November 6 – 15, 1999
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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:
- Authenticating an eBay Kretsinger Top — A signed but unfinished Kretsinger quilt top on eBay sparks questions about whether it was really a kit and how quilt authenticity gets verified without a clearinghouse for provenance.
- Tracing Names on a Signed 1843 Quilt — A member who acquired a 25-block quilt signed and dated across nearly every block asks how to start researching the people named in it, and gets pointed toward county registrar and vital records.
- Wet-Cleaning Early Coverlets — A detailed how-to on wet-cleaning 19th-century coverlets, covering when it’s warranted from a conservation standpoint and the screening and handling steps to protect fragile fibers. (see the article on cleaning antique quilts)
- Hopi Quilts and Hidden in Plain View on PBS — Members compare notes on a PBS documentary about Hopi quilters and on responses received from National Geographic regarding the Hidden in Plain View Underground Railroad quilt-code claims.
- Debating the Underground Railroad Quilt Code — A member argues at length that no evidence supports quilts being used as markers or signals on the Underground Railroad, tracing the claim to a single uncorroborated oral account. (see the article on Underground Railroad quilts)
- Debunking the Treadle Stitch Myth — A member explains why uneven stitch length on an old quilt isn’t caused by treadle pedaling speed, since the feed dogs — not the treadle — control fabric advance on treadle, hand-crank, and electric machines alike. (see the article on quilt folklore)
- Wooden Shoes Beyond the Dutch — A historic-reenactment discussion clarifies that wooden-soled shoes and clogs were worn well beyond the Netherlands, across Wales, Cornwall, Brittany, and other regions, for practical work reasons.
- Toile Fabric and Natural Dye Resources — Members trade sources for identifying and dating toile fabrics and recommend a reference book on historical natural dyeing recipes. (see the article on natural dyes)
- Museums and Research Libraries for Textile History — Recommendations for the Museum for Textiles in Toronto, the Textile Museum in Lowell, and the Institute of Textile Technology’s interlibrary-loan book program as research resources. (see the article on quilt museums)
- A Barn-Find Family Heirloom — A member recounts an unexpected discovery: a contractor recognized an 1860s dress she owned as period clothing, then brought over an old tied comforter of his own that turned out to be a family heirloom textile.
Date: Sat, 6 Nov 1999 22:28:41 -0500 | From: [from unknown]
My son was looking for information about canoes on the Peterborough Museum (Canada) site and came across a page of several quilts in their collection – check it out. Nice 1836 quilt and others.
http://www.kawartha.net/~jleonard/qexhibit.htm Linda
Date: Sat, 6 Nov 1999 22:24:07 -0500 | From: “Judy Grow” <Judygrow@
Barbara, I think your husband is correct. I would date the quilt December 31st 1999. That would signify the end of an old project, just before the beginning of a new one. Judy in Ringoes, NJ judygrow@
Date: Sat, 6 Nov 1999 22:46:18 -0500 | From: “Judy Grow” <Judygrow@
On another note. I’ve just come into posession of an 1843 quilt of 25 blocks, signed in every block, dated in quite a few, and placed in New Brunswick, NJ, in one block. I’d love to research all the names, but have no idea where to start. Does anyone have any ideas? Are there any sites on the net to start from? I’d love to be able to put together a history of the people in this quilt as was done for the Kezia quilt I just read about in “Uncoverings.” Judy in Ringoes, NJ judygrow@
Date: Sun, 7 Nov 1999 10:14:02 -0800 (PST) | From: Jerry Spring <qwltlvr@
Hi all,
I have been off for several days, found the notice about Kretsinger interesting. Is the implication that that this top was part of a kit, or somehow not what it was proported to be by the seller on ebay? Seems that was the inference. I would like to know more. It would make me wonder….if Kretsinger did not sign many quilts, why would she sign an unfinished top? Something to think about. Too bad there is not an authentication clearing house for quilts and related ephemera.
Jerry
Date: Sun, 7 Nov 1999 13:09:15 EST | From: QuiltFixer@
In a message dated 11/7/99 8:42:43 AM Pacific Standard Time, silkribbon@ writes:
<< I do historic reenacting back to mid-18th century. There were many people then who wore wooden shoes, the Dutch only made them famous! All the lowland areas of Germany, Brittany, Wales, Cornwall, Belgium. Many of us wear them today for the same reason at our events — to keep our feet warm and dry under less than ideal weather conditions.
