November 14 - 18, 2004 - QuiltHistory

Oral History & Documentation, Quilt History Resources, Restoration & Conservation

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

Primary topics of this QHL Digest:

First Lady Laura Bush & Quilt Exhibit — Members discuss a museum exhibit referencing Laura Bush’s remarks on quilt symbolism.
Studio Quilt Study Group Meeting — Announcement and discussion of an upcoming Studio Quilt Study Group meeting in New Jersey. (see the article on quilt study groups)
Archival Box Care & Replacement — A detailed exchange on how often to replace archival storage boxes and alternatives like rinsed fabric versus acid-free tissue.
Hollis Chatelain Quilt Description — A member offers a detailed description of Hollis Chatelain’s quilt for those who couldn’t view it directly.
Jonathan Holstein Located — The search for Jonathan Holstein’s contact information concludes with his email address being shared.

Date: Sun, 14 Nov 2004 09:36:45 -0800 | From: “Christine Thresh” <christine@>

Here are paragraphs 6 and 7: “The exhibit Stitches in Time here at the museum highlights the symbolism behind historic quilt patterns. Early slaves made quilts to keep warm-but they also used scraps of fabric to weave a story. A beautiful example is the Drunkard’s Path Wall Hanging made of cloth from Africa. “The block-type design was used by African American quilters to communicate routes of escape northward. The jerky pattern may look like the wanderings of a tipsy man – but the message to slaves was to avoid traveling in a straight line to evade capture. Quilts were made with tied string and the knots in the strings indicated the number of miles to freedom – while the star pattern represents the North Star.”

—– Original Message —– From: <Jccullencrew@> Subject: [qhl] re: Laura’s speech/question

> In a message dated 11/14/2004 12:03:50 PM Eastern Standard Time, > danabalsamo@ writes: > http://www.preserveamerica.gov/firstladyremarks-mobile.html > Hi, > Can you tell me how you got to read her words in the paragraphs > mentioned? When I pull up this site, the type is so miniscule I can’t read it even > with my reading glasses. I’d like to see what she said before I comment. > Thanks. > Carol Grace

Date: Sun, 14 Nov 2004 13:41:19 -0500 (EST) | From: <dsrake@>

On November 8 Newbie Richardson asked for some discussion about art or studio quilts. I apologize for not responding sooner; I’ve been away from my computer for a week.

If you are new to studio quilts, I recommend Penny McMorris’ book “The Art Quilt” as a great place to start. Also try Michael James, “Art and Inspirations.” Two other q

Date: Sun, 14 Nov 2004 13:53:24 -0500 (EST) | From: <dsrake@>

On November 8 Newbie Richardson asked for some discussion about art or studio quilts. I’ve been away from my computer for a week, so I hope this isn’t too late to be helpful.

Two excellent books are Michael James, “Art and Inspirations,” and Penny McMorris, “The Art Quilt.” For more on painted quilts, try Faith Ringgold, “Dancing at the Louvre.” Nancy Crow and Yvonne Porcella are two more quilt artists; their books are listed on Amazon. You could also look for the books published every other year that catalog the Quilt National exhibit at the Dairy Barn. It is one of the premier venues for art quilts.

As with any other type of quilt, the more you look, the more you appreciate. We are so lucky to be living in the golden age of quilting. There is a quilt out there for everyone–tradional, avant garde, pieced, appliqued, made by hand or machine, subtle or wild.

Debby Rake

Date: Sun, 14 Nov 2004 18:46:38 -0500 | From: “J. G. Row” <JudyGrow@>

Studio Quilt Study Group will be meeting here in Ringoes New Jersey in a couple of days, on Tuesday, November 16th. We meet from 10 AM to about 3PM with a break for lunch.

Hoping (in vain it seems) to have a speaker from Baum textiles, our focus still will be on quilts with fabulous fabric collections.

