March 7 – 18, 2001
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:
- Candle Wax Removal — Members trade methods for removing candle wax from an antique quilt, including a Goo Gone-type product and a warm-iron/blotting-paper technique.
- Coverlet Weavers & Provenance Research — A member researching a signed coverlet consults the Checklist of American Coverlet Weavers and AQSG resources to track down a weaver’s identity.
- Swastika/Flyfoot as a Historic Quilt Motif — A discussion of the swastika (also called flyflot or flyfoot) as a good-luck symbol in older quilt patterns, prompted by a radio interview about the symbol’s pre-Nazi history.
- Selvage Signing Study & Ramoneur Prints — Members discuss a fabric-history study program on selvage signing, and a French exhibition featuring chimney-sweep (ramoneur) print dresses.
- Quilt Cleaning & Repair Referrals — Members ask for and offer advice on cleaning a newly finished quilt and on finding sources for antique quilt appraisal and repair. (see the article on cleaning antique quilts)
Date: Wed, 07 Mar 2001 11:07:36 -0500 | From: Beth Donaldson <quilts@
The Great Lakes Quilt Center at the Michigan State University Museum is holding a Michigan Quilt Project Documentation Day on Saturday, March 17, 2001, from 11 am – 4 pm in the MSU Musuem’s auditorium. We invite you to bring any quilt (old and new, all are welcome) to the auditorium where we will record and photograph it for our on-going data base. For more information contact Mary Worrall at 517-432-4118. You can also e-mail quilts@. Beth Donaldson Quilt Collections Assistant MSU Museum
Date: Wed, 7 Mar 2001 11:21:45 EST | From: Quilt25@
Last month, DJ Janet in MA and I attended a two-day seminar/workshop led by Dr. Dobard, one of the authors of Hidden in Plain View, a Secret Story of Quilts and the Underground Railroad. This email has nothing to do with the subject of the book or his discussion of the subject matter, except to say that he is a great speaker and I found his lecture both interesting and heartwarming. He is one of the most personable speakers I have ever heard and was lots of fun in the workshop. He makes quilts, crochets, and does needlework. He showed some of his own quilts, then discussed old quilts and blocks that others had brought. I would like to share comments he made. Old quilts and blocks: He recommends that we not quilt old tops. Quilt historians are now able to date old tops by looking at the thread used to piece them. If old blocks are sewn onto papers with written material on them, removing that paper removes clues to the age of the blocks. (This hit home as I once removed magazine articles from the Korean Conflict era from blocks I wanted to piece into a top.) New quilts: Throw away the color wheel. Look to nature for your color combinations. (This is in direct opposition to what Judith Montano recently did in a crazy quilt workshop. She looked at my “palette” of fabrics, and told me that two of mine didn’t match up on the color wheel. I like Dr. Dobard’s philosophy personally. But I enjoyed Montano’s workshop also. She is also lots of fun.) Just thought I would share these comments with you. Whether you agree or not, I found them interesting. By the way, if you ever get a chance to hear Dr. Dobard, please go. Linda in Mesquite, TX
Date: Wed, 07 Mar 2001 11:50:23 -0500 | From: Newbie Richardson <pastcrafts@
Xenia, Laura, et al, I knew you guys would have some insight! This is clearly no later than very early 40’s based on fabrics – that I am confident of. And the story is not a well known one like Gone With The Wind. But the idea of a “Victorian” theme is just right. There is a block with a man on a high wheeled bicycle. I’ll try and find a copy of the Uncoverings, my own stash do not go back that far. Thanks Newbie
Date: Wed, 7 Mar 2001 12:20:40 EST | From: Quilt25@
In a message dated 3/7/01 10:56:46 AM Central Standard Time, pastcrafts@ writes: << I’ll try and find a copy of the Uncoverings, my own stash do not go back that far. I recently “inherited” copies of Uncoverings of the period of 1980 throught 1988, as well as several books relating to quilt histories from various areas. This has sparked an increased interest in quilt history. Are Uncoverings and American Quilt Study Group still in existance? Peg in North Texas
Date: Wed, 7 Mar 2001 23:15:24 EST | From: Edwaquilt@
I was at JoAnn Fabrics tonight and saw a “candle wax removing” compound. It is made by the Goo Gone people. Says it will remove was from all kinds of things including fabric. Instructions indicate to put the liquid on until the wax is soft then scraped off with the included scraper, then wash. Holic
Date: Wed, 07 Mar 2001 22:38:02 -0600 | From: Laura Hobby Syler <texas_quilt.co@
Oh my! We sell gallons of goo-gone and Un-do at the Container Store, and use it by the gallons to clean everything….it does remove gum from just about anything. But it is a very *very* oily substance and I doubt that I would risk using it on a quilt, unless it was it’s last hope. I’ll be back in the store to work a short shift on Sunday. I’ll check the product information sheet and see what they say about it. I might call the buyers before then and see if they have any insight. I still vote for the freezer, iron then boiling water routine. Laura