Hope this helps. Cathy Grafton Pontiac, IL Thanks you Cathy, I am sharing this with the QHL list as several people asked me to share any information I got on the subject. Toni B QuiltFixer@
Redworkldy@ www.redworklady.com
Date: Sun, 7 Nov 1999 14:09:58 EST | From: QuiltEvals@
Hi Judy – I have done this very thing and it is fun to find the names associated on a quilt. My quilt was from Hoxie, Arkansas, and I started with the County Registrar – or in some area I think they call it the Hall of Records…anyway, since you have some dates, it may help you to locate marriage, birth or death records with the county. Most places have kept them that far back. When I researched my names out, they had the names recorded by date in these huge thick volumes – just looking through them was a great educational experience.
Also, check to see if there are any obituaries from that time as well.
From the records you can trace the family – death certificates or obits might indicate “survived by”. And you start searching again. Becomes a fun puzzle.
Deb
Date: Sun, 7 Nov 1999 17:52:23 EST | From: AlineMcK@
Late 1800s utlity quilt for $37. Such a steal for a fabric library!
Seller says there’s some damage, but hey, I don’t mind ugly. And it looks like it has some nice conversation prints in it (one in the photo looks like German shepherd print).
Date: Mon, 08 Nov 1999 06:59:21 -0500 | From: Alan Kelchner <quiltfix@
Hi y’all.
I’m back from an auction, came home with a new quilt that I’m thrilled to have – I really didn’t expect to find one like it that would be in my price range.
Okay – what I bought was a Double Wedding Ring. The background is bubble-gum pink, varied weaves. The arcs are bi-colored, but not the same two colors all over. The arcs use a strong light and a strong dark. The melons are also strong “darks”. There is a lot of solids, quite a bit of solid black in the arcs and some melons. A lot of mid-blue in the arcs. Visually, it’s extremely – oh – shall we say – breathtaking. You gasp from the shock <g. Of course, this quilt is fairly primitive, a lot of the seams sewn with navy thread of a quite heavy nature. There’s even a fabric with hints of a metallic gold thread! The quilting is sparsely done, and qualify as toe-hookers.
The greatest part is that it has a top, a batt, and absolutely no backing at all. The top was quilted to this pink blanket.
It’s too cool. It looks to be a multi-generational piece started in the 30’s and finished in the fifties.
Can anyone tell me anything about these colors? I have a strong suspicion it may be African-American in origin.
I also came away with a string-pieced top and 20+ plain feedsacks. Aside from the pink DWR, all the other quilts and tops were obviously made by the same person, and after looking at the feed sacks, I’m pretty certain I now own her quilt backing stash! Some are cut and a few are sewn together. I bought these for restorations, but I think I’ll take some of them and back the string top. Alan
Date: Sun, 07 Nov 1999 18:07:19 -0600 | From: Laura Hobby Syler <texas_quilt.co@
Aline, Thanks for saving it from “doll quilt heaven”. And you did do good! Be sure to bring it to the next VQTS Quilt College!!! You know we’ll all be ooh and aah over your your new baby! Laura
Date: Sun, 07 Nov 1999 17:52:39 +0000 | From: Audrey Waite <awquiltr@
Thanks to Karen Bush I spent way too much time looking at EBay quilts today. In amongst them was a New Hampshire souvenir tablecloth which made me wonder when these were made and how were they sold? Anyone out there remember them being available in stores, catalogs, or? I bought an Alaska one last year and made it into a vest to wear on our Alaska cruise. Didn’t realize they were so valuable. Please don’t flame me. Ha! We’re going to Alaska again – it was too much fun.
Audrey in warm Sedona, AZ http://www.quiltcamp.com
Date: Sun, 07 Nov 1999 23:27:26 -0500 | From: “Ann N. Richardson” <pastcrafts@
Catherine and the List,
I have wet cleaned early to mid 19th c. coverlets. I really do not recommend it unless you are absolutely certain that it is necessary from a conservation standpoint.This is a long “how to” post, so skip it if you do not want to read it through.
1) vacuum it very well to remove any imbedded dust and grit as that will only turn to sludge when it mixes with water. Be sure you either place a piece of screening (fiberglass window screening whose edges are bound)over the textile, or cover the nozzle of the vac with a piece of clean old panty hose. Vacuum with the grain, on the cross, and on the diagonal, turn over and repeat. Be sure it is a low suction vac like a dust buster type.
2)Make sure you know the fabric content FOR CERTAIN. Many of them were made of a linen or cotton warp/ wool weft. Or a blend of cotton, linen, wool. The fiber content will affect how you treat it when drying from a shrinkage point of view.
3)Test every color for fastness. By 1858 people were starting to play around with non – vegetable dyes. Also, I ve seen them tea dipped to hide a stain in the light areas.