In addition, we realize that our own quilts, the ones we make, will be the ones that other quilt study groups will be looking at in years to come. Many of those in our own group who are quilters (and I realize that not all of us are) should be recognized for their body of work now, in their own lifetime, before the quilts are scattered . Starting with this meeting one of our regulars will be bringing a representative sampling of her (his) own quilt history to share with the rest of us. Sue Reich will be sharing her special Christmas bed quilts with us this month.

I hope you can come. Get in touch with me for directions and more information.

Judy, aka the Ringoes Kid judygrow@

Date: Sun, 14 Nov 2004 19:21:46 EST | From: Elpaninaro@

Good evening all,

My name is Tom Reddick and I am a new member to this list. I have long been interested in quilting thanks to my mother (Mary Reddick) and our longtime family history with quilting.

Just now piecing my first project, and Preview Night a couple of weeks ago was my first visit to Quilt Festival and WOW what a time! Had a blast.

Never made it over to the exhibits, but I have seen pictures of the winning quilt. It is stunning and I wish I could have had time to see it in person.

I agree with others who say this was much ado about nothing. Between my mother, my grandmother and some other local quilters I have heard no argument about this piece winning much deserved recognition. There may be some angry buzz in some Houston circles, but I have not caught wind of it. My grandmother also pointed out that in her lifetime she witnessed similar short term uproar in quilting competitions over machine quilting and even rotary cutting!

In any event, I expect I will do more reading than posting here for now being a newbie. I am glad to have joined and look forward to reading more. It is fun to collect and make quilts, but I am also very interested in a lot of the historical discussions this group offers. It will be nice to not only enjoy seeing quilts, but get a better understanding of where they came from.

Take care,

Tom.

Date: Mon, 15 Nov 2004 00:47:30 -0500 | From: “Janet” <right2me2003@>

I, also, am hoping that some of the wonderful people on this board got to view this quilt in person and will describe it in detail for us. I am very interested if reading the discussion on this quilt, although I think it is beautiful. Janet

Date: Mon, 15 Nov 2004 15:28:09 -0500 | From: “Peggy O’Connor”

I’ve read how you should replace acid-free tissue paper periodically, but what about the archival storage boxes? Can they be used “forever” without damaging quilts or other items stored in them? Peggy in sunny NC

Date: Mon, 15 Nov 2004 15:50:45 -0500 | From: “Candace Perry” <candace@>

Peggy, I think they can be used forever! We’ve had some here at the Heritage Center in use for almost 20 years, still a-okay. They’re inert, and free of wood lignins. Candace Perry

Date: Mon, 15 Nov 2004 15:37:17 -0500 | From: Joan Kiplinger <jkip@>

Peggy — I asked this question awhile back on the TexCons list. Yes, boxes can be used; you can freshen by changing acid-tissue paper. Conservationists have two schools of thought about archival packaging — some believe the acid buildup from a textile permeates the box; others believe that in time box can transfer its buildup into fabric. Middle of the roaders which seem to be the majority prefer using same box but changing tissue maybe once a year. Again, much depends on the rarity and value of the textile as to storage container and its lifecycle.

From: “Marcia Kaylakie”

Dear Peggy, The archival products company that our guild uses for boxes says that their boxes will last 100 years. Marcia Kaylakie, Austin, TX —– Original Message

Date: Mon, 15 Nov | From: Elpaninaro@

Great topic and good timing for me!

I am moving to Austin in about 2 weeks and I plan to leave most of my older quilts here in Houston for a few months until I get fully settled. I have pillowcases for each of them and they will go into a temperature controlled private storage facility with non-aerosol pest control programs in force.

Good idea to set them in boxes as well? Where can I find these archival boxes?

Thanks for any help,

Tom.

