November 27 – December 2, 1998
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:
- Researching a Dated Signature Quilt — A member seeks advice on tracing names on a Texas signature quilt, prompting discussion of genealogical resources, census records, and research strategies.
- Sunshine & Shadow vs. Trip Around the World — Members debate the distinction between these two similar one-patch patterns, discussing whether the difference lies in color placement, setting orientation, or regional naming conventions.
- Black Light Testing for Fabric and Antiques — A lively thread explores using black (ultraviolet) light to detect synthetic fibers in quilts, fluoresce old madder dyes, and authenticate antique glass, with members sharing hands-on results.
- Cleaning and Caring for Inherited Quilts — A new member asks how to safely clean quilts inherited from her grandmother, drawing detailed advice on washing, storage, and the risks of dryer sheets and harsh detergents. (see the article on cleaning antique quilts)
- Feedsack Fabric Memories — Members share personal recollections of wearing feedsack dresses and undergarments, and discuss the history of printed feedsack textiles. (see the article on the feedsack story)
- Old Dry-Goods Store Memories and Fabric Meters — Discussion of the mechanical fabric-measuring devices once used in dry-goods and department stores triggers a wave of nostalgic recollections about shopping for fabric in earlier decades.
- Little Red Riding Hood Novelty Fabric — A member describes a quilt featuring printed scenes from Little Red Riding Hood, and others help identify the conversational or novelty print tradition it belongs to.
Date: Fri, 27 Nov 1998 08:05:05 -0500 | From: Jean Ann <quiltmag [at] mindspring [dot] com>
although this is a commercial site, they have quite a bit of information about the history of hawaiian quilting http://www.poakalani.com/ my daughter was in Hawaii last week and took a class here one morning. She was very impressed with all the history they taught as well as techniques.
|\ _,,,—,,_
/,`.-‘`’ -. ;-;;,_ MY CAT, PATCHES, NEEDS A QUILT!
|,4- ) )-,_..;\ ( `’-‘
‘—”(_/–‘ `-‘\_)
Jean Ann Eitel, Editor
Date: Fri, 27 Nov 1998 19:41:32 -0500 | From: “Phyllis Twigg” <ptwigg [at] radix [dot] net>
The Maryland State House on State Circle in Annapolis will be decorated for the holidays with quilts as part of the 4th Annual Red & Green & Blue Exhibit featuring both new and antique quilts created by Marylanders. The State House is open 900 a.m. until 500 p.m. daily except Christmas Day during the Dec. 2nd to Dec. 29th exhibit period. Last year the poinsettias and greenery together with the huge Christmas tree made quite a beautiful sight. The State House is the oldest state capitol in continuous legislative use in the United States and is the sight of many significant historical events. If you’re in the area, treat yourself to a seasonal delight.
Phyllis Twigg
Date: Fri, 27 Nov 1998 23:17:33 -0500 | From: Barb Garrett <bgarrett [at] fast [dot] net>
To: QHL [at] cuenet [dot] com
A special thanks to those who have contributed these memories for all to enjoy. If you or a family member or friend used feedsacks in the 20s, 30s, 40s or 50s, please consider sharing your memories with QHL and the Feedsack Club Archives. A questionaire to assist in your rememberings can be sent to you by e-mail. The questionaire also makes a good starting point to get older persons talking and remembering many things from: their earlier years. Thanks for sharing. Barb
To: day we are featuring childhood memories. These 3 women were from 2 different parts of the country, and while 2 have good memories of the use of feedsacks during their childhoods, one definitely did not like her short acquaintance with feedsacks.
Peggy was born in Arkansas in 1944. While her father was in the military and she lived many places, her granparents lived on a farm in Arkansas. Although they would have been considered poor, her grandparents did own their own farm and lived like most of their neighbors. They went to town weekly and bought items they didn’t raise on the farm, including feed for their chickens and pigs, and flour and sugar. Her grandmother bought some bags to make into clothing, kitchen to: wels and pillowcases. She also made clothing for Peggy, and used many bags in her quiltmaking.
Peggy tells us that her grandmother would make clothes for her when she came for her summer visit. She remembers liking the things her grandma made for her and didn’t feel any stigma from wearing something made of feedsacks.
Her grandmother would have friends over to quilt sometimes and the frame was in the front room, which was used for company. She doesn’t know if her grandmother also went to other homes to quilt, as she stayed home with her family during their summer visits. Quilts were always used. They were usually heavy and in the winter you could barely move under them. There was no central heat, and the quilts were hung on either the fence or washline to air.
Peggy’s grandmother kept her home canned foods in the smokehouse and sometimes covered them with an old wornout quilt to keep them from freezing. The jars were in a bin with cotton seed lint and the quilt on to: p. Her grandmother made lots of quilts, including Sunbonnet Sue, double wedding ring, grandmother’s flower garden, Martha Washington’s flower garden, nine patch, dresden plate and others. Peggy says all kinds of cottons, not just feedsacks were used in the quilts, many receiving hard use and becaming worn.
Peggy feels fortunate to have some flower garden quilts, her childhood apron and a couple of pamplets about sewing with feedsacks to remember her summers with her grandparents.
Barbara was born in 1937 and grew up in Montville, NJ, one of 4 children in a middle to low income Catholic family. She remembers her father going to the feed store monthly, buying a couple of bags at a time. Her mother made clothing, including play sets and pajamas for her out of the feedsacks. Her comment when asked about her feelings concerning these clothes — “I liked the clothes.”
Judy, who was born in Texas in 1944, but grew up in Toms River, NJ, has only one feedsack memory, and it isn’t a pleasant memory. She was one of 2 children in a middle class family when her mother bought feedsacks from: a small shop so that Judy could make an apron for school because it was cheap fabric. Judy said she made a skirt and an apron and � “I didn’t like it!” Definitely an unpleasant memory.
Date: Sat, 28 Nov 1998 16:28:16 -0600 (CST) | From: Marcia Kaylakie <marciak [at] eden [dot] com>
Hi everyone,
I have recently come into possession of a dated signature quilt. It has several last names of people known well to the central Texas area. It is date: d on several of the signature blocks, with some of the ladies giving their age as well! The trouble is, I have no idea how to find out about the people on this quilt. I will go to the state archives after the first of the year to see what I can find in the birth/death records, also the census year nearest it. but if anyone has any other ideas about how I could research this lovely little mystery quilt, I would appreciate it. I am charmed by the quilt. Many of the names are in family groupings, and quite coincidentally, one of the 2 inital only blocks has my maiden name initials! The collective research wisdom of this group would be greatly appreciated! Thanks, Marcia Kaylakie, Austin, TX
Date: Sat, 28 Nov 1998 21:31:18 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
Hi, Marcia – IMHO, your immediate task is to discover why these people are grouped together on the quilt. Of course they must have had something in common. The most likely common aspect would be location – they were all from the same town/area. Another likely possibility is that they were all members of the same church. Groups of family names suggest this, and if there are men’s names as well as women’s, this is a stronger possibility. Churches used quilts as fundraisers, of course, and as going away gifts for departing ministers. Otherwise, what would bring these people together – might they be an extended family? A grange or other fraternal/social/interest group? Once you have a location and date: , you could check newspaper archives for news of some sort of gathering that might have generated the signatures. Or if you can identify a church, perhaps there will be records of the women’s missionary aid society, or another women’s group (since someone in the group probably made the quilt after the signatures were gathered.) You don’t say what dates are given, or if there is a range of years. Your instinct to look at the nearest census is a good one. I am at a loss to understand why some of the women would give their ages, but I have seen this before, on quilts where blocks are sent to the quiltmaker by women they don’t know (responding to a chain letter, for instance).