4)It must be cleaned flat – not in the bath tub. In the absence of a real washing table, I construct a washing tub using 2 by 4’s and heavy gauge plastic sheeting and a few clamps, that way I can customize the size of the “tub”. I place it on my cutting table. I position a big trash can on wheels at one corner to receive the used water. I do this in the same area as my washing machine, where I also have a drain in the floor. ( I do not have a fancy, state of the art studio – I wish!) 5)Add tepid, neutral(distilled) water to cover the textile. Just let it soak, NO AGGITATION! Keep your eyes peeled for any dye floating on the surface – if so, get rid of the water – pronto! Let soak for 30 min. You can gently tamp the water above the textile up and down with the palm of your hand. Release the water – it should be cloudy. I use a cardboard fabric tube – or old piece of pvc pipe – that I slide under the plastic causing the water to go in front of it and out into the can. Note that I do not touch the textile with my hands. When water swells the core of the fibers, it really increases the fragility of the fibers. 6)When the plain water bath runs clear, then you can add surfacent (soap/detergent) I use liquid Cheer. A couple of tablespoons per wash is plenty, this stuff is concentrated! It has both ionic and anionic cleaners and nothing else. It cleans very effectively – better than Orvis- and rinses out well. (I posted this info to the list a few months back. It is the cleaner of choice of several conservation labs including the Univ. of Rhode Island) Once again, do not agitate, but tampe the water above the surface. Repeat with new solution until the water runs clear.
7) Rinse until there are no suds and the water tastes pure. (Yes, I swig a bit of it, that is the surest way to tell if there is any cleaner left.)
8)Leave the coverlet in the tub and place big absorbant towels on top of it, do not wring, or blot, or manipulate it in any way. Replace the towels as they get damp – drying the wet ones in the dryer as you lay on the next set – I have 8 that I use 4 at a time. In addition to absorbing the excess moisture, any remaining soils will wick to the top and lift off of the coverlet. When it is damp, you can very gently roll it over to the other side and repeat with the towels. Drying time will vary with the season and humidity of the room. 24 hours usually does it. If you see it starting to shrink, then gently try and block it while it is still damp.
9)Remember, your goal is to neutralize the pH, and improve the appearance. You do not want to return it to a pristine appearance at the expense of harming the fibers.
These coverlets co-existed with the same quilts we all love and treasure. We need to accord them the same respect! I am thrilled to know that Rabbit is coming to Omaha in April to talk about them. Now, there’s an expert! And I’ll be in the front row! Newbie in Alexandria,Va.
Date: Mon, 8 Nov 1999 08:44:55 EST | From: JQuilt@
on sunday 11/7 at 1:00PM.. i saw most of a 1/2 hour show on pbs called Hopi Quilts..it was great …did anyone see the entire show? i am going to write and ask if it will be repeated and if i get a response i’ll share it.. jean laino
Date: Mon, 8 Nov 1999 09:00:35 EST | From: JQuilt@
I did receive a response from National Geographic,regarding the Hidden in Plain View reference, with the usual “we received and appreciate etc”… hope lots of us wrote to them…to repeat the e-mail address ngsforum@ the person signed the response cal jean laino
Date: Mon, 8 Nov 1999 13:45:54 EST | From: Quilt97@
I routinely prewash all new fabric in a solution of Retayne, to set the dye/color. I wash only like colors together. Has anyone come up with a quicker, but safe, method of doing this?
Elisabeth
Date: Mon, 08 Nov 1999 15:02:13 -0500 | From: Jean Binns Smith <shejean@
I live in a small town and for $25.00 bought a slightly damaged bubblegum pink autographed quilt ,I figured 1880’s at a farm sale about 15 miles away. Couldn’t read many of the names at the time, but I was determined to find the family history of the maker. At home with the help of better lighting and my husbands near sighted eye, we dicovered there were a lot of Heckman names on the squares. I had a close friend interested in genealogy , whose mother’s maiden name was Heckman . Called her and asked ” do any of these names sound familiar to you ? ” She replied ” Those are my great grandfather’s brothers and sisters names”. She took it to a family reunion. Most members never knew it existed. Kept it for about 8 years and had the fun of saying ” Look what I have,” then sold it to her for $50.00. Know I could have made more money, but in her family was where it really belonged. Jean B. Smith Bellefonte, Pa
Date: Mon, 8 Nov 1999 16:46:23 -0500 | From: “Judy Grow” <Judygrow@
Monica McGregor, from the QuiltArt List posted the following URL. As she says, it is a ” neat page of textile-related links. Lots of pix and info, especially on historic textiles.” But not necessarily quilts. http://www.interlog.com/~gwhite/ttt/tttintro.html