Date: Mon, 15 Nov 2004 22:07:44 -0500 | From: Joan Kiplinger <jkip@>

Tom — archival supplies can be found on www.gaylord.com and www.hollingercorp.com

Date: Tue, 16 Nov 2004 08:09:27 -0500 | From: Palampore@

For fair advertising—you can also find them at Light Impressions. Just do a search on the Internet. Instead of acid free paper you can line the boxes with 100% cotton sheeting that has been washed in Orvus or Ivory. I do both. I really prefer the sheets for they are easier to control when wrapping a quilt. However I just don’t have that many sheets. This also works well in trunks. Lynn Lancaster Gorges Historic Textiles Studio

Date: Tue, 16 Nov 2004 08:34:59 -0600 | From: Xenia Cord <xenia@>

I agree with Lynn that sheeting is easier to work with than tissue, and old sheets can be torn into necessary-sized pieces for padding folds etc. A good source for cotton sheets is an old-fashioned auction, the kind where the auctioneer lumps the bedding, embroidery, towels, quilts, bath mats and aprons in a heap on the beds, and sells the stuff willy-nilly by the box or armload. If the previous owners are old enough, the sheets will be all cotton – check the labels.

Xenia

From: “Laura Syler” <texas_quilt.co@>

I’ll ditto both Xenia and Lynn on the cotton sheeting, and add one more thought on acid free tissue. Several years ago I worked with the textile curator at Dallas’ Old City Park run by the Dallas Historical Society. I helped him correctly identify the “common names” of the quilts in the collection while they were “replacing the acid free tissue”. In the past they had to replace the tissue every year as “it is only regular tissue with a buffering compound applied and that breaks down all too quickly”. They were using a “new” acid free fiber product that looked much like the protective “fabric” found in panty liners! Cost was only $80 a yard!!! I’ll go for the sheets every time!!! But, if you can’t find sheets, wait until JoAnn’s or Hancock’s has their muslin on sale….run through the washing machine rinse cycle several times and off you go!

Laura Hobby Syler Richardson, Texas

From: Elpaninaro@

Thanks to all for the suggestions! I appreciate it (and I expect some of my old quilts will too!)

Take care,

Tom.

Date: Wed, 17 Nov 2004 08:00:13 -0600 | From: “Charlotte Bull” <charlou@>

I have found many sheets and pillow cases for sale very cheap in a local flea market…no fleas in them! I had stored each quilt in a pillowcase for years before even learning about proper care with tissue and fancy boxes. They are stored in a big walk in closet. I had fastened an ID card on each pillow case so I could find them quickly when I changed quilts on racks and beds every month. At times I’ve sacrificed vintage white or muslin yardages for this good cause too. But most of my collection consists of quilts with no major $ value. I usually fall in love with well used quilts with a “Story” to tell or with unique block designs or settings. I often get teased because I’m a Humane Home for old quilts, dogs, cats & birds, not to mention books & fabrics! The quilts live on second floor. The dogs & cats live on first floor! The wild birds live outside. The books & fabrics live in my quilt studio. I float between the various life styles, keeping everyone happy, including me.

To be honest, I cannot afford the really specialized boxes. But if I were to build a Quilt Haven I’d have a big room, just for those boxes full of quilts, tops & blocks; and it would be well organized, like a Library! With a File with information on each item! Well, I can dream! cb

Date: Wed, 17 Nov 2004 09:41:37 -0500 | From: Patricia L Cummings <quiltersmuse@>

CB wrote:

* * * * *

Dear Charlotte:

I think that you’ve just described the International Quilt Study Center in Lincoln, Nebraska. Wish I lived closer!!!