Anyway, these are fun mysteries to unravel, and I hope you will keep us posted, as others have done, during the course of your research.
Xenia, in Indiana
Date: Sat, 28 Nov 1998 21:20:31 -0500 | From: “John and Cinda Cawley” <cawley [at] epix [dot] net>
The February issue of Quilting Today will include an article by Denise Nordberg, Lorraine Exbiansky and me about researching quilts. Included is a list we have developed of sources of useful information. This article is an attempt to share what we learned while working on the quilts included in our book Saved for the People of Pennsylvania.
Marcia doesn’t tell us the date of her signature quilt. Census information is sealed for 70 years; the most recent available is 1920. I’m really looking forward to the millenium so that 1930 will be available. I’d like to hear more about this quilt.
Cinda in Scranton
—–Original Message—–
Date: Sun, 29 Nov 1998 07:29:24 -0500 (EST) | From: quiltsnbears [at] webtv [dot] net (Roberta Geanangel)
You might try the Internet. There are many Texas quilters on the newsgroup recreation crafts textiles quilting. Perhaps they can help. There are also a large number of genealogical groups on the Net and there might be someone on one of them who knows some of your names. The Mormons maintain computer records you could use You can search the Social Security Death Index, unless the quilt is too early for that. When you are searching for names on a quilt the procedures resemble a genealogical search without any family history to guide you. Hope some of this helps and good luck! Let us know what turns up.
Roberta
Date: Sun, 29 Nov 1998 08:49:27 +0000 | From: Shirley McElderry <tigersoup [at] lisco [dot] net>
As one who has worn feed-sack dresses (and yes, even undies with a faint outline of “Staley’s Best” print) I’d like to make a comment about “chicken linen.” During the World War 11 period, many things were rationed, including sugar, coffee, and tires. Fabric wasn’t rationed, but it was scarce. In a Spring/Summer 1945 MW catalog, there were exactly 5 all cotton prints offered; 4 of them in two color-ways. However, at the end of the description of these fabrics”Sorry, this merchandise is not available.” There was not one inch of cotton sheeting advertised; and no cotton sheets. Many of the things pictured in the catalog made of cotton or wool had the stamped “Not Available” across the description.
During the war, many fabric companies either reduced production, or was a major supplier to the war effort. Obviously, Nashua (the people who made Indian Head cotton) was one of these, for in the Summer 1944 issue of McCall’s Needlework magazine was the following statement “Our Indian Head cloth will be back in your favorite stores when our looms can be released from vital war needs. Though production is temporarily stopped, our laboratory research and developement continue so that after the war you will have an even better Indian Head cloth.”
My spry little 83 year old mother says that any fabric yardage was hard to: come by and if one was lucky enough to be at the store at the right time, the yardage that was available was “brown and scratchy.” So I was lucky indeed to have even feed sacks available for my dresses! Now let’s not hear anyone whine about the cost of wonderful bolts of fabric that is available today! >)
Shirley Mc from Iowa
Date: Sun, 29 Nov 1998 15:15:12 -0000 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk>
I saw a question on another list about the difference between Trip around the World and Sunshine and Shadow – is it just the difference betwen on point and square setting (and which is which?), or are there other factors?. I haven’t yet seen an answer, don’t have one myself, and wondered what QHL would make of it.
Sally
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I saw a question on another list about the = difference between Trip around the World and Sunshine and Shadow – is it just the difference betwen on point and square setting (and which is which?), or = are there other factors?. I haven’t yet seen an answer, don’t have one = myself, and wondered what QHL would make of it.
Sally
Date: Sun, 29 Nov 1998 09:41:46 -0600 | From: “Sehoy L. Welshofer” <sw4quilt [at] bellsouth [dot] net>
Hello to all of you – have been lurking for some time now, just taking in all the wonderful information. Now I need to ask for help. We went into the “wilds” of Kentucky yesterday to an estate auction – there were 40 quilts for sale. Ended up with four. They’re vintage 1930 – 1950, according to the son of the woman who made the quilts. They probably come under the heading of utility quilts, but all hand pieced and hand quilted. Lots of cadet blue, lovely reds, etc. They all have feed sack backings. One that I bought now has a purple looking back – I’m assuming it was once a blue. Another has a brownish color back, each feed sack a slightly different shade. Could this once have been a red?
When we first got to the house, all the items to be auctioned off were out in the yard on big trailer beds. There was a smaller trailer there with the quilts, and when you got within 30 feet you could smell the mothballs! This was at 7 AM, and by 2 PM when the quilts were auctioned, either the odor had abated, or we just plain got used to it. Anyway, I bought 4 quilts and they all smell like moth balls. Put one in the dryer on low heat with 3 dryer sheets last night – didn’t do much for it. Right now they’re out on a covered screened in porch. I’m hoping the fresh air will do great things. I’d like to try washing one of them – just soaking it in Orvus, spin out, rinse, spin. No agitation. The backing on all of the quilts was brought to the front for a binding, and won’t take too much rough handling. Any other suggestions? What do any of you do to get rid of the odor?
Date: Sun, 29 Nov 1998 15:38:18 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Hi Sehoy, first off, DO NOT put the quilts in the washer. If they have a terrible MB odor, they need to go into the bath tub with lots of room to “move around”. Also, if the back is fragile… or even the stitching the spin cycle can do just as much damage as the agitator….so I’d suggest that the best thing for you to do is to soak them, or at least the one that you want to clean, in the bath tub and then lay out flat to dry after it’s been allowed to: drip/drain in the tub. If the smell is really offensive, try a small scoop of BIZ. Be sure to rinse really, really well, whether you use just Orvis paste alone or add the biz.
A second note, if you cannot wash the smellout, you might try getting a box of whole clove, making a cloth bag and putting the bag in an airtight container for a week or so and see if that helps. We have recently talked here on the list about using grassy lawns and shrubs to help wick out he nasty smells, but they may not have enough punch to get rid of the MB odor…..and going into the winter months you may be in a climate that will prohibite that.