Judy in Ringoes, NJ judygrow@
Date: Mon, 8 Nov 1999 19:56:40 EST | From: QuiltEvals@
Another textile related site…FYI… I don’t know if anyone would be interested or not in the following web page, however I have found it to be very useful – especially on a limited “book buying” budget. It is the web page for the “Institute of Textile Technology” library. They have an interlibrary loan program where you can actually borrow one of their books (for a fee) for one month. They have an extensive catalog – worth taking a look at for research information. Find it at: http://www.itt.edu/worldpac/eng/wphome.htm Deb Roberts
Date: Tue, 9 Nov 1999 08:17:41 EST | From: JQuilt@
there is a short history of toile fabrics at this website http://www.quiltcreations.com/FAB/historyjouy.htm jean laino
Date: Tue, 9 Nov 1999 08:41:41 EST | From: CToczek@
We had an interesting guest speaker at the guild last night. Marian Wild, the Village of Montgomery historian, came to speak about her family quilts, dated from 1890-1950. She had a couple she called “summer boarder” quilts that were made without batting and used as coverlets on the beds of boarders at the family home. Marian held up a turkey red and white oak leaf applique quilt. (not the traditional pattern, just oak leaf shapes cut out and arranged in circles.) The colors were reversed so that the turkey red formed the background for the white leaves. Well, she said the top had been appliqued and readied for the quilt frame by her grandmother when “Papa” (her grandfather) came home with their first sewing machine. The girls (one being her mother) were so excited with the machine they quilted this applique top right away in an overall grid pattern of 1.5″ squares. Marian said her grandmother was furious with them because it was meant to be fancy quilted, but the girls were more thrilled to have the job done quickly!
So maybe the big quilting style debate isn’t just a modern one? <G
Carla West Point
Date: Tue, 09 Nov 1999 09:16:22 -0600 | From: Laura Hobby Syler <texas_quilt.co@
I purchased a couple of yards of the blue and white toile in Houston from Cecile. It’s nice stuff. The blue and buff is more of a decorator weight and the red and buff a little course, but if you are looking for samples for fabric identification/dating books it’s great stuff! Laura
Date: Tue, 9 Nov 1999 10:59:24 EST | From: AlineMcK@
A friend has asked me to do some repair work on a family quilt. It’s a signature quilt, dated 1939, worn but in mostly good shape. Two blocks are damaged: one is, I think, rayon in a very light blue (fabric is very shimmery, unlike all the other feedsacky blocks). It’s pretty badly shredded. The other has a very tiny black bow-tie motif on white. Only one rip. The quilt is so soft & faded that newer reproduction fabrics would stand out like a sore thumb. I’d love to find a match for the black-and-white fabric. Anyone have a few square inches of (gasp) cutter fabric they’d like to swap?
The rayon is beyond hope, I think. I’m open to suggestions on that.
Aline
Date: Tue, 09 Nov 1999 13:23:14 -0800 | From: pastcrafts@
I think that what is the most wonderful thing about all of you guys is the current technology that I am learning to use as a result of all the postings of links. Thank you all. I can see that soon, I am going to have to schedule “surf” time in my schedule. Sigh, yet one more thing to do. How does anybody get their needlework done!? Newbie
Date: Tue, 09 Nov 1999 13:35:34 -0600 | From: Jon Miskowski <jmiskows@
I keep hearing about PBS’s program about American Quilts. Does anyone know if they have made a video available for sale of this program?
“America Quilts” the 60 minute PBS documentary featuring quilts and quilters from across America is now available on home video. To learn more about the program, you can visit the website at www.pbs.org/americaquilts . The home video includes 20 minutes of additional footage not seen in the PBS program. To order call PBS Home video at 1-800-PLAY-PBS. Or visit Shop PBS to purchase it on-line at: http://shop.pbs.org/aA4nxSxRoT/products/A3768/
“America Quilts” will be seen on many PBS stations again in late November or December. We encourage you to contact your local PBS station to inquire about their plans.
Date: Wed, 10 Nov 1999 15:10:57 EST | From: EllynLK@
I have always wanted to learn to weave but due to an erratic work schedule can never manage classes.
I want to buy a SIMPLE (and relatively inexpensive) loom to get a feel for the craft (the only things I’ve ever woven were those loopy potholder things as a kid). I saw a “wooden peg loom” on eToys which looked kind of nice… and spent an hour and a half searching websites looking for something that might give me a good start. Well, I just don’t know enough– at all. Does anyone here weave? Could you give me some pointers on what I should look for to get me started?
I’m also limited in space so it has to be small but I would like something that would enable me to weave something larger than 10 inches by 14 inches!!
Please e-mail me off-list at ellynlk@ if you have any suggestions.
Thanks!