Pat

From: “Newbie Richardson”

Dear list, Although I can already hear the boos and hisses – please do NOT use old pillow cases to store your quilts. They are fine for very short term transportaion, but not for long term storage. Bedding such as sheets becomes impregnated with body oils and sloughed off skin cells. Over the years, these oils become permanent in the fibers. No amount of washing will rid the fabric of them. We all have the experience of opening an old linen closet and having the odor assail our nostrils – that is “old bodies”. Old cotton sheets – like our parents and grandparents had before the new fitted sheets became common, are probably OK as they were not used as frequently. However, pillow cases are full of oils – by definition they have had faces, necks ,and hair rub against them for years of use. If you wait and hit the white sales in January and buy close outs of mismatched pillow cases, then that would be fine as long as you wash out the finishes used in the fiber production. The objection is not the pillow case – but where it has been prior to being put to use as a storage medium. I am a great advocate for common sense, cost effective textile storage, as many of you know. You can use aluminum foil to line cardboard boxes or old suitcases, as a barrier against acids. You can make “snakes” of stuffed cotton tubing to pad the folds or even just fat strips of quilt batting. I use 100% cotton stockinet purchased from medical supply firms. This is the same stuff the doctors put over your arm before they build a cast around a break. It comes in many widths. Two inch wide is very useful. Wash it first, as it too has sizing. Go in with a friend – or your guild and buy it by the box, not the yard. I think I last paid .50 cents a yard! Or if you live an area with textile mills, use the tubesocks sold by the pound, cut off the toes, and wash first. But please do not use pillow cases. Sorry if this makes more work for some folk. Newbie Richardson

Date: Wed, 17 Nov 2004 10:04:45 -0800 | From: <chrisa@>

Since no one else is describing Hollis’ quilt, I will try, but no description can possibly do it justice, so this is simply better than nothing.

I took a class with her this summer to “learn ” her techniques and she brought this quilt among others. I was very close to it. She does not use paint. She uses fabric dyes and makes them up from dye powder differently than if she were going to whole cloth dye with them. She starts with a white or natural piece of muslin that she has prepared for dying. This quilt is a whole cloth of this muslin (if it is seamed I didn’t think to notice, so it may be.) She did not piece or appliquE9 any of the design. First she uses natural hair brushes to apply the dye onto the fabric, drawing the outline first and then filling in as shadow or solid. She is a wonderful painter and knows how to use the brush well. It’s all done freehand. When this is complete, she rinses and washes it like any dyed material. Next she goes to her sewing machine after layering it with batting and backing. Without the threads from quilting it wouldn’t look complete at all. The best example of this is the man’s plaid shirt. Most of the lines forming the plaid are sewn with colored threads, not dyed and then sewn over. this stood out the most in my mind. A great deal of the detail is thread, not dye. yellow threads and black brown threads made up the most of this quilt. She uses tons of thread and it takes a long time for her to make quilts like this from start to finish she told us.20

Kim Wulfert www.antiquequiltdating.com

From: “sue reich” <suereich@>

Our Connecticut Documentation Project saw 3000+ quilts. The best kept quilts in private collection had been stored for years in king-sized pillows cases and well-laundered feedsacks. One family brought in over 30 quilts and 15 woven coverlets that had been stored that way for nearly one hundred years. They are from the Buck collection and can be viewed in the Quilts and Quiltmakers. The owners labeled the outsides of the sacks and cases for ease of identification. 20 One important thing that I noticed about quilts stored this way was the reduction of fold lines in the quilts. The quilts are in more of a rolled condition when stored in a pillowcase or feedsack. They can also breathe yet they are protect from dust. 20 This method of storage has become my favorite recommendation to quilt owners and the one I have adopted myself. Archival products are expensive and take up more room. Anyone can watch a “White Sale”, buy those king size or European size cases, laundered the heck out of them to get rid of the sizing. They make quilt storage as economical as possible. sue reich ——_NextPart_000_0006_01C4CCA8.7FC908F0–

Date: Wed, 17 Nov 2004 13:38:55 EST | From: Hazelmacc@

Jonathan Holstein’s email is fourscore@. At least that was it the last time l wrote him.

