself am feeling especially blessed right now because my cat survived the snakebite that had laid him low (Listen up, Marcia K, you of the rattlesnake quilts) and my dog does not have heartworms though the meds he had been given by a vet were out of date. Moreover, at the vet’s I saw a resident 18-year-old cat that has his vision, suppleness of limb, and the best looking coat I’ve seen in ages. Gave me hope. How old in human terms is an 18-year-old cat, I wonder.

Gail Ingram

Date: Thu, 30 Mar 2006 00:21:27 EST | From: KennaleeM@

Hi – I’m going to Chicago for the International Quilt Festival next week. Does anyone know of any special exhibits of antique quilts or places to visit while I’m there? Thanks! Kennalee

Date: Thu, 30 Mar 2006 06:22:51 -0600 | From: Xenia Cord <xenia@>

Kennalee and others visiting the International Quilt Festival/Chicago show will find plenty of antique quilts on the show floor in the booths of vendors (including mine). And you may be interested to know that I will give a free lecture (twice) on identifying antique fabric. The lectures are scheduled for the “Meet the Expert” area at the rear of aisles 400-500, at 3:30 Friday April 7, and 2:00 Saturday April 8. I will be sharing some of my collection of original vs. repro designs, as well as a continuum of vintage fabrics from ca.1800-1930s, all in 45 minutes.

Machine gun delivery, probably!

Xenia Legacy Quilts

Date: Thu, 30 Mar 2006 09:33:44 -0500 | From: Judy Knorr <jknorr@>

I know someone asked about the process used at the turn of the 20th century to transfer photos to cloth. I have some old pieces that my husband’s grandfather did so I asked my husband if he had any idea how it was done. He remembers watching his grandfather do some of these when he was a child in the 1950s. He used chemicals that he purchased at the drug store, but DH is not sure what they were. He mixed them and soaked the cloth in the mixture to sensitize the cloth. Then he placed a negative or item such as leaves, grass or other shapes on the cloth and put them in the sun for some period of time. They were rinsed and dried leaving a blue background with the images on lthe cloth. I know this is a very sketchy description of the process, but since no other answer has been given I thought I would share what I could find out. My husbnad’s grandfather was born around 1870 and was an interesting man. We have his wood camera and tripod with the wood film plates that he used for his photography. My sister-in-law used some of his fabric transfers and made them into pillows. Judy Knorr

Date: Thu, 30 Mar 2006 10:18:52 EST | From: Maggmalone@

There are kits available at your local craft store for sun dyeing. You coat the fabric with the liquid, then lay various objects on the fabric and expose it to the sun. I don’t know if it will work on negatives, but I have tried the process with various objects and it does work.

Date: Thu, 30 Mar 2006 09:26:59 -0700 | From: “Judy Anne” <anne_j@>

Kris, Good idea to have her go look at my article as it makes it very clear the pattern was not around during the time of the Underground Railroad. I suspect from the letter that the quilt was made as a classroom lesson about Underground Railroad quilts.

People often search for certain patterns on my site and I am just now realizing that they are often searching for a pattern from HIPV. I am going to gradually write about more of them each time making it clear they were NOT used as signals in the UGRR.

Just off the top of my head I’d say the quilt would likely not have corner blocks whether it was made in the 20th century or the mythical UGGR quilt days.

Judy Anne

Date: Thu, 30 Mar 2006 08:37:38 -0800 | From: Julie Silber <quiltcomplex@>

Hello All,

I am appraising a quilt that is thought to have won a prize at the 1904 World’s Fair in St. Louis, Missouri. (Also called “The Louisiana Purchase Exposition”). Any leads on someone who has done research on quilts exhibited there?