Edwaquilt@ wrote: I was at JoAnn Fabrics tonight and saw a “candle wax removing” compound. It is made by the Goo Gone people. Says it will remove was from all kinds of things including fabric. Instructions indicate to put the liquid on until the wax is soft then scraped off with the included scraper, then wash. Holic
Date: Thu, 08 Mar 2001 04:10:11 -0500 | From: “Judy Kelius (judysue)” <judysue@
Last night on eBay an old receipt dated 1882 from a company that bills itself as “Well-Known Conveyors of Genuine Lancaster Quilts” (Lancaster, PA) sold for $102.50. I put copies of the photos on my own web site since sellers often remove photos right after an item has sold. Has anyone ever seen anything like this? Do you think they were “quilts” as we know them today? I find the items on the bill of sale just as interesting as the letterhead – three “white counterpanes,” “col. (colored?) cotton,” and a “fancy stript.” My guess is that the counterpanes are woven (letterhead refers to “white honey-combed counterpanes”), but I’m not sure about the others. The company also sold woven coverlets & so I’m wondering if they were primarily weavers. Did they call woven coverlets “quilts” in 1882? Anyway, I thought you would all enjoy seeing this . . . ironic, isn’t it that even more than 100 years ago Lancaster County “quilts” were considered something special <GR? To see the photos, go to http://208.44.243.180/judysue/1882receipt.htm.
Date: Thu, 08 Mar 2001 08:35:00 -0600 | From: Xenia Cord <xecord@
I looked in Checklist of American Coverlet Weavers, the 1978 compilation by the Abby Aldridge Rockefeller Folk Art Center, Colonial Williamsburg, and this is what I found: “Schum, Philip (1814-1880). Born in the grand duchy of Hesse-Darmstadt, Germany, he settled in Lancaster, Pennsylvania (Lancaster Co.), sometime after 1844, and is recorded as weaving there by the Colonial Coverlet Guild of America, Safford and Bishop, Reinert, and Kovel and Kovel. By 1856 he had established a weaving business known as the Lancaster Carpet, Coverlet, Quilt, and Yarn Manufactory. At first it was in a small building on Dorwart Street; a larger factory was erected in 1862 at the corner of Strawberry and South Water streets. Beginning with four men and one or two looms, Schum progressed to four looms employing eight men, and later the establishment had at least twenty looms that required forty men. In 1875 Schum’s production per week was about 400 ‘quilts,’ about 500 yards of carpets, plus quantities of blankets, yarns, and flannels. An inventory of his estate includes a carpet shop, a weaving shop, a dye-house, a store, a coalyard, and another store. Also listed were 390 ‘half-wool coverlets; valued at &920, along with numerous counterpanes, ‘cradle quilts,’ and other bed coverings.” (page 103) This may be more than you wanted to know, and it doesn’t really answer the question of whether these were quilts as we know them, but it does appear that Schum was a coverlet weaver and dealt in other bed and floor coverings. Xenia
Date: Thu, 8 Mar 2001 08:32:27 EST | From: KareQuilt@
< Yes, AQSG is still VERY much in existence! Peg, you have a great treasure in your hands if you inherited the earliest “Uncoverings,” for they have long been out of print. However, a couple of the early ones are gradually being reprinted with a quilt in full color on the cover. (All the alter issues have full color covers as well.) But those earliest editions in the aqua (?) cover are now in the “rare book division” of quilt history, IMHO. We held our annual meeting in a different city each year. Last year it was held on the campus of the University of Nebraska in Lincoln where our offices and library are now located. It was a great thrill to finally see the library collection accessible to researchers. The International Quilt Study Center is located on the same campus. What a thrill to tour its facilities, also, and be able to do behind the scenes research on the Strippy Quilt research project that Hazel Carter and I are working on at the moment. In the fall of 2001 (Oct 12-14) our annual seminar will be held here in Virginia in Williamsburg. Mark your calendars! <g You won’t want to miss the opportunity to see behind the scenes at Colonial Williamsburg’s textile conservation lab and storage facilities, not to mention all the great papers that are going to be presented, plus Round Tables, Study Centers and the Book Store and Silent Auction! <g AQSG also produces an excellent quarterly newsletter called Blanket Statements. (Some back issues may be available.) Contact info is: AQSG, 35th and Holdrege St., East Campus Loop, PO Box 4737, Lincoln, NE 68504-0737; Email: AQSG@ or 402-472-5361. Website: http://catsis.weber.edu/aqsg If you like Quilt History, this is definitely an organization you will want to belong to! The published Seminar papers (Uncoverings) and the newsletter (Blanket Statements) are gold mines! Karen Alexander AQSG Regional Coordinator Northern Virginia
Date: Thu, 8 Mar 2001 09:29:16 EST | From: QRACQUE@