Hazel Carter

From: Carolyn K Ducey

Jonathan Holstein is visiting here at the International Quilt Study Center this week. I asked if I could send out his new email and he’s given me the okay. He’d be happy to discuss the possibility of being a speaker at your event. Here it the new email. jonfourscore.com

Carolyn Ducey Curator International Quilt Study Center HE 234, University of Nebraska Lincoln, NE 68583-0838 402/472-6301

“Beth Davis” <bethdan533eznet To: “Quilt History List” <qhl@> .net> cc: Subject: [qhl] Re: Recommendations regarding QH speakers 11/12/2004 04:41 AM Please respond to “Quilt History List”

Hi Molly, The Genesee Country Museum Program Director actually suggested Jonathan Holstein as a possible speaker, but I cannot find out how to contact him. Does anyone have his e-mail address or contact information?

Beth

From: “Margaret Geiss-Mooney”

Good evening, QHL’ers – Thanks, Newbie, for another great summary. Let me add another reason NOT to use pillow cases, whether old or new: most quilts are way too big to be crammed into something as small as most pillowcases (even those that are king size). So all sorts of folds/creases and compression of the quilt result. If you have a quilt that already has brittle/physically damaged parts, squishing it into such a small volume will cause additional damage. If you have a small/tiny quilt with low volume (no puffy batts), then a new well-rinsed (should I explain the whole process of rinsing again?) pillow case for a short time should be OK. Regards, Margaret (Meg) Geiss-Mooney Textile/Costume Conservator Professional Associate, AIC mgmooney@

From: “Margaret Geiss-Mooney”

Hi again, QHLers – Another source of fantastic archival boxes is the company, Conservation Resources International, www.conservationresources.com. They make the Microchamber products which scavenge all sorts of damaging air pollution and off-gassing (like smoke, mothballs). Request a copy of their catalogue – it has one of the most comprehensive explanations about paper chemistry I’ve seen. They make boxes that are appropriate for those silk and wool textiles: unbuffered on the inside and buffered on the outside (the boxes are called Microchamber/ Silversafe).

>>archival supplies can be found on www.gaylord.com and www.hollingercorp.com>>

Elpaninaro@ wrote:

>Good idea to set them in boxes as well? Where can I find these archival >boxes?

Regards, Margaret (Meg) Geiss-Mooney Textile/Costume Conservator Professional Associate, AIC mgmooney@

From: “Margaret Geiss-Mooney”

Hi again, fellow QHLers – The rate of replacement for an archival box depends on a number of factors. It is hard to quantify exactly when a box should be replaced. But they do have to be replaced periodically. The paper that the box is made out is also deteriorating. And it deteriorates faster if it is exposed to light, pollution (sitting on a wood shelf? filled with mothball-contaminated quilts? filled with wool-containing textiles? functioning/used fireplace in the same room?) Paper formulations also change over the years as the paper manufacturers change their formulations for whatever reason. One can only hope that they are getting better about it!? I prefer to use fabric (rinsed properly) for wrapping, lining, separating layers, lifting out, stuffing because the fabric is softer when crumpled, can be re-rinsed periodically so acidic/contamination build up is not a problem and will be big enough so I don’t have to piece pieces of tissue to get the coverage needed (one of those Murphy laws: the acid-free tissue on hand will always be 4″ too small for the next textile you are wrapping). Regards, Margaret (Meg) Geiss-Mooney Textile/Costume Conservator Professional Associate, AIC

PS Folks who preserve/conserve art/objects/things are called conservators; Conservationists preserve trees/wildlife generally.

>> Peggy — I asked this question awhile back on the TexCons list. Yes, boxes can be used; you can freshen by changing acid-tissue paper. Conservationists have two schools of thought about archival packaging — some believe the acid buildup from a textile permeates the box; others believe that in time box can transfer its buildup into fabric. Middle of the roaders which seem to be the majority prefer using same box but changing tissue maybe once a year. Again, much depends on the rarity and value of the textile as to storage container and its lifecycle.>>

— Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.797 / Virus Database: 541 – Release Date: 11/15/2004

Date: Thu, 18 Nov 2004 05:29:53 -0500 | From: “Beth Davis” <bethdan533@>

Hello Hazel and Carolyn, Thank you very much for the e-mail address. I’ve sent the information the to the curator and Art Gallery Director with Jon’s e-mail address. It will be interesting what they come up with for next May! I’ve given them almost 10 names!