Thanks again! Julie Silber

Date: Thu, 30 Mar 2006 12:23:39 EST | From: Mitzioakes@

I just found out today that our 8 year old cat is a 50 year old human! So you must have one old cat (I have cats that I sit for that are 18 and 15 and still going strong! Rather talk about cats and dogs than racial articles anyway. Vermonter where Spring has sprung finally! (http://www.smileycentral.com/?partner=ZSzeb001_ZS)

Date: Thu, 30 Mar 2006 12:41:37 -0500 | From: “Pepper Cory” <pepcory@>

Hello all, While I love all kinds of animals (even the slithery ones) I think cats and quilts are a match made in heaven. This fall I had to put to sleep my two very elderly female kitties (one 16 and the other 19) and just when you think the cat-shaped hole in your heart will never heal, somebody walks right in. As in head butting the screen door and meowing loudly as if to say, “Take down the vacancy sign-I’m here!” Go to www.peppercory.com and meet Henry, the yellow and white tom that has joined our family. I haven’t had a male cat in years–I’d forgotten how guy-like they are. While most of the time Henry keeps his white fur coat neat, he usually walks in with muddy paws. He likes to playfully ‘tackle’ you (no claws) to get your attention and has fallen in love with my old chenille sweater….(that’s another story) and he eats everything anytime and burps afterwards! Gail, gllad your kitty survived the snake bite–our little cat Bamboo got bitten by a spider (likely a Black Widow) and her face swelled up like Rocky Balboa after a fight. The vet was able to get the swelling down and Boo survived (a lot of extra treats helped) to hunt creepy-crawlies another day. From the NC coast where it’s sunny and breezy today- Pepper

Date: Thu, 30 Mar 2006 10:07:35 -0800 (PST) | From: Pat Cummings <pat@>

To make this “cat” discussion a little more appropriate to a list on quilt history, may I suggest two wonderful books for those of you who love applique and cats: Carol Armstrong has written both “Cats in Quilts”, and more recently, “Kitty Capers.” I have the first one and it is awesome. Have yet to purchase the second one.

Cats/kittens are just adorable and steal your heart away. Unfortunately, in my decrepit old age of 53, I find that I am severely allergic to them now. That doesn’t prevent my son’s cats from being VERY attracted to me when I visit. It’s like they have a honing instinct, or would that be a homing instinct? At any rate, they LOVE me, but my nose does not love them. SIGH.

Every year, I inundate my daughter-in-law with cat books, cat tote bags, cat quilts, gosh, anything with a cat image…She does not appear to tire of these tokens of my affection.

Sandi Fox also wrote a very cute little book about cats on quilts. If I could find my copy, I’d tell you more about it.

That’s my cat input.

Pat

–

Date: Thu, 30 Mar 2006 10:59:22 -0800 (PST) | From: Pat Cummings <pat@>

After I wrote my last post, I had another “ah-ha” moment. I am not 53. I will be 55 soon. When did that happen????? You see, I can never get away with telling falsehoods about my age. If my son were here, and I said that I was 53, he’d immediately say, “54?” Children keep us on our toes.

I had to stop and think about how old he will be next month. 32!

Sorry for the mistake, not that anyone cares, in particular. As for me, I am looking forward to qualifying for the “senior citizen discount” at some of the fast food places. This message is NOT quilt related, except when we think of the “art quilts” that have been based on fast food. It’s a stretch, but I’m trying!

As another little anecdote, related to nothing having to do with quilts, I found this old photo of my mom as a young woman. She has a major scowl on her face. She saved the photo and above it, in her handwriting, it says, “Smilin’ Thru.” I got such a charge out of it. Both of my parents had hilarious senses of humor. I think that is what brought them through the hard times, seemingly unscathed. Sometimes we just have to laugh at ourselves!

More than you wanted to know.

Pat Cummings www.@

–

Date: Thu, 30 Mar 2006 19:01:31 +0000 | From: jocelynm@

>I still find it a matter of curiosity not explainable by “racism” that i cons >that trivialized members of a race are now sought out by their sons and >daughters. I wonder what it tells about the collectors. About the nation .