Hello everyone, The Bloomsburg, PA Antique Show at the Fairgrounds will be held on Sat. March 10th 10-5 and Sunday March 11th 11-5. There are about 75 exhibitors with quite a few dealers in antique quilts, etc. It is indoors, free parking and good food available and $4.00 admission. It is located at Buckhorn Exit #34, I-80 on W. Main St., Rt. 11, Bloomsburg, PA. Please e-mail me privately for more information. Thanks. Marianne Williams
Date: Thu, 8 Mar 2001 23:02:46 EST | From: SadieRose@
Hello, I am participating in a combination “Block of the Month” and fabric history study program through Patchworks in Bozeman, MT called “Nineteenth Century Nines”. (Before anyone gets excited…the program is closed for this year, Margo is only making so many kits per month, and registration was only open in January…sorry!) We receive 14 pieces of repro fabric typical of a certain era, along with printed info on the fabrics of the time & the social history, too. It has been very interesting so far. You are supposed to make 6″ Nine patch blocks from the fabrics. The February packet includes 2 fabrics she refers to as “Ramoneur” prints. I had never heard of this term before, which of course made me curious about it. Here is what was in our packet: “Ramoneur (French for chimney sweep) These dramatic prints were named for their very dark background colors; black, very dark brown, plum, or deep blue. Floral motifs appear luminous against such dark colors. This style was very popular on the Continent from 1792-1796. There was a gap of several years before they gained popularity in England, 1805-1815. These distinctive prints were available in America from French trading houses in the 1790s and later from English printers.” I have found information on Ramoneur prints in two of my quilt history books. “Calico & Chintz – Antique Quilts from the Collection of Patricia S. Smith” (catalog from the Renwick Gallery exhibit), pg. 32 with photos of quilts pg. 52-53, 70-71. “Quilts of Provence – The Art and Craft of French Quiltmaking” by Kathryn Berenson, pg. 6, 88 & 147, both with photos. I was wondering if anyone has additional info or sources of info on this type of fabric. I haven’t had time to reseach all of the quilt history books in my library yet. I did not find a listing for this in the index of “Clues in the Calico” by Barbara Brackman…. I didn’t find this term used in “Dating Fabrics: A Color Guide 1800-1960″ by Eileen Jahnke Trestain, although there are photos of some fabrics that I believe would be called “Ramoneurs” (pg. 17-19). Also, does anyone know the correct pronunciation (sorry, I took German in High School, not French 🙂 I have started a notebook to keep all this info in, along with a Quilt/Fabric timeline, which should be very helpful when we do quilt documentations. Happy Stitching, Karan from Iowa, where the “glacier” is finally starting to melt
Date: Thu, 08 Mar 2001 22:14:21 -0700 | From: Alice Cruz <alice.cruz@
Thanks to everyone who had suggestions for removing candle wax from my quilt. They included — icing/freezing, then scraping the outer wax off — pouring boiling water through the wax — ironing it out onto white paper towels, brown paper bags, 3-4 week old newspaper, newsprint — use citrus based cleaners such as Simple Green, Un-du, Goo-Gone I started by removing as much of the wax from the surface of the quilt as possible. There was still a large hard chunk inside the quilt I went to the ironing board, using multiple layers of paper towels on both sides of the quilt, along with a muslin press cloth and several layers of muslin to protect my ironing board. This removed lots & lots of wax! I went through a lot of paper towels & replaced the muslin as well. I did get to enjoy the candle scent as I worked! When I *finally* got to the point where I did not see any wax on the paper towels, I could see a stain on the muslin back of the quilt. I’m sure the same stain was on the front, but that I couldn’t see it on the printed fabrics. The stain also had a stiff feel. I looked through my cleaning supplies & found a bottle of Goo-Gone. The label specifically mentioned that it would remove candle wax. The directions said apply sparingly to avoid spreading the stain, give it time to work, wash in extra detergent. I ignored the first one & really saturated the stained area. I let it sit for about 10 minutes, then rinsed in lukewarm water in the sink. I dissolved some regular laundry detergent (All Free) in a clean sink of water, then washed the “waxed” portion of the quilt. Rinsed in clean water several times, then repeated the wash with the entire quilt. (it is a doll quilt). Rinsed some more & some more & rinsed some more. When I got tired of rinsing, I laid the quilt out flat to dry. When it was dry, the stain was gone, but I could feel a slight stiffness in the area where the wax had been. I have repeated the Goo-Gone application & the quilt is laid out to dry right now. While it is wet, I cannot tell if the wax that was causing the stiffness is gone or not. I think it will be. Thanks to everyone for your help! alice
Alice Cruz The Quilted Chile
Date: Fri, 09 Mar 2001 23:24:47 -0500 | From: Diane Shink <dimacquilt@