Thank you to all who have responded to my request. I hope to get the chance to meet you all. Regards, Beth

Carolyn Ducey

From: “Newbie Richardson”

Nylon panty hose are great tools for conservation. I use knee-hi’s to encase stuffing when I make mannequin arms and need a “slippery” material for very tight late Victorian sleeves. Used ones are fine – just be sure they are washed. The problem with nylon is that when exposed to UV light it does desintegrate, but if you are using it to create stuffed tubes to cushion folds, then they will not be exposed to UV! Also, they do really stretch out! I let my arms “hang out” before sewing them on the forms. Newbie

Date: Thu, 18 Nov 2004 07:36:51 -0700 | From: “Judy Anne” <anne_j@>

Kim, Thanks for the description of Hollis’ quilt.

I just found a close up view of a small segment of the quilt, “Precious Water”, at http://www.holKarenrt.com/Pages/gallery/gal2_preciouswaterdet.htm It looks like all the details on the child’s face and man’s hands are created with densely sewn threads. Am I seeing it right? It looks amazing.

Judy Anne

Date: Thu, 18 Nov 2004 09:16:44 -0600 | From: “Charlotte Bull” <charlou@>

Hi, thanks for your input, but with my having mentioned pillowcases, I felt I should add this: Many of these cases were ones my mother had embroidered and crocheted but NEVER USED!!! (She is the one who preferred lady-like needlework to making quilts! No Comments, please! It still makes me a bit irritated that she never told me about my grandmother’s & great grandmother’s quilts!) Anyway, she gave me scads of them or I inherited them when she moved in with us. They were not oily!

Other cases were ones I’m made from the fabrics with the borders on one edge that had once been feedsacks. We still bought chicken feed in in feedsacks in the 1970s in CO!!! Honest, many were “old” – but never used! Please keep in mind that the quilts I stored were described as being very worn & used. Honey, you’all could not find a pillowcase that would have hurt those quilts – they might have even have hurt my mother’s fine crochet! Actually, most of my very elementary collection are used quilts from 1900 to 1940! I do have a few archival boxes for a few very fine quilts!

Actually, I truly understand your concerns! But, a large number of quilts from the early days are much smaller than the average “bed quilt” of today! Some are cot or twin size. At most, they are regular bed size. No queens or kings lived on the rural backroads of the Ozarks! Some of mine are obviously well used because they were for kids or hired hands! They roll up nicely and fit inside a case. Actually, some of the pillow cases from the 1950s were wedding gifts that I never put on a bed because they were WILD and my husband insisted on plain solid white!!! He said wild fabrics gave him bad dreams but he actually never used his pillow! It got tossed on the floor at once! Pristine condition! : )))

But I really appreciate your concerns. I can see your point, when it comes to valuable quilts! My good ones do get good care, but the old quilts were the ones I used in my programs on finding history in Grandma’s attic or appreciating the well worn & used utility quilts of times gone by. I usually stressed the “stories” they told us, not the beauty of a pristine never used piece of art! Hey, I could not afford those quilts! I just gave the poor old ugly ones a “Humane Home”! I am not a professional quilt museum curator!