Good luck.
Let us know what you try and how it works for you.
Laura
At 0941 AM 11/29/98 -0600, Sehoy L. Welshofer wrote
>Hello to all of you – have been lurking for some time now, just taking in all the wonderful information. Now I need to ask for help. We went into the “wilds” of Kentucky yesterday to an estate auction – there were 40 quilts for sale. Ended up with four. They’re vintage 1930 – 1950, according to the son of the woman who made the quilts. They probably come under the heading of utility quilts, but all hand pieced and hand quilted. Lots of cadet blue, lovely reds, etc. They all have feed sack backings. One that I bought now has a purple looking back – I’m assuming it was once a blue. Another has a brownish color back, each feed sack a slightly different shade. Could this once have been a red?
>When we first got to the house, all the items to be auctioned off were out in the yard on big trailer beds. There was a smaller trailer there with the quilts, and when you got within 30 feet you could smell the mothballs! This was at 7 AM, and by 2 PM when the quilts were auctioned, either the odor had abated, or we just plain got used to it. Anyway, I bought 4 quilts and they all smell like moth balls. Put one in the dryer on low heat with 3 dryer sheets last night – didn’t do much for it. Right now they’re out on a covered screened in porch. I’m hoping the fresh air will do great things. I’d like to try washing one of them – just soaking it in Orvus, spin out, rinse, spin. No agitation. The backing on all of the quilts was brought to the front for a binding, and won’t take too much rough handling. Any other suggestions? What do any of you do to get rid of the odor?
Date: Sun, 29 Nov 1998 15:48:09 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Hi all, I need some help. Can anyone remember the book that the quote obviously paraphrased here…”We made our quilts warm so our families wouldn’t freeze. We made our quilts beautiful so our hearts wouldn’t break”….came from? I need to know the reference for a production on Tuesday (12-1)
TIA………
Laura
Date: Sun, 29 Nov 1998 16:25:00 -0600 | From: “Sehoy L. Welshofer” <sw4quilt [at] bellsouth [dot] net>
Laura – thanks for the advice. The quilts aren’t really “dirty” – I was basically going to wash them to get rid of the odor, but I think I’ll keep airing them each day as long as the weather holds. It was 74 degrees here to: day, so it looks like I should have at least a few more days to do this. Your idea about the cloves makes me wonder if the method for getting rid of the featherweight odor might work – put a bar of Safeguard in a plastic bag with the FW and seal it up – if the “airing” doesn’t work I’ll try the cloves on one and the Safeguard on another. Might as well do a little research while I’m at it!
Thanks again for the information.
Sehoy
> —–Original Message—–
> From Laura Hobby Syler [texas_quilt.co [at] mail [dot] airmail [dot] net] Sent Sunday, November 29, 1998 338 PM
> To slw4quilts [at] bellsouth [dot] net; QHL
> Subject Re QHL moth ball odor
> Hi Sehoy, first off, DO NOT put the quilts in the washer. If they have a terrible MB odor, they need to go into the bath tub with lots of room to “move around”.
> Also, if the back is fragile… or even the stitching the spin cycle can do just as much damage as the agitator….so I’d suggest that the best thing for you to do is to soak them, or at least the one that you want to
> >Sehoy L. Welshofer
> >[slw4quilts [at] bellsouth [dot] net]
> >Visit Web Threads, the Newsletter for Net Savvy Quilters at http://personal.bna.bellsouth.net/bna/s/w/sw4quilt/index.htm
Date: Sun, 29 Nov 1998 16:28:22 -0600 | From: “Sehoy L. Welshofer” <sw4quilt [at] bellsouth [dot] net>
Melanie – never thought about dryer sheets having oil in them. Thanks for the information. Back to Mother Nature!
Sehoy
> —–Original Message—–
> From Xroadclown [at] aol [dot] com [Xroadclown [at] aol [dot] com] Sent Sunday, November 29, 1998 310 PM
> To slw4quilts [at] bellsouth [dot] net
> Subject Re QHL moth ball odor
> I’ve put my quilts in the dryer on air (this will eliminate the dust in them)
> only, and never with a dryer sheet, as they have oils that may damage the fabric. Only put in the dryer if they are in good shape though. After that I laid them on the grass in my yard. First half of the day was sunny, the remainder shaded. That really helped. Do it quick as the snow will fly soon!!! Good luck!
> Melanie in upstate NY
Date: Sun, 29 Nov 1998 21:37:22 -0500 (EST) | From: JOCELYNM [at] delphi [dot] com
On 29-NOV-1998 170546.4 texas_quilt.co said to JOCELYNM
> Hi all, I need some help. Can anyone remember the book that the quote obviously paraphrased here…”We made our quilts warm so our families wouldn’t freeze. We made our quilts beautiful so our hearts wouldn’t break”….came from? I need to know the reference for a production on Tuesday (12-1)
Laura,
If I remember correctly, it came from a Texas quilt documentation book (the state historical society ones).
However, it’s been repeated soooooo many times, with different attributions of the sources, I wouldn’t gamble on it. But that’s where I’d start to look, if I were you. Good luck
Jocelyn
Date: Mon, 30 Nov 1998 08:15:01 EST | From: JQuilt [at] aol [dot] com
How about using baking soda?
jquilt [at] aol [dot] com
Date: Mon, 30 Nov 1998 12:13:42 EST | From: BEVPEV [at] aol [dot] com
Thank you, Marcia, for mentioning the Signature Quilt on QHL. You asked for some ways to research the names and I would like to suggest that you would want to begin online at the USGENWEB project. This worldwide project is made up of volunteers who are doing genealogy research and want to share the fruits of their labors with others. From personal experience I know that the Texas State Archives are among the most “user friendly” of all state archives. To start, go to http://www.usgenweb.org and from there you can go to any state, and almost any country looking for information. Good luck. We will be interested to hear your findings.
Beverly
Date: Mon, 30 Nov 1998 13:39:58 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
>I saw a question on another list about the difference between Trip >around the World and Sunshine and Shadow – is it just the difference >betwen on point and square setting (and which is which?), or are there >other factors?. I haven’t yet seen an answer, don’t have one myself, >and wondered what QHL would make of it.
My take is that Sunshine and Shadow is a light/dark variation of Log Cabin.
Trip around the World is rounds of small squares set straight.
Boston Commons is rounds of small squares set on point.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Mon, 30 Nov 1998 12:03:55 -0700 | From: Sharon Harleman Tandy <harleman [at] micron [dot] net>
Hello QHLers,
Sunshine and Shadows can also be a Trip Around the World done in on point rounds but in several blocks of color rather than rows all the way out. Sally, I had answered that one but forgot to send it to the list, sorry. Sharon.