Lauri Klobas
Date: Mon, 8 Nov 1999 23:37:48 -0000 | From: “Jenni Dobson” <jenni@
Hi QHLers!
Having been v. busy, am now back to reading the digests again!
Just wanted to add my bit to the discussion for Toni re clogs/wooden shoes. Toni mentioned in a recent post that someone had said about folk from Wales & Cornwall wearing wooden shoes but that’s only part of the British Isles. Other places also have traditions of making/wearing clogs including some that had wooden soles with leather uppers – these were the standard thing for people in certain jobs because they were so durable. And if any of you have seen the Riverdance show or its sequel with Michael Flatley (I know this went to the US) you’ll have seen that the Irish also used clogs. Because clogs were all that some folk had, they resulted in traditional dance forms from several parts of GB. So not only the Dutch ….! Also re the washing of wool & on the subject of myth/folk knowledge: as a teenager, (i.e late 50s/early 60s) an aunt taught me to only ever wash wool when it was windy! Of course in the days before spindryers etc., you can now see the importance of this – the wind ensures that moisture is taken out of the wool as quickly as possible reducing the chances of shrinking! At the time, my aunt didn’t know the science behind the rule – she just observed the rule. Only later when I studied more about fibres did I realise the sense of this ‘old wives tale’. Sorry – I just wanted to show that sometimes there can be real knowledge hidden in some things passed on thro the generations. However my aunt never told me another truth about washing wool to reduce the risk of problems which is, apart from using only luke-warm water to wash, don’t change the temperature when you change the water during rinsing – the thermal shock can encourage the fibres to felt.
But I bet the contributor already washed her coverlet!
Jenni Dobson in UK.
Date: Mon, 8 Nov 1999 23:50:21 -0000 | From: “Jenni Dobson” <jenni@
Thought I should post this as a separate item. Regular readers may recall I posted something about a quilt I acquired way back in spring, made of the block which Barbara Brackman identified for me as Monument. I’m still looking into this quilt & wonder if anyone can please help with anyone of the following questions:
i) The quilt was bought in Ontario Canada – I’d like to try establishing more about what fabrics were available in Canada, let’s say between 1890 (when the monument pattern first appeared acc. to BB) & the 1940s. Can anyone suggest a source I could go to for this information?
ii) the dealer who sold me the quilt called the pattern Skyscrapers because he saw it called that in a 1930s Canadian wms mag. It’s been suggested to me this might have been Chatelaine – but visiting their website didn’t seen to give me any place to ask about their archive – again, any ideas please?
iii) I’m also keen to establish how easily the pattern, if it was originally Monument in 1890s USA, travelled over the border – not being around at the time, I wondered how easily such things as magazines crossed the border? Again it’s been suggested to me that during the 1890s which coincided with the Canadian goldrush, many people crossed to America to buy all sorts of goods because the tax arrangements made this a better deal – but again, I’d really like a primary source to support that proposition if anyone knows where to look?
Sorry to push a personal hobbyhorse here but please believe that I do want to do my research sufficiently well so that it isn’t all speculation!
TIA for any contributions from the knowledgeable readers of this list! Jenni Dobson.
Date: Wed, 10 Nov 1999 17:05:56 -0500 (EST) | From: quiltsnbears@ (Roberta Geanangel)
Have you contacted The Museum For Textiles in Toronto? http://www.museumfortextiles.on.ca
Date: Wed, 10 Nov 1999 16:33:47 -0000 | From: “Jeanne Fetzer” <jeanne.fetzer@
Hi, I was asked today if I knew anyone who could appraise a wedding dress. It looks to me to be one from about 1880-1890. Anyone know of someone? It has lace inserts, etc. with puff sleeves — and that incredible 19th century waistline! Please email me privately. Also, does anyone know of a book that would should an Amish wedding dress? Thank you. jeanne.fetzer@
Date: Fri, 12 Nov 1999 00:02:31 -0500 | From: “Judy Grow” <Judygrow@
Talk about luck! The young man who redid our barn into a studio came by last week and saw arrayed on my dining room table the plaid 2-piece dress from the 1860’s that I wrote about a few weeks ago.
I wasn’t there, but DH told me that he immediately knew it was period clothing and asked about it.