But, re the one comment, I WAS raised in Lincoln, NE and I have been back to see the museum. I devoutly wish that I’d been able to major in Textiles rather than Literature, but the museum quality textile work was not really taught at the time that I attended! We don’t always know where we’ll end up, do we? If you could relive your life, what would you be? One of those thought provoking questions? If I were some of you, I ‘d stay as I am. But, I’d give alot to be a young person in the Textile World of today!!! Note the word “young”!!! cb

Date: Thu, 18 Nov 2004 13:10:05 -0500 | From: “Lucinda Cawley” <lrcawley@>

It’s a four hour drive from my house to J. G. Row’s in New Jersey. Is it worth the trip to be part of the SQSG? Absolutely!!! On Tuesday the theme was “quilts with many different fabrics.” It was a great topic. A Flying Geese strippy top has fugitive purple strips separating the scrap geese which included flag fabric, probably a Centennial print. A late 19th century Rolling Stone top had inked and embroidered signatures. The inscriptions were really tiny. A contender for “hit of the day” was an incredible Hexagon top (papers still inside) which included fabrics from pre-1840 to the 1860s. This piece represents a triumph of fussy cutting. Lozenges, often arranged as stars, are separated by hexagons cut from stripes of a particular fabric to form a ribbon outlining the shapes. The top is huge and is, perhaps, even more complex than the bedcover illustrated on pp. 54-55 of the Calico and Chintz catalogue. With the exception of lots of copper-toned madders (concentrated in areas near the edges) all the fabrics looked very early. Our sense is that the template piecing method was not much used in the US by the 1860s. Could this be an English piece? The only thing legible on the papers was the word farrier.(Americans would be more likely to say blacksmith.) Didn’t the Hexagon style remain popular longer in the British Isles? Whatever it’s history this piece alone was worth the trip. We saw two Bowmansville quilts (complex designs pieced entirely of squares. See p. 146 of Trish Herr’s Quilting Traditions). These quilts were not in star designs but arrangements of separate squares, like a Trip Around the World variation. A very unusual small spread from Connecticut had primitive appliqued stars (?), or maybe they were supposed to be flowers, surrounded by multiple pieced borders (circa 1820). Barb Garrett had a busy, busy, busy 1930s scrap top which perfectly illustrated her theory of why some 30s quilts drive people crazy–there’s no place for your eye to rest. It was also a perfect example of why some tops never get quilted–every star was a little volcano. Barb valiantly took notes and gave me a copy so that I could share this with all of you. Judy took pictures which will probably go on the QHL website. A vibrant 1840 blue and orange Blazing Star (9 large blocks) had a wonderful border of a watery blue with a bubble-like design. In the corners of each block turkey red stars were appliqued. My second nominee for “hit of the day” is another example of Hexagon piecing. This one is small, unfinished and incredibly elegant. The center is a medallion from the Princess Charlotte commemorative chintz (Princess Charlotte, daughter of the Prince Regent, married Leopold, later King of the Belgians, in 1816). You can see what the chintz looks like on p. 31 of The New England Quilt Museum Quilts by Jennifer Gilbert. The rest of the piece is creamy white hexagons except for a ring pieced from a gold chintz. It was bought on Ebay! Another Connecticut quilt (circa 1850) was the most complex Pineapple ever. Tiny pieced triangles form the body of the fruit which is completed by scroll-like leaves. Another New England quilt (huge-around 1840) is composed of small (6″) stars in various light chintzes with sashes and borders of the darkest brown print–beautiful and sophisticated. Another early quilt alternates scrap Pinwheels with plain blocks finished with a border of the most vibrant imaginable version of the fabled bird chintz. It gives a good idea of what these early 19th century fabrics looked like when new. A giant Starburst (Quaker? Philadelphia?) was made of only three fabrics and 60 degree diamonds. There was a lovely early pieced Medallion crib quilt. Believe it or not there was a lot more, but I really do have a life in the real world which needs some attention. I will add that lunch was over the top: the salad had pomegranates and there were eight desserts! Life is good. Cinda on the Eastern Shore

From: “Candace Perry”

Though I’m not all that horsey, I spent several years at the Kentucky Derby Museum, and it was my impression that the term farrier has been used here to denote someone who particularly shoes horses and cares for their feet and other horse related problems, rather than someone who is involved more generally in black smithing — which could include making household items, tools, etc. Now, I’m not sure if the term is used on this side of the pond in the 20th century onward –but I’m fairly certain I’ve seen 19th century American farrier’s manuals. Candace Perry

Date: Thu, 18 Nov 2004 10:54:55 -0800 (PST) | From: Kris Driessen <krisdriessen@>

Not to be outdone: there will be a meeting of the Capital Region Quilt Study Group in the Guilderland library from 10 – 3 on December 4, 2004. For more information, visit our page at http://www.quiltstudy.com. This site is open to all who have Quilt Study groups – if yours is not listed, please E-mail me at krisdriessen@ and let me know. I would be glad to update the page.