Date: Mon, 30 Nov 1998 15:45:27 -0800 (PST) | From: Kris Driessen <krisdriessen [at] yahoo [dot] com>
This is a cut and paste from an article on the Antiques and Collectibles site on Black Lights.
Black Light Testing
By Staff Researchers
Black light testing is a common practice used to authenticate antiques, to determine the extent of repairs and to look at cool posters on black velvet.
For many beginning collectors, the science and techniques used in the black light testing method are a mystery, this article hopes to address this issue.
Blacklights are used in evaluating antiques because the ultraviolet rays they produce react differently to different materials. Because of this interesting characteristic, things that are invisible to the naked eye become visible under the blacklight.
Before we go any further, a word of warning Be sure that the blacklight you purchase is a longwave blacklight. Shortwave blacklights can damage your eyes and skin.
Now, onto the uses of blacklights in collecting antiques. Different chemical properties become apparent under a blacklight, modern paint will flouresce under a black light, older paints will not, you can use this to determine whether a painted object is an antique or a newer reproduction as well as to determine whether a piece has been “touched up” and if so, how extensive was the repair.
The same technique can be used to detect repairs on antique porcelain as the old finish will not glow under a blacklight, and the newer material in the repair will.
Some antique glassware will glow under the blacklight as well, vaseline glass will glow because it contains uranium oxide. A blacklight can be used to test many types of antiques. Here are some examples
Cut Glass Authentic American Brilliant period cut glass fluoresces yellow; reproductions have no reaction or show a blue-white. Editor’s Note This appears to be in debate, we recently received an email from a member of the American Cut Glass Association who informs us that “American Brillant cut glass does not show yellow with long wave black light – it shows either pale violet or pale blue. More modern shows bright blue, almost electric. We have over 300 pieces and only one shows yellow and it is a European (English) piece. The use of black light with cutglass is HIGHLY controversial even among ACGA folks. Some swear by it, others say it is unreliable. I’m with the latter school as it is well known that many US cutglass houses had some of their blanks made in England and some even in Bohemia – this of course shoots the only American cut glass flouresces a certain color theory all to the devil!!”
Cast Iron Most new paint on most new cast iron fluoresces; old paint on old cast iron rarely fluoresces. You can also detect newly painted repairs as well.
Paper Products Most paper products–like post cards, books, signs, photos papers, etc.–made before the late 1930s-WW2 era rarely fluoresces. Paper products made since 1950, however generally fluoresces brightly due to large amounts of chemical bleaches and dyes.
Pattern Glass Nearly all American colorless pressed glass made before ca. 1925-30 fluoresces yellow; reproductions generally do not have any fluorescence.
Textiles Thread and Cloth Synthetic fibers–rayon, polyester, etc. made since WW2 all fluoresce. This allows you to detect new military uniforms, new quilts, new doll clothes, etc. Even if old fabric is used to repair an old quilt, the new thread will fluoresce. Art Glass Lalique before 1945 fluoresces yellow; after 1945, it does not. Genuine old Burmese fluoresces bright yellow green, new reproductions do not.
Date: Mon, 30 Nov 1998 18:56:07 -0500 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
In addition to Laura’s comments, I have another. Use patience. Leave it out somewhere and just allow it (the odor) to dissipate. I had a needlepoint kit (1970’s unicorn that is now really “kitschy”, not to mention very trendy at the moment! Good Lord, my teen years are trendy…) that was sealed in it’s original plastic bag, yet the mothball odor had seeped thru into the wool yarn. Took about a year, but eventually it did go away.
Also, have a question. You know the victorian sewing baskets you find with the tassels and glass rings and Chinese coins attached to the top? Well, I bought something that I’ve never seen. Its a sewing basket, woven the way these victorian baskets were. The kicker is that the basket is a “chicken on a nest”. Small, squat woven head with a wooden beak/comb/wattle and glass eyes with a wood ring around them. Small wings and tail fashioned from flat strips of rattan. Really odd. Anyone seen anything like this? Age, worth, etc is of interest. I just think it’s too funny.
Alan
Date: Mon, 30 Nov 1998 21:05:04 -0500 (EST) | From: JOCELYNM [at] delphi [dot] com
On 30-NOV-1998 184353.1 krisdriessen said to JOCELYNM
> TextilesThread and ClothSynthetic fibers–rayon, polyester, etc. made since WW2 all fluoresce. This allows you to detect new military uniforms, new quilts, new doll clothes, etc. Even if old fabric is used to repair an old quilt, the new thread will fluoresce.
Kris,
Another thingcat urine fluoresces. I don’t know whether antique cat urine would fluoresce….but it’s possible that it would. <G> So that might explain why an old quilt was glowing….
Jocelyn
Date: Mon, 30 Nov 1998 23:27:55 -0800 | From: arlenegg [at] icanect [dot] net
I bought a very interesting tray at an antique store this weekend, the likes of which I’ve never seen. The tray is made of wood, and sort of looks like a deep picture frame, to which handles were added on the two short sides. (The sides have slots cut to accomodate the handles, which are made of wood and, I think, brass.) Felt covers the bottom, and the whole piece was very well made.
Under the glass is a section of a quilt top (or quite possible, a piece made specifically to fit the tray.) Using what looks like mid to late 19th century blues/indigos, half-sqare-triangle units were pieced. It’s a very attractive piece, and grabbed my eye immediately in the shop. Has anyone seen such a tray, or know if this sort of thing was common, and when?
Thank you,
Arlene in Miami
Date: Tue, 01 Dec 1998 07:20:19 -0500 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
My take on what determines sunshine and shadows. From reading about an Amish quilt, the piece discussed the color placement. It was a one-patch square pattern, but the placement of lights and darks was done to resemble light thru a tree. That the placement of the color was very important.
Also, regarding the black lights, their textile information is incomplete. Someone with their e-address needs to write them and inform them that textiles washed with modern detergents can fluoresce. Y’know, that whitening and brightening stuff?
Send me the addy, and I’ll tell them. Actually, it’s no fair, telling me about and Antiques/Collectibles website and not giving the address!
Alan
Date: Tue, 01 Dec 1998 07:06:34 -0600 | From: Laura Hobby Syler <texas_quilt.co [at] mail [dot] airmail [dot] net>
Arlene, back in my needle point designing days in the ’60 & mid ’70’s….BQ (before quilting) <G> those trays were very popular at the fine needlework shops. They were made specifically to display your handiwork…same reason I quit needlepoint…you can make just so many pillows, eyeglasses and scissors cases, chair seats…… before you start needlepointing everything insight…and quilting is so much more “useful”<G>
Laura
At 1127 PM 11/30/98 -0800, arlenegg [at] icanect [dot] net wrote
>I bought a very interesting tray at an antique store this weekend, the likes of which I’ve never seen. The tray is made of wood, and sort of looks like a deep picture frame, to which handles were added on the two short sides. (The sides have slots cut to accomodate the handles, which are made of wood and, I think, brass.) Felt covers the bottom, and the whole piece was very well made.