Hi all I have been following the info about selvege signing with interest. In Canada we had access to Laura Ashley cotton, designed in England in the 1970’s and I finally hauled an outfit out of storage that I had made with Laura Ashley fabric around1979. Needless to say it does not fit but I had left the selvedge on which states Designed by Laura Ashley R circled. It is lovely cotton and is now in pieces ready to be recycled. I have already promised some to a client who does colour wash quilts. In the early 1980’s as the quilt bug was approaching I made 2 large star pillows with the leftover blue and white cotton so they are now waiting to be labelled and added to my Star Quilt Collection. On a recnet visit to the Victoria and Albert Museum in London it was easy to see in a study of 1800’s fabrics where Laura got her design ideas. There were also two of her dresses in the Costume gallery. As well , in the textiles section the samples of the original William Morris Fabric was dated 1877 in the selvedge, complete with the Oxford address . It really was a thrill to see his prints as we had visited the Liberty store the day before and splurged on some of his more famous prints like Strawsberry robbers. I must add that I visited London after attending the North Country Quilts Exhibit by Dorothy Osler and it was a dream come true to see those quilts and study with Dorothy for 2 days. I literally closed the Museum both afternoons and spent the majority of my time with the early 19th century chintz quilts.What a shame the quilts will not travel but Museum staffing problems,time ,money and communication seem to be the same world wide. Incidently I have brought back an autographed copy of the Exhibit book for the MASs auction in Paducah April 27. Diane Shink, AQS Certified Appraiser, in snowy Montreal
Date: Sat, 10 Mar 2001 14:19:30 EST | From: JQuilt@
maybe the prints were dark/ drab from all of the soot on the chimney sweeper’s clothes…:))))))))) jean
Date: Sat, 10 Mar 2001 22:07:57 +0100 | From: Daniele Seyrig Baumgarten <d.seyrig@
There are two dresses made with ramoneur prints in the exhibition that is closing tomorow at the Musee Galliéra in Paris . I was so happy to get to see so much ramoneur print fabric at one time VBG They are wonderful . Now to pronounce ramoneur try ra mo ner and you will be quite close to it. try and pronounce the ner syllabe as open as possible using your mouth rather than your throat to produce the sound . A bit difficult to explain on the web … Danièle in Paris
Date: Sat, 10 Mar 2001 17:09:53 -0600 | From: “quilt97” <quilt97@
Hi, I bought a red and white basket quilt top at a garage sale this morning. The seller, a beginning quilter, had been thrilled to first buy it, brought it home and washed it. Yes, the quilt top is now red and pink. So she sold it to a good home. I have tried Sythropol on a pink corner and that didn’t remove the pink. A weak bleach solution on another pink corner (not touching the red baskets) did remove the pink. From previous reading I don’t think the bleach is good for the fabric, so if anyone has any suggestions on how to remove the pink (red bleeding onto white) and still retain the red in the red fabric where it belongs, I sure would appreciate it! EKarenbeth
Date: Mon, 12 Mar 2001 10:19:10 EST | From: ZegrtQuilt@
The Kentucky Quilt Project is looking to sell a large number of copies of its titles at greatly reduced prices. We are losing our gratis warehouse space and we are more than ready to get out of the book business. Ideally we are looking for a wholesaler, distributor or individual to buy in bulk at seriously reduced prices. However, we are also offering large discounts to those interested in buying single copies. If you are interested in making bulk purchases or know someone who might be interested please feel free to email Dorothy at dorwest@ or call: Dorothy West, Phone: (502) 584-5100 Fax: (502) 587-7348 TITLES AVAILABLE Abstract Design in American Quilts: A Biography of an Exhibition by Jonathan Holstein Paperback, 240 pages Retail Price $39.95 Less 50% discount Your price $19.96 plus $5.00 shipping and handling Signed hardback with slip case Retail Price $100.00 Less 50% discount Your price $50.00 plus $5.00 shipping and handling “Abstract Design in American Quilts” an exhibition at the Whitney Museum of American Art in New York in 1971 curated by Jonathan Holstein and Gail van der Hoof, is generally credited as the spark that ignited the modern International quilt revival. Holstein gives its background, set against the art world of New York and discusses what has happened with quilts and quiltmaking since then. The book is the only record that includes full-page color photos of every quilt (61) in that historic exhibition. In addition, it includes rare photographs important to modern quilt history that are not otherwise available. Expanding Quilt Scholarship: The Lectures, Conferences, and Other Presentations of Louisville Celebrates the American Quilt Edited by Shelly Zegart, Jonathan Holstein Paperback Retail Price $52.00 Less 50% discount Your price $26.00 $5.00 shipping and handling Please note that this volume is printed on demand, therefore we do not print unless we receive orders for at least 8 copies. In this softcover limited edition publication are the lectures, conferences and other