Also, for those of you in the Auburn NY area, the Schweinfurth Museum is sponsoring a quilt study day. You don’t have to be a member, just show up with your quilt.

Kris

Date: Thu, 18 Nov 2004 19:07:01 +0000 | From: Sally Ward <sallytatters@>

the term farrier has been used here to > denote someone who particularly shoes horses and cares for their feet and > other horse related problems, rather than someone who is involved more > generally in black smithing — which could include making household items, > tools, etc. Now, I’m not sure if the term is used on this side of the pond > in the 20th century onward

Yes, indeed, we always have had and still do have farriers and blacksmiths. A farrier would be skilled in elements of blacksmithing, but a blacksmith may not be skilled in handling horses. My OED says a farrier is “a ‘shoeing-smith’; horse doctor; N.C.O. in charge of cavalry regiment’s horses”. And according to a family tree drawn up by my mother and which I am still trying to authenticate, my own great-great-grandfather was a farrier in the coal mines of Durham, north-east England. (out of interest, the mines there were still using pit ponies at the beginning of the 1960s.)

Sally W

Date: Thu, 18 Nov 2004 14:38:10 -0500 | From: “Candace Perry” <candace@>

Caught something else I wanted to comment on: I have a “block” of hexagon piecing here in the collection with paper still attached which is pre-1860… And I do believe I had a quilt in a collection I worked with in KY that was pre 1850 — hexagons with paper still attached. Fabulous, as I recall. Sounded like a great study group day! Candace Perry Schwenkfelder Library & Heritage Center

Date: Thu, 18 Nov 2004 14:47:18 -0500 | From: Vivien Sayre <vsayre@>

Candace and All, The title farrier is still a much honored profession in the States. It applies to a skilled person who makes monthly visits to horse farms to shoe, or reshoe horses, attend to their hooves and in general, take care of any problems a horse may be having with its hooves. In addition, the Farrier prepares a horse for competition by applying appropriate shoes for which ever event it may be competing. It is also their job to work closely with vegetarians to correct any foot problems. Hope this helps. Vivien in MA

Date: Thu, 18 Nov 2004 14:52:43 -0500 | From: “J. G. Row” <JudyGrow@>

In East Amwell (Ringoes) New Jersey there is a listing in the yellow pages for a farrier, and I’ve actually seen him at work in a friend’s barn.

(By the way, NJ has more horses than Kentucky)

Judy, aka the Ringoes Kid judygrow@

Date: Thu, 18 Nov 2004 14:56:07 -0500 | From: “J. G. Row” <JudyGrow@>

> It is also their job to work closely with vegetarians to correct any foot > problems. > Hope this helps. > Vivien in MA

What does that mean? Can I suggest my DIL go to the farrier if she gets bunions or an ingrown toenail?

Judy, aka the Ringoes Kid judygrow@

Date: Thu, 18 Nov 2004 15:07:44 -0600 | From: Gail Ingram <gingram@>

The term “farrier” did and probably still does in many regions refer to someone who is a blacksmith or uses blacksmith’s skills.

It was used in mid-10th century to refer to railroad workers who laid track.

And the singer Frankie Laine of the same era had a song that had the line “drill, ye farriers, drill.” Indeed, that was my first contact with the term. Of COURSE, I heard that son MUCH later <g>.

I’m often reminded that the kids I teach don’t remember Desert Storm!

Gail