>Under the glass is a section of a quilt top (or quite possible, a piece made specifically to fit the tray.) Using what looks like mid to late 19th century blues/indigos, half-sqare-triangle units were pieced. It’s a very attractive piece, and grabbed my eye immediately in the shop.
>Has anyone seen such a tray, or know if this sort of thing was common, and when?
>Thank you,
>Arlene in Miami
Date: Tue, 1 Dec 1998 10:43:07 EST | From: Palampore [at] aol [dot] com
Black light will also fluoresce old madder dyes used for red on wool bunting. I am assuming that this is caused by a chemical used as a mordant in the dye. Thanks for all of the useful info. being conveyed on this subject. Another topic of concern— I recently discovered that a quilt I bought has been cut down. The seller had no idea nor did I until I came across a picture I had taken several years ago of a lone block I liked at a conference. When viewing the pictures I saw the block and said to myself, “Wow, that looks just like my quilt.” It was indeed. This is why we as quilt restorers should always do documentation of work we do on quilts and insist that the client keep this info. with the quilts. I am fine with the quilt I bought — restored or not. However, this info. should have been with it. Museums have the ability to have files with item numbers that cross reference them with the item. That is the easy way. Unfortunately it is not as easy when people are buying and selling the items. That is where we must educate ourselves and our clients that this is now a part of the history of the piece. The ideal way would be for the information to be written up, transferred to a label on the back, and it would then be guaranteed to go on with the quilt.
(Unless someone would remove it.)
I run into this problem with flags and uniforms. The documentation (written and photographs of before and after) raises the price of the conservation/stablization work so often private clients don’t want to incur that extra cost. I stand firm that they either pay me for that added work or I don’t do the job. To me it is an ethics thing. Secondly how do you make sure the paperwork goes with the piece if it is sold? At that point I can’t control it. I have to trust that the client has been educated enough on the importance of this now being part of the history of the item so that they will feel an obligation to pass it on. That is where we have to convince them that this is not a determent to the piece but it was a way of preserving the piece’s survival. If the item had not been restored or stabilized it probably would have ended up in a rag bag or worse. As a restored piece it has been altered so that the item can be functional again to be used for it’s original purpose. As a conserved piece the damaged or weak area has been stabilized using inert materials so that further damage is lessened. If a portion of a fabric is missing in a uniform I do not try to reweave the fabric. I back it with a similar fabric and do a large stitching method over it so that the item looks fine from a few feet but is immediately recognizable up close. If seams are restitched I try to duplicate the original stitches and then document the work with diagrams I make of the item and with a written report. This is just a very brief explanation of the workings of conservation. Books have been written on the subject. A good source is to check out Amazon Books under Textile Conservation.
My main concern here is to just say—- Please document when you alter an item. It will save others in the future many headaches.
If anyone has knowledge of a good book or article on pressure mounting textiles I would most appreciative. Please email me privately and then I will provide a synopsis of the info. for QHL.
Off my soap box—— Lynn Lancaster Gorges, Textile Conservator, New Bern, NC palampore [at] aol [dot] com
Date: Tue, 1 Dec 1998 11:19:43 EST | From: KirkColl [at] aol [dot] com
I had heard this about black lights for years, never checked it out. We asked Dr. Pat Crews from the International Quilt Study Center to test this when she was doing a session on threads for the Quilt Restoration Conference in 1997.
Here is some of what we learned
It’s important to do your own testing of materials and threads you use. It is not an issue of age, but rather how the materials have been manufactured and washed.
While it’s true that flourescents have been added to fabrics since the war, they have not been added to all fabrics and threads.
Gutermann’s ecru quilting thread does not flouresce, while turn of the century fabric that has been washed in Biz will glow brightly under black light. This is not a useful test for the age of the fabric or thread. All you can say with confidence is that it does or does not floresce.
The one time is is a good test, is if you suspect the quilt has been newly quilted, and the seller says it is old and has never been washed or never restored. If they are not smart enough to have used old backing and non- flourescent thread, you can catch it. Otherwise, the other clues to age are much more valuable.
On the other hand, we choose only threads that do not flouresce when we restore. So it may affect your choice of materials.
Black lights can be really useful in spotting repairs on other kinds of antiques. Just one more item for your tool kit.
Nancy Kirk
The Kirk Collection www.kirkcollection.com
Check our daily specials on the web
Date: Tue, 1 Dec 1998 15:27:51 -0800 (PST) | From: Kris Driessen <krisdriessen [at] yahoo [dot] com>
Don’t we learn the most amazing things on this list! That would account for why my cats always have to investigate the antique quilts – I have to be very careful to put them away in the “cat free zone” (the shop)or I will find somebody sleeping on them!
Kris
Date: Tue, 1 Dec 1998 18:56:32 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
>Some antique glassware will glow under the blacklight as well, vaseline glass will glow because it contains uranium oxide.
We collect American Flint Glass, that is 3-part mold blown glass made before the Civil War. It was made in hundreds of patterns which continued to be made after the War, but in the newer soda-lime formula for glass. Lead went out of the formula because it had to be used for ammunition. So, besides snapping a finger on the side of the goblet to see if it rings (flint glass rings like a bell, soda-lime goes “thud”) we went to Edmunds Scientific and bought a fairly expensive black light to make sure all our glass was pre-Civil War. Also to take to shows to test glass before we buy. We had taken a goblet we knew was flint with us. The less expensive lights wouldn’t fluoresce the glass, but the more expensive long wave light did. It glowed the most gorgeous unearthly blue! So we rushed home and shone it on our entire collection. No duds! Whew! What fun, and sooooo spooky!
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 2 Dec 1998 21:58:06 EST | From: EGinebaugh [at] aol [dot] com
Hi Lauri,
I remember those old meters, too! They were a lot of fun to watch & listen to. As for ripping the fabric, from what I have heard, even with sturdy cotton, the fibers will weaken, and it really stresses the fabric. Some places around here (Grand Rapids MI), still may be ripping the fabric to cut it. One place I can remember just recently went out of business.
So, for what it’s worth, I think I will stick to rotary cutting to straighten the edge, and just remember to buy a smidge more than needed! 😉
Liz in uncharacteristically warm Michigan
Date: Wed, 02 Dec 1998 19:38:00 -0800 | From: Julie Silber <quiltcomplex [at] earthlink [dot] net>
Hi Eppie’s Mom and All,
I know your quilt well. I sold the very quilt you describe TO Margaret Cavigga about ten years ago. I originally purchased it in the late 70s in Pennsylvania — near York, I believe. It was said to have been made in that area. I have no doubt that the Little Red Riding Hood cheater cloth border is original to the piece. I date: d the quilt by the other fabrics circa 1900.