presentations of the 1991-92 landmark quilt event, Louisville Celebrates the American Quilt. Organized by The Kentucky Quilt Project, Inc., the event was planned to further quilt scholarship in specific areas. Many of the best-known scholars in the quilt field, joined by equally distinguished scholars from other disciplines (art-history, African American studies, American decorative arts, corporate and institutional collecting) gave more than 20 presentations on quilt-related subjects. Most of those presentations are included in this publication. A number of projects which grew directly from these conferences have helped to shape the future of serious quilt scholarship. Some of the writings are by such scholars as Ulysses Dietz, Tom L.Freudenheim, Virginia Gunn, Ph.D., Penny McMorris, John Hallmark Neff, Judith Weissman, Ph.D., and others. Kentucky Quilts: 1800-1900 by Jonathan Holstein, John Finley Paperback Retail Price $21.95 Less 50% discount Your price $10.96 plus $5.00 shipping and handling The Kentucky Quilt Project, the first state document project, started in 1981 from a belief that Kentucky’s 19th C quilts are a valuable part of our nations’ artistic heritage. For over a year Quilt Days were held throughout the state to identify the quilts and collect data for permanent reference. 44 of these quilts and their stories culminated in the exhibit that traveled with the Smithsonian Institution Traveling Exhibition Service for two years. Since 1981, groups in all 50 states and some countries abroad have undertaken quilt surveys informed by the methods and directions of the Kentucky Quilt Project. The Quilt Journal: An International Review Paper Retail Price $52.50 Less 50% discount Your price $26.25 plus $5.00 shipping and handling From 1992-1995 The Kentucky Quilt Project, Inc. had an idea meant to fill the gap in the then current quilt scholarship available to the interested public. We started to publish the Quilt Journal: An International Review with the plan to facilitate the work of those around the world who came to quilt research from other fields, backgrounds and with different visions. We wanted to gather information generated by other parts of the world and bring it to the attention of the American quilt community, and also to act as a reference source for American quilt information. Six issues were published with a total of 26 articles. Please note that The Quilt Journal is sold in complete sets only. Individual volumes are not available. Volume 1, Number 1: The Quilt Journal: Mission Statement, by The Editors A New World in the Old: European Quilt Scholarship, by Janine Janniere Rethinking Quilt Projects: A Folklorist’s Perspective, by Laurel Horton Volume 2, Number 1: Methodology and Meaning: Strategies for Quilt Study, by Patricia Keller The “Hand Quilting” of Marseilles, by Janine Janniere Her Life In Quilts: A review of Quilters’ Biographies, by Laurel Horton Volume 2, Number 2: A Glimpse of the Japanese Quilting Community: The Influence of Quilting Schools, by Penny Nii/ Shizuko Kuroha Quilt and Fabric Stylings of the Later Twentieth Century by Jeffrey Gutcheon “Lapptacken en Kulturskatt” (The Quilts: A Cultural Treasure): An Exhibition Review by Julie Silber The Quilting of Narrative: Playful Subversion in The Robber Bridegroom by Marjorie Ingall Volume 3, Number 1: Filling in Quilt History: A 16th- Century French Patchwork banner by Janine Janniere Contemporary Quilts: An International Review by Michele Walker Approaching Analysis: The Lancaster County Quilt Harvest by Patricia Keller American Museum in Britain by Shiela Betterton Volume 3, Number 2: Quilt Scholarship: The Quilt World and the Academic World by Lorre Weidlich The Construction of Quilts in the 1990s by Elaine Hedges The Victorian Crazy Quilt as Comfort and Discomfort by Jane Przybysz “Sister Quilts from Sicily: A Pair of Renaissance Bedcovers” by Jonathan Holstein Volume 4, Number 1: Quilt Judges and Juries: Hard Questions by Carol Jessen Royal Connections: Quilting and the British Monarchy by Shiela Betterton Quilts and Art: Value Systems in Conflict by Lorre M. Weidlich Documenting Britain’s Quilts: A Look at the Findings by Janet Rae Discovering “The Dedicated Quilter” by Jonathan Holstein Winterthur Museum’s Treasury of Quilts by Deborah Kraak & Kathleen Carpenter Quilted Links? South African Kappies and French Boutis by Lucille M. Chaveas More on Sicilian Quilts Ordering Information: To order individual titles please contact: Dorothy West Phone: (502) 584-5100 Fax: (502) 587-7348 ORDER NOW!!! Also offered by Shelly Zegart at greatly reduced prices (not in affiliation with the Kentucky Quilt Project). American Quilt Collections: Antique Quilt Masterpieces by Shelly Zegart Hardcover – 178 pages 1 edition Vol. 1 (August 1, 1997) Nihon Vogue, Tokyo Retail Price $45.00 Less 50% discount Your price $22.50 plus actual UPS Shipping American Quilt Collections, Antique Quilt Masterpieces surveys 74 of the most significant public and private quilt collections around the country. Zegart chronicles the history of each collection, examines the stories of the collectors, and provides applicable visitor, archival, and scholar services. Alan Jabbour, former Director