Gail, From the lecture I just finished giving, it can be ‘systematic desensitiz ation’, or taking back the control over how one’s ancestors are depicted.=

The students lured me into holding class outside, which had an interestin g effect on our discussion of cultural diversity. As one student said, sh e’d feel shy saying ‘those words’ inside the building for all to hear, bu t outside, she didn’t worry about distant passers-by. 🙂

Date: Thu, 30 Mar 2006 19:15:10 +0000 | From: jocelynm@

Sue, When I was a child, my mother took us to visit a cousin of hers, who had been raised as the only child of a well-to-do businessman in a Southern c ity. She had been raised with a black servant who was both housekeeper an d cook, and apparently she was very close to this woman, as a child and a s an adult. She continued to visit her, after the servant retired, taking her small gifts. She explained to us that she would have to leave us bec ause it was time for her weekly visit. The last summer we visited, though, my cousin-once-removed became distraught at breakfast, after reading the former servant’s obituary in the pape r. Her grief wasn’t faked. I had spent the night at her home, and I was t ruly afraid to have her drive me back to her father’s house where the res t of the family was staying, because she was crying so hard. After having my mother (who had visited as a girl, and who had therefore known the servant) console her awhile, she began to make plans to take fo od to the house for after the funeral. I innocently asked, wasn’t she goi ng to the funeral, and was rewarded with a look that could not have been more astonished if I had suddenly grown an extra head. My mother gave me the ‘hush’ look, and later explained that white Southern ladies didn’t go to the funerals of black servants, an ‘explanation’ that didn’t make a w hole bunch of sense to me, then or now. But it was obvious…my cousin-once-removed was astounded to be asked if she would attend the funeral of a woman she was sobbing for, and calling ‘my second mother’- it just wouldn’t be proper for her to go to a black c hurch to attend a black person’s funeral, no matter how ‘beloved’. I think relationships like that- relationships centered primarily on how the black servant could be of service to the white employer- were probabl y behind the resentment about depictions of ‘Mammy’ being happy and nutur ing, not of her own children, not in her own kitchen, but in the home of employers.

Date: Thu, 30 Mar 2006 14:15:58 -0800 (PST) | From: Judy White <whitey06029@>

I was given the book “Cats on Quilts” by Sandi Fox as a gift. It is a lovely little book about cats in the victorian era, cats appliqued on crazy quilts, painted cats, redwork cats, cats on handkerchiefs, interspersed with poems and sayings by such folks as Louisa May Alcott, Mark Twain, etc.

I also have a very little book called “The perfect Cat Anthology” with lovely painted pictures, almost primitive-like pictures, of real cats accompanied by small poems. I picked this book up a historical society book sale for $1.00. But probably the most interesting cat book I own is “Christmas Carols for Cats” which is full of songs for cats to sing at Christmastime. Each carol has a familiar tune such as “Jingle Bells” but the words and title have been changed to suit the illustrated cats. One is called “Collar Bells” and is sung to the tune of “Jingle Bells.” “Collar Bells, collar bells Scares the birds away O I hate this stupid thing It’s with me night and day. This book is written by Julie & John Hope and illustrated by Sue Hellard. So far my three cats have not mastered any of the songs eventhough I encourage them every Christmas to do so.

Judy White

Date: Thu, 30 Mar 2006 17:59:34 EST | From: Mendofleur@

I guess I have entered this discussion a little late, but I am identifying with the heartache I guess. My mother hired a black woman to care for me the first year of my life because she was too weak to take care of me at the time. I have pictures of this woman holding me in her arms. When my parents moved form California to Connecticut this woman begged my mother to let her go with us (as well as her husband) because she could not bear to give me up. My mother said of course it was not possible, and to this day I have never known who this woman was, what happened to her, and, now especially, why we did not stay in touch with her. Obviously, her sorrow was the greater for this loss since I was barely a year old at the time. I do not believe she had any children of her own and probably could not have them.