Enjoy that quilt, it’s a honey!!
Julie Silber/The Quilt Complex
Subject: QHL19th century cheater?
I have fallen in love with a quilt. I guess that is not unusual for you all to: o. I have been collecting for a few years and am in California so I have a mighty small collection–but in spite of the price I am purchasing this one. I have a question about the border fabricit is a cheater, mostly red and white. There are two different depictions of Little Red Riding Hood–fine detail and look “old”–and only the head of the wolf showing–also fine detail. The border is on 3 sides and they fit together as if cut from the same piece of fabric therefore I cannot say that this is the entire design. Border is about 3-4″.
There are also rectangular and square “patches” in faded greens and some brown. The quilt itself is labeled as a sampler, but is nearly all one patch. The blocks are about 5″ square. Interesting sampler blocks, about 10 of them I think, each different, having in common that together they would make a pretty good series of piecing lessons. I am betting that a child made it.
Has anyone out there seen this cheater? I am hoping to use it in dating the quilt. Yes, I know it could have been added later, but it appears to have been applied by the same hand. There is a wealth of fabrics to use in dating also. No blacks–lots of very very dark brown, but definitely brown. My limited experience leads me to think it could be most any time in the last 3/4 of the last century more likely early than late.
BTW, it is from the Cavigga collection recently auctioned at Butterfield and Butterfield in San Francisco.
It is not in my hands yet and this is my best memory of it. I will appreciate any help with dating this cheater. Thank you.
Cordially, Lurking Janice Avila, EppiesMom [at] aol [dot] com
Date: Wed, 02 Dec 1998 22:37:49 -0500 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
Well, I did as I promised and wrote the people with the blacklight article this morning. By lunchtime, they had already responded and wanted to know if I would mind (yeah, right) if they used my email in that article. Well, here it is, 1030 ish, and they have already changed the article by adding an editors note with the additional info. Thanks, y’all, for having discussed it here. Although he credits *my* expertise (no comments from the peanut gallery!), it’s actually with the help of everyone here. So thanks, and check it out at http://www.antiqueresources.com/articles/blacklight.html Alan
Date: Thu, 3 Dec 1998 05:13:58 +0000 | From: Steve and Jean Loken <sandjloken [at] worldnet [dot] att [dot] net>
I was shown an old piano scarf by a quilting friend yesterday. The owner says it was made by her Italian grandmother. It appears to be on royal blue rayon(?) and beautifully embroidered in vibrant colors, including red roses, vines and other smaller flowers. About 40″ square. It has a HEAVY knotted fringe, which must have been more than 15″ wide, maybe 6″ of knotting, and 10 of strings, in a green/gold metallic hue. The owner wants the fringe removed and the center quilted. I’m their hand quilting candidate. My questions are
1. Is there a piano scarf lobby that would hesitate to tamper with this, as we would with an old quilt?
2. If OK, how should I quilt it, i.e. batting, backing? 3. Is there a use/market value for the fringe once removed? 4. Have you ever seen anything like this, and how could it be dated? 5. If not OK, what would it’s value be, for the owner’s knowledge?
TIA Jean in Minn.
Date: Wed, 2 Dec 1998 21:20:35 -0800 | From: “Mary Cross” <mbcquilt [at] web-ster [dot] com>
Another angle of study not mentioned thus far for you are the fabrics. Chart the quilt block arrangement on paper and then use colored pencils or varied lines to draw the connections between the women’s names according to the fabrics. Often, you can discover the family relationships among the contributors because they will be of the same fabric. Sometimes, when you have made other connections such as church fellowship or neighborhood association, you will find those reconfirmed by the fabrics on the quilt. It indicates a planned effort to make the quilt in the first place. Another interesting consideration I’m discovering with an album quilt made in Oregon with the date 1913 is the patterns used in the blocks. Of the 30 something blocks on the quilt, most are crazy quilt patterns. But there are two beautiful fan blocks with two different women’s names written and embroidered by the same hand. It turns out they were living in Kansas at the time the quilt was made in Oregon. I believe they were cousins of the woman for whom the quilt was made. I think what happened was they probably got the invitation by mail to contribute a quilt block to the Friendship Quilt and made their fan blocks together and mailed them off. There is also a bow tie block and a log cabin block. These,again, were probably individual contributions by someone who was not present at the planning session or in regular communication with the quiltmakers. Through research and contacts, I was put in touch with one of the descendants of the family who made the quilt. She is in the process of identifying the relationships between the people. Through use of the city directories and the census for 1910 and 1920, I learned the quilt was probably made for the marriage of two members of the Friends Church of Scott’s Mills, Oregon. The previous researcher had thought it was made for the graduating class of Salem, Oregon High School. I quickly eliminated that by looking up in the school’s yearbook for 1913. Only one person on the quilt connected to the class and she was a mother of one of the students.
Marcia, let us know what you learn.
Mary
Date: Thu, 3 Dec 1998 01:05:08 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
A couple of weeks ago I bought a large Bethlehem Star, circa 1910, from Hickory Hill. You may have seen it pictured on Kris’s site. It was just the star — no corner squares or triangles at the ordinal points. Kris sold it because she couldn’t find an appropriate background fabric with which to finish it.
Well, I found a fabric I think is great, a Cranston grey on grey all-over. It blends really well, and doesn’t shout “I’m new.”
I bought 5 yards of it, because I knew I’d never be able to piece in those squares and triangles correctly. I planned to applique the entire star down, and then cut away the fabric behind the star.
Monday night I prewashed and dried the new fabric.
Tuesday morning I awoke, got dressed, and went into the sewing room, which is at the top of the stairs. I thought I’d just iron the fabric before I went downstairs. Then, I thought I’d just sew the center seam in the new fabric to make my 84″ x 84″ piece of background. Then, I thought I’d just see how easy it would be to baste the star down to the fabric. At 400 in the afternoon I realized I was really thirsty. I’d never made it down to the kitchen for my coffee! Or lunch! But the star was entirely basted to the background and was ready for applique. I’ve got 3 points done already. This is called total immersion!
Thanks Kris.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Tue, 01 Dec 1998 23:52:08 -0500 (EST) | From: JOCELYNM [at] delphi [dot] com
On 1-DEC-1998 18:24:36.7 krisdriessen said to JOCELYNM
> Don’t we learn the most amazing things on this list! That would account for why my cats always have to investigate the antique quilts
Kris,
Nah…cats investigate because they’re cats! <G> But, I figure if my modern cats have fluoresced a few modern quilts for me, it HAD to have happened in the 19th century, too! <G>
Jocelyn
Date: Tue, 01 Dec 1998 23:16:39 -0600 | From: KAREN BUSH <Birdsong [at] worldnet [dot] att [dot] net>
Arlene, I’ve made one for myself like this. I found the tray at a garage sale, WITH the glass, and the handles sound the same….I put vintage pieces of crazy quilts and flower gardens,etc,a collage under glass…I’m sure it wasn’t an ‘original’ idea of mine. It probably was from an earlier piece I’ve remembered back in the cobwebs of my mind somewhere.