Today, I was sitting at my kitchen table, paying bills, when he arrived at the back door, lugging what was obviously an old, ratty, tied comforter. We opened it out on my living room floor and inside was lots more stuff. He had just been in the attic of a house slated for demolition. The house had been unoccupied for at least 5 years, and he brought into our house everything salvadgable that he had found. There were a Simplicity sewing book from 1935, someone’s notes from a geography class (so neat, and completely filling the notebook) a math primer (couldn’t find the date) a sugar tin that contained seed packets, and then —- a parasol of cotton fabric on a faux bamboo handle. The parasol was only 18″ across when opened, and in wonderful condition. There was an early plaid short overskirt of silk. And last, a silk two piece dress of the most glorious green, and thanks to Newbie (I bought the book you suggested and 2 more) I was able to date it to the mid 1870’s. The silk isn’t shattering, but the green is discolored in places, Allan said probably from the resins from the pine sheathing boards on the leaking roof. It is all handmade, and is lined in what I think is called Hessian — a muslin like fabric, not the tan I’ve seen before, but a Prussian blue! The details — some cartridge pleating, outside decorative pocket, almost military style cuffs, low bustle and slimmer skirt, point to the 1870’s date.
I’d like to send it to you, Newbie, to see if it is worth putting the money in for restoration. You’ll like looking at it, anyway.
Back to the comforter. I felt it, and knew right away that there was something other than just batting inside — So I looked through a mouse hole, and saw that for sure there is at least part of a quilt in it. Barb Garrett, you and I will have a discovery morning on Monday. I’ve already washed it, and will have to take it outside again tomorrow morning so it can finish drying. But by Sunday it should be clean and dry. The wash and rinse water took forever to run clear, but I bet if I wash it again I’ll get more grunge out! I think the dresses and comforter were gifts to me. Adam took the other stuff home with him, but didn’t seem interested in these things, and said his wife wouldn’t be either. Oh, yes, there was also an embroidered silk shawl, pinkon pink, with long knotted fringe, and I made sure he took that home to his wife. It wasn’t in bad shape and she might be able to wear it, or at least drape it prettily over a chair back.
Also, on my 1843 signature quilt, this saying — “When on this SPREAD My name you see, Oh then dear friends You’ll think of me.”
How about that? Elizabeth Curtis called a quilt a spread in 1843. I hadn’t heard that before!
Judy in Ringoes, NJ judygrow@
Date: Fri, 12 Nov 1999 08:30:45 EST | From: QuiltFixer@
Judy, thanks so much for sharing this with us! I got goosebumps reading it. I am so excited for you. I think we can all agree that our list has expanded to include textiles, clothing, and linens and I, for one, am very happy to have information about all of those. Toni B. QuiltFixer@ Redworkldy@ www.redworklady.com
Date: Fri, 12 Nov 1999 06:36:32 -0800 | From: Denise Clausen <nadyne@
Dear QHL friends
So nice to meet some of you face to face at the AQSG Seminar in Lansing. The packets regarding the Latimer Quilt and Textile Center are on their way….. been awful busy!
I have three questions for the list: 1. Does anyone know about a dip ink that will not eventually eat the fabric it is used on. In my “spare time” I am a calligrapher, so lettering jumps into most of my quilts. I’ve done many different types of lettering on fabric but my desire is to letter on fabric with a dip pen, as on the Baltimore Album Quilts (not with felt pens). I’ve experimented and like the look, but have not committed any to a quilt yet because I don’t know what will happen to the india ink, long term…… any thoughts????? 2. At the Latimer Center we have a set of late 19th centrury quilt blocks that are like “seven sisters” #241 Barbara Brackman…. except in between the 7 stars is a hexigon instead of a diamond….. similar to #255b if the outside half-stars were complete….. Overall it makes a circle with big scallops, could have been intended to be round…….. have you ever seen one like this????
3. I am doing a research project on indigo fabrics and their use in 19th century quilts. I have Gosta’s book now and Kiracoff. Any other reference suggestions? I will be in Washington DC Dec 12- 16th….. am planning to visit the Smithsonian, The Textile Museum, and the DAR Museum if there is enough time. Any indigo suggestions there?
Thanks a bunch! Denise Clausen Director LQTC
Date: Fri, 12 Nov 1999 09:34:00 EST | From: HKnight453@
Hello all-
I am seeking facsimile reprints of books on Civil War sewing techniques. I have authentic patterns that match primary-source garments well, but would like info on types of buttons used, how regimental flags were made etc. If anyone one would like to sell me these items or recommend titles, thanks in advance. Also, I strongly recommend a visit to The Museum of Textiles if you are in Toronto. Their research library is helpful, and the available sources are great. The librarians were really nice, and the exhibits were well organized. Heather
Date: Fri, 12 Nov 1999 07:43:07 -0800 | From: “Julia D. Zgliniec” <rzglini1@
Dear QHL. The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use, J.N. Liles, The University of Tennessee Press. Knoxville. 1990. ISBN-0-87049-670-0 has excellent discussions of the “natural dye processes” in use last century. There are good how to instructions as well. Even if you do not plan to dye your own fabrics, the information is good background.