of the American Folklife Center at the Library of Congress, says, “If you want a one- book introduction to the range and artistic power of the grand tradition of American quilting, Shelly Zegart’s American Quilt Collections is the solution. It offers a comprehensive overview of major American quilt collections–both the great institutional collections a collections and, equally compelling, some magnificent collections in private hands. Each collection is amply described and one “masterpiece” is selected from it for full-page color reproduction and detailed description. The array of styles and techniques is wonderfully broad, from classic patterns to album quilts to crazy quilts and trapunto, and the artistry is world-class.” Two thoughtful forewords, by Jonathan Holstein, curator of the 1971 landmark exhibition, “Abstract Design in American Quilts” at the Whitney Museum of American Art and Celia Y. Oliver, curator at Vermont’s Shelbourne Museum are joined by appendices that guide the reader to additional resources. To Order American Quilt Collections, Antique Quilt Masterpieces please contact: Shelly Zegart Email: zegrtquilt@ Phone: (502) 897-7566 Fax: (502) 897-3819
Date: Mon, 12 Mar 2001 15:49:32 -0800 | From: quilter@
i sent someone on this list what i thot was a copy of my word document that was compiled over the years. it was just a list of dates and the fabrics, colors, and printing techniques used during different time spans. now that i’m looking for it in my directory i can’t seem to find it. i’m thinking that when i sent it as a file, it sent my actual file instead of a copy of it. could whoever that was get in touch with me and perhaps send me back a copy? thanx. —duh patti in san diego
Date: Mon, 12 Mar 2001 16:09:49 -0800 | From: “Colleen” <silkypsln.com
Thanks for posting the info. on the Valentine. Since my husband is back there, I told him about it and he was able to visit it this last weekend. He was really impressed with the items made from tobacco ribbons and labels. He posed the question, “If fabric was so scarce, what about all the thread they had to use and the needles?” He said the ribbons were quite narrow and therefore a lot of thread was used. Were thread and needles as dear, or just cloth? Colleen
Quilters, I am not a member of this list, but am searching for answers that maybe someone here could help. My church recently acquired a red and white quilt dated 1916. It is red and white and resembles a backward swastika. It is signed through out the pattern with the names of the congregation members at that time. Someone stated they thought it was a symbol at that time of good luck and possibly a Pa. Dutch heritage. Any knowledge would be truly appreciated. Please e-mail me directly. Thanx – Judy of starliteaccessgate.net
Date: Mon, 12 Mar 2001 19:55:46 -0500 | From: Nancy Morgen <nancysquilt@
the swastika pattern was originally known as flyflot or flyfoot, and was indeed a good luck symbol – its useage is very old and from different cultures. Nancy Morgen CEO of the DUH Factory nancysquilt@
Date: Tue, 13 Mar 2001 12:27:45 +1100 | From: “kate knight” <kateknightoptus@.au
Dear qhl’ers A friend has just asked for advice with cleaning a quilt, it is new (just completed) and somehow has developed a large stain (about 6″ across) on the dark blue backing which smells suspiciously like furniture polish. A textile conservator at our Powerhouse Musuem here in Sydney has advised her not to wash it as it may set the stain, but instead to have it dry-cleaned. I can’t remember how many times I have read not to treat quilts with dry-cleaning chemicals, so I was quite surprised to hear this advice. After such stunning success with the wax problem, I am hoping that the wealth of knowledge and experience on this list may be able to comment or advise. With thanks, Kate
Date: Tue, 13 Mar 2001 10:57:12 -0500 | From: “Jan Drechsler” <quiltdoc@
Our list mom Kris Driessen will be a vendor at my guild show so if you come, be sure and stop by and introduce yourselves. And shop at her booth First! I will be white-gloving, setting up and scribing for a while and would love to meet you. Saturday and Sunday, March 24-25, 2001 – 10:00 AM – 4:00 PM HANDS ACROSS THE VALLEY QUILTERS GUILD presents “Hands All Around VIII Quilt Show – A Biennial Show” LeFrak Gymnasium, Amherst College, S. Pleasant Street/Route 116, Amherst, MA Almost 400 quilts on exhibit, plus vendors, snack bar and luncheon, raffle quilt and demonstrations. Mini Quilt Auction both days. For information contact Carolyn Croteau, (413) 584-0845. ****** Jan Drechsler in Vermont Quilt Restoration; Quilting teacher http://ourworld.@/homepages/bobmills/jan.html
Date: Tue, 13 Mar 2001 12:17:13 -0500 | From: “Dee Stark” <deenf2g.com