But I Really enjoy it. It sits on my ‘smokeless cooker’ that I use for a coffee table, and the tray comes in handy for tea time. Otherwise, I like it to just sit there and look pretty 🙂 kb
— hole piece was very well made.
Under the glass is a section of a quilt top (or quite possible, a piece made specifically to fit the tray.) Using what looks like mid to late 19th century blues/indigos, half-sqare-triangle units were pieced. It’s a very attractive piece, and grabbed my eye immediately in the shop. Has anyone seen such a tray, or know if this sort of thing was common, and when?
Whatsoever ye sew, so shall ye rip…..
************************************************************** http://idahoquilt.com/kbbook.htm
“QUILT AS DESIRED” THE book to own!!!!
Visit me for my book “Quilt As Desired” and for Hand Quilting Services
Date: Wed, 2 Dec 1998 12:35:41 -0500 | From: “Judy Grow” <Judygrow [at] blast [dot] net>
I need to find an on-line source for Tire silk thread. My locals only sell YLI, and it invariably breaks in my needle. I only have one spool of the Tire thread and it goes on forever without fraying or breaking. I can’t remember where I bought the one spool I have — perhaps at a show.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 2 Dec 1998 12:49:09 EST | From: EppiesMom [at] aol [dot] com
I have fallen in love with a quilt. I guess that is not unusual for you all too. I have been collecting for a few years and am in California so I have a mighty small collection–but in spite of the price I am purchasing this one. I have a question about the border fabric: it is a cheater, mostly red and white. There are two different depictions of Little Red Riding Hood–fine detail and look “old”–and only the head of the wolf showing–also fine detail. The border is on 3 sides and they fit together as if cut from the same piece of fabric therefore I cannot say that this is the entire design. Border is about 3-4″.
There are also rectangular and square “patches” in faded greens and some brown. The quilt itself is labeled as a sampler, but is nearly all one patch. The blocks are about 5″ square. Interesting sampler blocks, about 10 of them I think, each different, having in common that together they would make a pretty good series of piecing lessons. I am betting that a child made it. Has anyone out there seen this cheater? I am hoping to use it in dating the quilt. Yes, I know it could have been added later, but it appears to have been applied by the same hand. There is a wealth of fabrics to use in dating also. No blacks–lots of very very dark brown, but definitely brown. My limited experience leads me to think it could be most any time in the last 3/4 of the last century more likely early than late.
BTW, it is from the Cavigga collection recently auctioned at Butterfield and Butterfield in San Francisco.
It is not in my hands yet and this is my best memory of it. I will appreciate any help with dating this cheater. Thank you.
Cordially, Lurking Janice Avila, EppiesMom [at] aol [dot] com
Date: Wed, 02 Dec 1998 17:56:21 -0500 | From: Kathy <DeSchuit [at] ix [dot] netcom [dot] com>
I just received a catalog today from “Vintage and Vogue” and they carry the Tire Silk thread. It is available in 100 meters (109 yds) per spool at $4.29.
Their web site is:
http://www.vintageandvogue.com and the email address is quiltvogue [at] aol [dot] com
Judy Grow wrote:
> I need to find an on-line source for Tire silk thread. My locals only sell YLI, and it invariably breaks in my needle. I only have one spool of the Tire thread and it goes on forever without fraying or breaking. I can’t remember where I bought the one spool I have — perhaps at a show.
> Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Wed, 2 Dec 1998 18:20:51 EST | From: Palampore [at] aol [dot] com
OK, I now have Little Red Riding Hood with me. There are 2 scenes of her. In one she is alone facing forward holding her cape tightly about her while standing in a doorway with a basket of red and yellow apples by her feet. The other is a side view of her outside in a meadow conversing with the wolf . He is only seen from his shoulder blades to the tip of his nose. He is baring his teeth at her. Both scenes are within a 4 inch block. In the corners of each block are 1 inch squares of a diagonal stripped brown block. Then a blue and a red half square form a V so that the scene is a rectangle with V cut outs on each side where the scene continues. Each of these alternate with a block that consists of blue & red solids with strip triangles on either side—stripes of red, white, and green and then stripes of yellow, white, and green. The green is sort of a Nile Green and the entire quilt is backed in Nile Green. It is quilted in a fan design , lightly batted with cotton. I know nothing about Ruby McKim, Kate Greenaway, etc. so I have no idea if it fits in any of those styles. However, I think it is probably 1910 – 1935. Any feelings otherwise? The red ran in a few places.
Isn’t this spring like weather heavenly??? Lynn in New Bern, NC
Date: Wed, 2 Dec 1998 20:14:52 EST | From: Lalalawyr [at] aol [dot] com
In a message dated 98-12-02 12:58:53 EST, you write:
<< I need to find an on-line source for Tire silk thread. My locals only sell YLI, and it invariably breaks in my needle. >>
I’ve had good luck with YLI, so maybe you just got a bad spool – ? In fact, I’ve had equally good luck with Tire and YLI, but was steered to the YLI by PineTree because it is cheaper (you get almost twice as much thread for the same cost per spool).
But maybe it is just one of those individual differences – so definitely go with what you prefer!
Pinetree would be your best bet, imho – they carry all the Tire colors (most places only carry a few – and even tho you probably can get away with just light and dark taupe, I personally like various colors for applique). They also give a discount (beyond their usual good prices) if you order 5 or more spools.
Melissa
Date: Wed, 2 Dec 1998 20:27:23 EST | From: EllynLK [at] aol [dot] com
Maybe it’s a dumb question, but I have to ask….
My mother sewed. A lot. Some of my earliest memories were of going to the fabric store with here to pick out material for clothes she would make me, the drapes she made for my room or remnants for the Barbie clothes she would stitch for me (silly me, I wanted the store-bought clothes in the packages. On a recent trip home, I went through my doll trunk. One item stood out– a Jackie Kennedy-inspired A-line Chanel like coat made for Barbie out of green wool. My mother had LINED IT in mustard taffeta. She’d gotten a scrap of fur from somewhere and stitched on a fur collar! And at 8, I wanted the stuff in the packages that was mass-produced! The love and detail in that little coat…. ).
When we would find the fabric, we would go to the cutting table where they had these cool meter-like things. They would run the fabric through and a clock- like thing on the top would measure the yardage. I used to love to watch the hands move– and the thing just had a cool sound to it when the material ran through it. The salesperson would mark the end of the cut by pressing a lever on the side. It notched the fabric. She would take it out and rip it down the grain.