Regards, Julia in Poway , CA
Denise Clausen wrote:
Dear QHL friends
So nice to meet some of you face to face at the AQSG Seminar in Lansing. The packets regarding the Latimer Quilt and Textile Center are on their way….. been awful busy!
I have three questions for the list: 1. Does anyone know about a dip ink that will not eventually eat the fabric it is used on. In my “spare time” I am a calligrapher, so lettering jumps into most of my quilts. I’ve done many different types of lettering on fabric but my desire is to letter on fabric with a dip pen, as on the Baltimore Album Quilts (not with felt pens). I’ve experimented and like the look, but have not committed any to a quilt yet because I don’t know what will happen to the india ink, long term…… any thoughts????? 2. At the Latimer Center we have a set of late 19th centrury quilt blocks that are like “seven sisters” #241 Barbara Brackman…. except in between the 7 stars is a hexigon instead of a diamond….. similar to #255b if the outside half-stars were complete….. Overall it makes a circle with big scallops, could have been intended to be round…….. have you ever seen one like this???? 3. I am doing a research project on indigo fabrics and their use in 19th century quilts. I have Gosta’s book now and Kiracoff. Any other reference suggestions? I will be in Washington DC Dec 12- 16th….. am planning to visit the Smithsonian, The Textile Museum, and the DAR Museum if there is enough time. Any indigo suggestions there?
Thanks a bunch! Denise Clausen Director LQTC
Date: Mon, 15 Nov 1999 08:41:49 +0200 | From: Ady Hirsch <adamroni@
Hi, Christine In answer to your question – Egypt has a long tradinio of applique, although not figurative as it is forbidden by Islam (much like ancient Judaism – “graven image” etc.) and thus limited to arabesques. The applique, in pattern similar to (and copied from) those decorating tiles on mosque walls are used to make mourning tents. These tents are erected to enable visits to a family in mourning, and are covered with appliqued deisigns depicting verses from the Koran. Nowadays, unfortunately, these exquisite works of art are replaced by cheap printed panels in garish colors. Some of the old tent makers still produce their art, now mainly for tourists, and have also started reproducing scenes from ancient Egyptian tombs. In the old market in Cairo there’s actually a street called “street of the tentmakers”, where they can stilll be seen plying their art. the applique shapes are marked on the top of the fabric (solids only, no prints), attached with needle-turn technique, and backed qith canvas. The panels have neither batting nor quilting and are purely decorative. The panels with ancient Egyptian scenes are sold in the bazaars, and this is one of them. It is indeed appliqued and embellised with embroidery – the quality of the work generally ranges from exquisite to poor, and this example is rather poorly made. It is a rather garble depiction of several scenes: At the top are gods Amon and Isis bestowing “a million jubilees” (the hierogliphics at the bottom of the staffs) on the kneeling king. Second from the top -what seems like a goddes is in fact Ha’api, god of the Nile, suckling a human headed bird – the Ba, that part of the soul the Egyptians believed capable of leaving the tomb. Ha’pi, the river Nile, represents the source of all life in Egypt, hence the breasts. Third from the top – a winged sun-disc with uraei – the cobra protecting the person of the king, a common decoration above doorways in Egyptian temples and royal tombs. The fourth representation seems to be god Amon the the shape of a ram of a bull, and Ma’at’ goddess of truth seated opposite him, the the shape of a tiny woman rith a feather (the hierogliph for truth as well as her name, Maat) on her head. The hierogliphic “inscriptions” are garbled and have no particular meaning. Hope this answers your question Ady in Israel
Date: Sun, 14 Nov 1999 22:45:53 -0600 | From: Mary Waller <mswaller@
Liz shared her information on the Percy Kent quilt she just bought and speculated, “Stitches seem to be a little uneven, but tension unevenness at regular intervals. (Treadle, maybe?)”
It’s a fairly common misconception that stitches sewn on treadle sewing machines vary with the speed and regularity of the operator’s pedaling. But it’s a myth. The treadle is just the power source. Feed dogs advance the fabric under the pressor foot on a treadle, hand crank or electric sewing machine in the same manner. Stitch length, tension, etc. are not affected by the power source used to run the sewing machine. Think about sewing at a very slow speed on an electric, and then as fast as it will go, or sewing with quick starts and stops – those stitches look the same (more likely you’d break the thread than change the appearance of the stitching). The purchaser of a sewing machine had the option of choosing the power source of many models of machines earlier this century. You picked a machine model, a cabinet or case and the power source. It was not uncommon that the dealer added the electric motor right in the store. Lots of us who play and use older machines appreciate this feature because it’s easy to remove the motor and convert the machine to treadle or hand crank.