I am not a member of this list, but am searching for answers that maybe someone here could help. My church recently acquired a red and white quilt dated 1916. It is red and white and resembles a backward swastika. It is signed through out the pattern with the names of the congregation members at that time. Someone stated they thought it was a symbol at that time of good luck and possibly The swastika is an ancient symbol, originating in the Bronze age, and appeared everywhere except among the Egyptians and Seminites. It may have been originally inspired by the visual image of two sticks joined together and spun to make fire. In Asian cultures it symbolizes the four cardinal directions (North, South, East, West), infinity, prosperity, or the sun in rotation – a metaphor for life. In the Chinese language it is called the “Wan” character – that means good luck and is a synonym for the character that means ten thousand. Also known under the name Gammadion (often when the spokes rotate to the left), it takes that name from the fact that it is composed of four Greek gammas. It was an ornament on Goddess images in the Mediterranean. The symbol was popular with the Gauls, and moved into Western Europe with the Norman invasions, where it was adopted by the Christians and used frequently to decorate graves/tombs. In Native American traditions it is usually called the “firewheel” and represents the four cardinal directions. Up until the 1920’s, it was a universal symbol of good luck. Then the newly forming Nazi party started using it as a symbol of Aryan purity, and by 1940 and WWII, the swastika became firmly associated with that political movement. PS….as far as I know, the Red Cross never used a swastika symbol. Given the date on the quilt, I would think it is safe to assume it was being given as a good luck quilt – possibly a going away present? Two of the symbolic meanings of the color red are ‘courage’ and ‘martyrdom’. Dee
Date: Tue, 13 Mar 2001 10:28:42 -0800 (PST) | From: Kris Driessen <krisdriessen@
Well, er, actually… I will only be at the show Friday night and Sunday. Since Amherst is so close to Sturbridge, MA, I was planning on going to the Antique Quilt and Textile Study Day. (http://www.thequiltauction.com/help/sturbridge.html) I know at least two other QHL’ers will be there – I do plan to bring some treasures to show and sell. Stop by either way and say, “hi!” Kris
Date: Tue, 13 Mar 2001 22:34:47 -0500 | From: “brickworksinc” <brickworksbigfoot.com
Hi all, I did not feel comfortable putting full details on this directly on QHL, but know of a commercial quilting machine for sale, if anyone’s interested. This is for a client — I am not making a cent from it. Please e-mail me directly at brickworksbigfoot.com if you’re interested, and I’d be happy to pass on her e-mail address. Thanks much, Cindy Brick
Date: Wed, 14 Mar 2001 08:24:33 EST | From: DDBSTUFF@
Hello from Akron, Ohio, USA I read your question to the QHL about the quilt with the furniture oil stain. Water cleaning will set oil stains so it is wise to first treat any oil stain with something that will devolve the oil. Something like alcohol usually will work. However, here is a little tip that will work better. Place the oil spot on several folded up old towels. Now pour Coleman Stove Fuel onto the opposite side a little at a time. This is a very clean fuel and will not leave a residue and it will wash away the oil. The towels are used to soak it up. Of course, you don’t want to be smoking for obvious reasons. This will completely evaporate afterwards and will not leave a spot. I as taught this by n old oriental rug collector. I have used it successfully on both rugs and quilts. Darwin
Date: Wed, 14 Mar 2001 08:34:38 EST | From: DDBSTUFF@
I recently heard an interview on Fresh Air with the author of a book on the Swastika. Here is the information form Amazon.com. The Swastika: Symbol Beyond Redemption? by Steven Heller, Jeff Roth This is the first incisive and revealing exploration of the meaning, mysteries, and misunderstanding of the most powerful symbol in the history of mankind. The book analyzes the swastika’s pre-Nazi religious and commercial uses in all of its varied permutations, the Nazi appropriation and misuses of the form, and its contemporary applications as both a racist and an apolitical icon. Tracing the symbol to its beginnings in antiquity, the author explores the myth and cult of swastika lore and its evolving use as a commercial trademark and logo, then speculates on the future of the symbol in two final, thought-provoking chapters, “The Swastika Revisited: Today and Tomorrow” and “Hitler’s Children: Rock and Roll.” Steven Heller, a New York Times senior art director, AIGA Journal of Graphic Design editor, and author of more than seventy books, lives in New York. Darwin
Date: Wed, 14 Mar 2001 09:21:43 -0800 | From: “Catherine Kypta” <ckypta@
Hello all! Recently I was called to go give some advice on a pre-Civil War era Broderie Perse quilt which I had seen about 4 years ago at an Antique Quilt show at one of the local museums. Anyway, I went over because the people who now have the quilt (son and daughter in-law) were in a panic because the quilt had been in a storage closet in their hall, they went to England for 4 weeks and when they got back, lo and behold the quilt was wet and full of mildew. Ugly black and grey splotches with some furry black areas as well. They dried it and called me to come see. It really is a very sorry sight. I had seen this quilt before, it is huge, over 120 inches square, beautifully appliqued using wonderful old chintz, birds, florals, pillars, and very intricately quilted. When they had it at the museum, an appraiser had valued it at over $10,000.! Well, I have never seen one as bad as this. I have taken mildew out of an old Princess Feather Quilt with q-tips and bleach, but this is way beyond anything like that. I have also had limited success with lemon/salt and sun. Any help you could give would be greatly appreciated! The quilt is not fragile, it is very sturdy and the fabrics are or were in great shape! Help!!! Catherine, in now sunny Sacramento