Phyllis de Vries

Date: Thu, 30 Mar 2006 18:34:28 EST | From: AG32040@

What happens to the old photo transfers if you expose them to llight. I have a set of photo transfers appliqued on a piece of cotton c.1900 and I have been afraid to expose it to any light . Has anyone have any exprience with the old transfers? Amy Goodhart

Date: Thu, 30 Mar 2006 21:22:48 -0600 | From: “Karan Flanscha” <SadieRose@>

I was asked to do a Bed Turning for a local quilt show this weekend. I looked over the quilts that are being shared for the Bed Turning, and one is a Basket quilt with an unusual block design. I have posted a photo of the quilt at the e-board, under the General tab: http://www3.eboard.com/eboard/servlet/BoardServlet?ACTION=NOTE_SHOW&ACTION_O N=NOTE&OBJECT_ID=1538390&SITE_NAMEÞstination&BOARD_NAME=VintagePictures&SE SSION_ID=mx19bt1vpu96fy9923&TAB_ID=33453

If the link doesn’t work, go to www.quilthistory.com then to the Gallery, then the General tab on the board. I hope someone may recognize this block. The fabrics appear to be from the 30s or 40s. The top half of the block is all made up of 1″ squares. The middle ones are print, sort of like a colourwash or trip around the world design. The white area that fills out the top is also all pieced with small squares. The blocks and sashing are made of the same fabric. I found it interesting the the basket blocks were sewn in ‘columns’, so the long strip of sashing ran vertically. It is more common today to see quilts put together in horizontal rows. There was also a sweet pink and lavender 30s butterfly quilt, with a wide solid pink sashing, that was also put together in vertical ‘columns’. I don’t know if these 2 quilts were shared by the same woman… it might be there were made by the same person or within a family. I may get more information at the Bed Turnings.

If anyone is in the vicinity of northeast Iowa, the show is “Quilting Tocatta” at the Allen (Nurses) College, in Waterloo, IA and will be open Friday (March 31) and Saturday (April 1). Please write me off the list for more info. Thanks!! Karan from stormy NE Iowa

Date: Fri, 31 Mar 2006 08:48:10 -0500 | From: joan kiplinger <jkip@>

To all — to make it easier and faster to access eboard, use www.vintagepictures.eboard.com and bookmark it for future use. This brings up all tabs.

Karan Flanscha wrote: I have posted a photo of the quilt at the e-board, under the General tab: http://www3.eboard.com/eboard/servlet/BoardServlet?ACTION=NOTE_SHOW&ACTION_O N=NOTE&OBJECT_ID=1538390&SITE_NAMEÞstination&BOARD_NAME=VintagePictures&SE SSION_ID=mx19bt1vpu96fy9923&TAB_ID=33453

Date: Fri, 31 Mar 2006 07:34:46 -0800 (PST) | From: Ark Quilts <quiltarkmv@>

Karan–Might that be an Anne Orr design or part of a larger one repeated as a single block? C. Ark, NW Ohio

Karan Flanscha <SadieRose@> wrote: I was asked to do a Bed Turning for a local quilt show this weekend. I looked over the quilts that are being shared for the Bed Turning, and one is a Basket quilt with an unusual block design. I have posted a photo of the quilt at the e-board, under the General tab: http://www3.eboard.com/eboard/servlet/BoardServlet?ACTION=NOTE_SHOW&ACTION_O N=NOTE&OBJECT_ID=1538390&SITE_NAMEÞstination&BOARD_NAME=VintagePictures&SE SSION_ID=mx19bt1vpu96fy9923&TAB_ID=33453

Date: Fri, 31 Mar 2006 10:00:09 -0600 | From: “Steve & Jean Loken” <sandjloken@>

These old photographic images on fabric are not actual “photo transfers” as we think of those today. Transfers are sort of a peeling process where the image is actually transferred to the surface of the cloth, thus giving that thickness that one senses. The older images are cyanotype photo development. That is, the fabric is treated chemically as is Kodak paper to receive the image directly from the negative. The fabric must be kept in the dark until it is placed in the sun with the negative or whatever you wish to appear placed over it, and between firm plates with glass on top. I’ve used ferns, lace, etc. The particular chemicals used make the image shades of blue, thus the name “cyanotype”; cyan meaning blue, the same as blueprints are made. The chemicals are hazardous, though. Just “Google” cyanotype to get the information. The first hit I read didn’t have the history, but it’s likely almost as old as photographic printing. Jean in MN loving the cat stories; our quilt-loving cat died at 18 several years ago.