On a quilt with uneven stitches that seemed to be uneven with some regularity, I’d looked for additional thickness due to seam allowances, irregularity in the batting (which may be hard to establish if the quilt’s been used a lot or washed), wonder if the bobbin was unevenly wound or consider that the quilter may have been been “helping” the machine by pulling the quilt through with one hand and pushing with the other. We see people sewing like that today.
I’ve just started making and selling “100+ Years of Machine Stitching” samplers using some of my collection of sewing machines. I use six machines, including an 1891 treadle, 1928 hand crank and 1997 top-of-the-line Viking and do samples of both machine stitching and quilting. I use each machine twice; once with off-white thread on both sides and one row with different colors of dark thread in the needle and the bobbin on unbleached muslin. They’re $10; you can e- me for more details.
Mary Waller, Vermillion, South Dakota, U.S.A.
Date: Mon, 15 Nov 1999 09:46:55 -0800 | From: pastcrafts@
Denise and all,
Hope this isn’t too late to post, I ‘ve been out of town and am catching up. One of the country’s top experts on all aspects of Indigo is Dr. Jim Lyles. I know him through his active participation in the Costume Society of America. His listing in their directory reads: Prof. Emeritus, U. of.Tenn, dept. of Ecology and Evoluntionary Biology/ Knoxville, Tenn. (w)423-9748698 email: jim_dale@. He has spent lots of time in DC and will know where to send you. His wife, Dale, is a textile person so his love of dyes&history has meshed with hers. I think that they are in their late 60’s.
Also, as the first true abolishionists, the Quakers refused to wear anything dyed with idigo as it was produced with slave labor. Quakers eshewed dyes anyway as they felt that it hid the dirt. Hope this helps Newbie
Date: Mon, 15 Nov 1999 10:09:41 -0800 | From: pastcrafts@
Did I miss anyone else’s reactons to the Block print 18th c. whole cloth quilt on ebay (#197567408) mentioned a few days ago? It does look like the real thing. I know the chintz used in the quilt as “drab style” – because they could be washed. I did lots of research on the period 1797 – 1807 for costumes for the docents at Stratford Hall Plantation, home of the Lee family. Robert E Lee lived there before his family moved to Alexandria for financial reasons. The everyday dresses of this “jane Austen” period were made of these dark prints rather than the light pastel muslins and batists that were worn for best. these drab style prints were the late 18th/early 19th c. equivalents of the later wash prints and double pinks we see so much of in 19thc. quilts. The backing looks c.1815 though, early roller print. It has a wacko, almost keladeoscope (sp?) feel that marks this transition period from the trailing florals to the more contained prints of the 20’s. The seller is correct, I think, that the binding is later. I bet the top was recycled bed curtains. I hope a knowledgable collector buys it. After touring many museum storage facilities, I am on the side of collectors to conserve our textile heritage! Newbie
Date: Mon, 15 Nov 1999 17:56:24 -0500 | From: “Phyllis Twigg” <ptwigg@
Today I was delighted to receive a mailing from the Quilters Hall of Fame in Marion, Indiana. They are now selling raffle tickets for a quilt made in the “Wayside Roses” pattern…a formerly “lost” pattern of Marie Webster’s. The quilt was made and donated by the Baltimore Appliqu� Society (Maryland) as a vehicle for raising money for restoration of the Marie Webster House. A picture of the quilt was enclosed. The address is: The Quilter’s Hall of Fame, P.O. Box 681, Marion, IN 46952-0681 In actuality, two identical “Wayside Roses” quilts were made. One is the raffle quilt and the other will become part of the permanent collection. Phyllis Twigg Interim President Baltimore Appliqu� Society
Date: Mon, 15 Nov 1999 21:23:41 -0500 | From: “John Cawley” <cawley@
Hi Cheryl,
I see you haven’t received any replies to your query online. Perhaps it’s because we’ve had some quite heated discussions on the subject of quilts and the Underground R.R. lately. The book Hidden in Plain View has caused great consternation among serious quilt historians for generalizing from a single uncorroborated oral account. There is no evidence that quilts were used as markers, signals, codes on the UGRR. I have been reading extensively in the first hand accounts compiled by William Still in 1872. I have found no reference to quilts in any context. The true heroism of the passengers and conductors on the UGRR requires no embroidery. Cinda on the Eastern Shore
Date: Mon, 15 Nov 1999 21:36:04 -0500 | From: “John Cawley” <cawley@
The Textile Museum in Lowell is outstanding. No matter what they are showing you will be glad you went. Their permanent exhibition is the best possible intorduction to textile production in America. It’s only a short wald from the New England Quilt Museum. You’re right about Gail Binney Stiles collection it’s great. Have fun. Cinda on the Eastern Shore