Date: Thu, 15 Mar 2001 14:27:32 -0500 | From: “Pam Weeks Worthen” <pamworthen@
I’ve been lurking for a week or so, and still don’t know what’s appropriate for new members, but I’m the type to just jump in and go for it, so, here I am…. I’m Pam Worthen, a quilter for 25+ years, with a strong interest in old quilts, quilting history, and New Hampshire/early US history. My career as an “Art Quilter’ was ruined in 1992 when I took a class from a local teacher called “Old? No it’s New” and began to learn to search out repro fabrics for the antique look. My quilts now run in two lines: Art quilts in colors that jump off the wall and grab you, and antique reproductions. (Right side/left side brain thing? I don’t know, I like color AND antiques!) I have been noodling around with the idea of taking the AQS appraiser’s class, mostly for the purpose of gaining knowledge and having a valid excuse to fondle old fabric and quilts (with the appropriate care, of course! 😉 ) I live in an old house at a grist mill site on a small river that dumps over the dam into the salt water estuary, in Durham, NH about 6 miles from what’s left of the Cocheco Mills in Dover. Do I really remember reading in Kiracofe (Is it “American Quilts”? don’t have the thing nearby to get the right title, sorry) that those mills put out 26 million yards per year in the early 19th century? We do lots of sailing on our river and those that lead to the old Dover Mills…Who can tell me where all of the cotton came from in the early 1800’s to supply those hungry cotton mills? All from the South? India via England? I often imagine what the rivers must have been like with the small ships and gundalows plying goods up and down from the larger ports. Well, I am sooo happy to have found this list and am looking forward to learning TONS! Thanks for “listening”. Pam
Date: Thu, 15 Mar 2001 21:15:09 -0500 | From: “carol baum” <maybaumsgoldrush.com
I really don’t have money to spend on appraisal for some fabric I bought off of ebay last week. I just want to know where to research something. The fabric came from Fifth Avenue Designs copyrighted in the USA. It has a Strawberry Shortcake type of raggedy doll and I just want to know what type of doll character might of been before Strawberry or where to go to look. I think my fabric might be a drapery type. Carol Baum
Date: Fri, 16 Mar 2001 03:31:14 -0500 | From: “sue reich” <mreichattglobal.net
I am on a fact finding mission regarding domestic wool production in America in the seventeeth, eighteenth and early nineteenth centuries. Those of you on the Eastern seaboard in particular, do you recall seeing many wool, calimanco, or glazed quilts in your museums or documentation efforts particularly south of New England? Are there any museums or publications that you can direct me to. Many thanks, sue reich
Date: Fri, 16 Mar 2001 09:23:14 EST | From: Trimble4@
Hello everybody, Am not sure whether or not I ever really introduced myself and think maybe I should follow the lead offered here. I too am new to this world. Have been quilting for only about six years, although I made my first “quilt” back in the early seventies at the tender age of 11. Like others, I am crazy about old quilts and the stories that live through them. I am intrigued by the women who made the quilts, their time, efforts, and lives. My real loves are the “not so perfect” quilts made by “not so perfect” women…that is, the less than best quilts produced by women who were merely trying to survive and keep their families warm. I was introduced to the idea of taking the appraisal skills courses (and exam) by Vivien Lee Sayre, who gave a nice lecture at one of my local guild’s meetings. I was hooked, actually!! This list is a terrific place to learn. I had thought I knew a thing or two about quilts but have just figured out that there is a whole world of information out there…and that I know absolutely nothing!! My thanks to all of you for your contributions to this list and the great bits of information (and wisdom) that you place here. Lori East Amesbury, Massachusetts Trimble4@
Date: Sun, 18 Mar 2001 11:36:21 -0500 | From: “Kris Driessen” <krisdriessen@
I can’t believe a non-quilting site started this fad, but I think it is a great ideas and I would like to get in on it. Would anyone like to send me a patch for a Cyberquilt? I am starting one at http://www.quiltweb.com/cyberquilt.htm. All you need to do is send me a 125 x 125 logo which I will link to your site. In return, you agree to start a cyberquilt an place my cyberquilt logo in your quilt. If you don’t have a logo to swap, there are some free ones listed on the cyberquilt site. This should be a lot of fun – and a great chance to visit each others sites! Kris