Date: Fri, 31 Mar 2006 09:43:24 -0600 (CST) | From: SadieRose@

I wondered about Anne Orr, too. I shared this with Barbara Brackman, and she said she had never seen anything like it. I didn’t get to meet the lady who shared it, so hope she might have some information on it. Karan

Date: Fri, 31 Mar 2006 14:06:34 EST | From: MargaretFahey@

I have no idea what the name really is, but they look like tubs of fun candy. Very nice. I’d like to walk in a room with pretty wrapped candy all over

Margaret

Date: Sat, 1 Apr 2006 09:19:49 -0700 | From: “Judy Anne” <anne_j@>

I’d say the pattern may have been inspired by Anne Orr as it’s not sophisticated enough to be an Anne Orr pattern. It could even have been designed by the quiltmaker.

Judy Anne

Date: Sat, 1 Apr 2006 11:43:53 -0500 | From: “Deborah” <dguber@>

Hi everyone,

I’ve just joined this list, so I hope you don’t mind if I ask a question of the group right out of the gate…

I recently purchased an early signature quilt from an online auction site. The piece I bought was made by members of various families in and around Eversham, Burlington County, New Jersey between 1842-1843, according the dates that appear in the ink inscriptions. The pattern is a nine-patch variation, made with a combination of brightly colored and patterned fabrics common to the era. There are 14 signature blocks on the quilt (the others have centers of print fabric, and were obviously never intended to be signed), and several are accompanied by nicely-rendered drawings–a cat, a fish, grape leaves, a maple leaf, an oak leaf with acorns, etc. The surnames on the quilt include: Davis, Ballinger, Griscom, Johnson, Bates, Wooster, Cheesman, Evans, Matlack, and Peacock. Hinshaw’s “Encyclopedia of American Quaker Genealogy” (while not including the Upper Eversham meeting minutes) provides evidence that members of most of these families were indeed Quaker. It seems fairly clear, for instance, that at least the Davis, Ballinger, Griscom, and Peacock families were. That connection intrigues me. I have heard of Quaker quilts before, but usually in reference to richly colored silk quilts, not brightly colored ones made of cotton calicos and chintzes. That history and the folksy drawings made this, I thought, a good find.

But here’s the rub… After the quilt arrived yesterday in the mail, I made a painful discovery. While the quilt top is authentic to the period, the quilting was done much more recently (I was distressed to see it had polyester batting… ugh!). Still, the material chosen for the border, the backing and the binding is tasteful and done in what seems to be an appropriate style. I had been assured that the batting was cotton, so I am disappointed in what I paid. The dealer, however, while apologetic, will not consider any adjustment in the price. I have an option to return the quilt for a full refund, or keep it at full price; there is no in-between.

For the more seasoned collectors out there (I been buying signature quilts for just a few years), what would you do? Does the potential Quaker provenance of the piece add enough extra “value” to make up for the modern quilting? Do the ink drawings? Given the polyester batting, should I be skeptical of the authenticity of the rest of the quilt, including the top (I’m thinking here of the non-signed squares with the print centers. Could they have been added later using old, or even reproduction, fabric)?

I’ve posted a selection of pictures of the quilt here: http://www.uvm.edu/~dguber/quilt/NJ/

Any comments you might have would be greatly appreciated!

Thank you, Deborah.

March 28 – April 1, 2006

November 12 – 16, 1997

July 6 – 7, 2004

September 15 – 24, 2001

November 9 – 12, 2006

March 11 – 15, 2004 (Part 1)

March 11 – 15, 2004 (Part 2)

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