Whenever I go to House of Fabrics/JoAnne or any other fabric store these days, they measure fabric on a yardstick at the edge of the cutting table. They cut it with a rotary cutter or scissors. Many a time, I’ve gone home and ripped the edge and found out the edge they cut is crookeder than Lombard Street.
It wastes a great deal of fabric.
I know some fabrics are too delicate to be ripped– but sturdy cotton? What happened to those cool meters– and getting fabrics that were ripped straight on the grain? At times, I have asked salespeople at HOF to rip the fabrics– and they stare at me like I’m nuts. I even had one young lady go and ask the manager if it was okay to do that!
Some of you have fabric stores– why don’t they rip fabric anymore?
Sure, a rotary cutter gives a clean edge– but it’s impossible to get it straight! It seems to me that in using yardsticks and cutters that they’ve gone backwards from what I recall as a kid.
I know, it’s a dumb question– but can someone shed some light on this trend? Also, my old computer crashed and I lost the buttermilk recipe– if someone could e-mail it to me, I’d be grateful. Got some spotted pieces in the last turn-of-the-century top I found (that is coming along nicely, thanks… now has a new vintage center that isn’t so garish that it “eats” the rest of the quilt as it previously did).
Lauri “pondering the mysteries of fabric ripping” Klobas
Pacific Palisades, California where it is cool and hazy after a day of rain
Date: Wed, 2 Dec 1998 20:29:46 EST | From: EllynLK [at] aol [dot] com
In working on my “new” turn-of-the-century top, I’m using some cadet blue that I made… thought I’d pass it along.
A couple of years back, I bought some of the Harriet Hargrave repro cadet blue fabrics. They look fine when used in a repro quilt. But the color is wrong if needed as a replacement in a vintage quilt. The Hargrave stuff is too gray. It also is a printed ink color and not a fully dyed fabric that is then printed.
I was very frustrated because I needed more cadet blue for a quilt than was feasible to buy as an antique textile. I took some blue pieces to a shop in Santa Monica California called Wild Fiber (lots of dyes, BEAUTIFUL natural yarns to die for, real specialty stuff that you don’t see just anywhere). I told the proprieter who is a textile artist what I was trying to do. She suggested a cold water procion dye. I bought it. Once at home, as she had also suggested, I tried it out on different fabrics.
This color makes a cadet blue that exactly matches a very faded one on an old quilt I have! And the more you use/dip, the deeper the hue. I’ve put it next to “new” old cadet blue vintage pieces I have and the difference is so miniscule, you just can’t tell the difference.
The dye is by G&K Craft Industries in Somerset Massachussetts, Teal Blue, 4222. It’s labeled as an MX Reactive Dye whatever that means. You also need a stabilizer (can’t recall the name because I took it out of the paper bag and put it in a jar). I was leery about doing this– but it was remarkably easy. I’ve gotten the best results with unbleached muslin. I think the slightly yellowish cast to the fabric helps get that greenish quality. Some unbleached muslin fabrics are printed with patterns in white. The patterns did not dye. They came out of the dye bath with a blue cast to them– but they remained in contrast to the new blue.
I also silk-screened white patterns on another fabric I needed to match but couldn’t; “distressed” the screening when I was done and stuck it in the quilt– it was a match.
I am just thrilled at this “source” of cadet blue– I just don’t see a great deal of that color in antique yardage around here. I had given up ever finding something to replace cadet blue in quantity– but I did. And, of course, wanted to share it with those of you who may also be looking and are “dyeing” to get a little messy!
Also, if you want to try silk-screening a pattern, go to the local art store and buy a fabric screen printing kit (right next to the “normal” silk screening kits. It’s just the inks that are different). It has everything you need and good directions on how to use it for about $35.00. You can have a needed fabric photocopied onto a transparent sheet at the copy store or, if you’re truly insane (I qualify; I’m not too proud to admit it!!), you can put clear artist’s acetate film over the fabric you wish to repro and, using India ink, copy the pattern by hand. You can take a small piece of this pattern, have it copied several times at the copy place, paste the pieces together to create enough pattern for a full silk screen and have THAT photocopied onto a transparent sheet. You may need to scrape off alien black marks or fill in the pattern where light shines through the photocopied black but you will have a piece of film you can develop onto a silk screen. Yes, it’s labor intensive and being insane is a definite asset in embarking on this sort of endeavor <<gg>>!! But if you need THAT fabric and you’re never gonna be happy unless you find it, go for it! Silk screening is also just a great deal of fun to do (you can do cards, placemats, T-shirts and more). Or you can create your own one-of-a-kind fabrics.
Best,
Lauri Klobas in Pacific Palisades, California where we are between rainstorms
Date: Wed, 2 Dec 1998 20:41:43 EST | From: JBQUILTOK [at] aol [dot] com
My mother had one of the trays with glass in it. Hers had a needle point picture under it. It may have been a wedding present in the 40’s. She didn’t get much useless (to her raising 5 kids on a farm anyway) sort of stuff like that after she was married.
Janet
Date: Wed, 2 Dec 1998 20:50:16 EST | From: JQuilt [at] aol [dot] com
What a sweet memory came back by the thought of fabric being measured in those meter “things” and then notched and torn…my mom used to take me to Bloomingdales in NY where she would buy fabric to make my dolls clothes…fabric like dotted swiss, organdy and dimity..and that’s how they measured.
I am lucky enough, to go to one of the all time fabric stores in Greenfield Mass…where all the tearable fabric is torn…..and when the fabric that can’t be torn, a thread is pulled crosswise and then cut on that line…
.Buttermilk Stain Recipe
1 gallon water
1 qt. buttermilk – butterfat content of 1% or less
1 Tbs lemon juice
Soak quilt in mixture and wash in mild detergent.
I have Recipe #3 which I have personally used and like Equal parts of Dove liquid dish soap and Clorox II POWDER in hot/warm water. Soak throroughly. Don’t rub. Rinse thoroughly.
(I haven’t figured out how to make equal parts in the washer. Too much Dove and the washer will be overflowing with bubbles I just add a couple of squirts of Dove and some Clorox II and hope for the best. It has always worked for me. The first time I tried it was on an antique 30’s quilt that I bought on eBay.)
jean jquilt [at] aol [dot] com
Date: Wed, 02 Dec 1998 19:46:18 -0700 | From: Eileen Trestain <ejtrestain [at] earthlink [dot] net>
Well. to add a tidbit to the black light discussion, my contacts floresce under black light, so that it looks like everything is in a blue haze. Now THAT is wierd to look at.
You must have really liked that quilt that was cut down, to have liked it enough to admire it, and then to buy it later cut down, too. Don’t you wish you had been able to buy it when you first saw it, before it’s alterations?
Eileen
