October 2 – 5, 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:
- Historical Value and Perception of Quilts — Extended discussion comparing US and UK perspectives on how quilts and quiltmaking have been valued throughout history, with contributions from Celia Eddy on the distinct British traditions of patchwork and quilting.
- Tennessee Autograph Quilt Research — Merikay Waldvogel responds to a pre-Civil War Tennessee autograph quilt with dates 1856–1857, identifying the counties and recognizing family names for census research.
- Quilts as Heritage and Stewardship — Members reflect on the responsibility of caring for inherited quilts, the pain of seeing family quilts discarded, and the distinction between ownership and custodianship.
- Mildew Removal and Fabric Care — Anne asks for help removing mildew smell from 1930s–40s postage stamp blocks, and members share care techniques. (see the article on stain removal)
- Nova Scotia Heritage Quilt Project — Barbara Robson reports on a successful Quilt Registry Day for the Nova Scotia heritage project.
- Wool Comforter Restoration — Sheri Lesh asks for advice on caring for a great-grandmother’s wool comforter whose outer cover has disintegrated. (see the article on quilt restoration)
Date: Fri, 2 Oct 1998 01:11:23 -0400 | From: “Judy Grow” <Judygrow [at] blast [dot] net
>I’ve failed miserably with my dd’s as far as the quilting heritage being passed down in my family, (they don’t know how to thread a needle)…
Karen — give them time. I too didn’t know how to thread a needle — until I left my Mother’s house. There was no need for me to — she did everything better and faster than I ever could, and she was willing to do it, loved to do it!
But something of her love for the act of passing a needle and thread through a textile rubbed off on me, cause, baby, look at me now! Mother is amazed, and secretly pleased, at my tiny stitches, and completion of exceedingly long term projects. Ask Laura Hobby Syler — she was there and heard her say so.
Mother only appliqued two quilts in her life, two identical maple leaf tops from a pattern she got from Woman’s Day Magazine, — one for me and one for my brother — and she had someone else quilt them, but the quilt she gave to me is what got me started in my quilting obsession. I have made many, many quilts, but hers is the one I’ve slept under for the past 15 years.
Judy in Ringoes, NJ judygrow [at] blast [dot] net
Date: Fri, 2 Oct 1998 06:56:41 EDT | From: [from unknown, signed “Lisa Evans”]
It was shown in QNM more like three or four years ago, with an accompanying article. It’s also shown in Janet Rae’s *British Quilts*. It’s actually a summer spread of paper pieced diamonds, and was done by Jane and her sister Cassandra.
Lisa Evans
Date: Fri, 2 Oct 1998 08:34:31 EDT | From: [from unknown, signed “Nancy Kirk”]
This is certainly part of the tradition of crazy quilting, and hopeful in 100 years, someone will look at the quilt Jan made and actually know the history that has gone into it.
If a full crazy seems daunting, consider a contained crazy — crazy blocks with traditional sashing. Use one of the logo type fabrics as a central patch — probably a triangle or pentagon in each block, then use the ordinary clothing to do the crazy patch surround. Photo transfers could also serve as centers if she wants realistic images.
I’m guessing she wants to be able to “touch” and “hug” her son’s memory, so keeping it soft and using just his fabrics makes sense to me. Try to find one piece — maybe a sheet, or lots of worn denim pants legs to make the sashing. I’d also ask more about how she plans to use it and if there are children or pets in the house to decide if you want to add hand or machine embellishments. When we did a commissioned AIDS quilt panel for someone, we felt it was important that he put some stitches in. There was some writing by machine, but we added a hand-stitched signature which we taught him to stitch. She might want to write some memories on some pieces of cloth with a Pigma pen, or stitch important dates from their lives together to incorporate into the blocks.
Best wishes.
Nancy Kirk
The Kirk Collection
Date: Fri, 2 Oct 1998 08:04:27 -0700 | From: stitchinmama [at] juno [dot] com (Mary B Aslanis)
Our hospital quilting group was the recipient of a partially assembled set of quilt blocks. One of our members declared that these were GENUINE 30’s fabrics (not reproductions). What would be the best method of handling this treasure? The fabrics are in remarkably good condition. The partially finished blocks are handpieces and appliqued to the muslin foundation.
Should we continue with the same method? Should we disassemble them and use modern techniques? If we do the latter would it diminish the value of the fabric?
Any input would be greatly appreciated.
Thank you, in advance!!
Mary B Aslanis, Redlands, California
Date: Fri, 2 Oct 1998 16:13:09 +0100 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk>
I am no great quilt historian, but I wonder if we have a difference of perspective here between US and UK. I agree with Rachel that American authors like Beyer and Brackman cite the value of quilts, and certainly when you look at the fabric and work in Baltimore quilts and others you can’t call them make-do-and-mend. The same applies to many antique British ‘masterpiece’ quilts. However, I can also vouch for Celia’s view that the present general ‘perception’ of quilts in the UK is that they would be made from leftovers. I don’t know enough to say when exactly the view changed and therefore how deep the ‘psychological roots’ are, but I have lost count how many beginners have complained to me that their husbands feel they should be cutting up old clothes not buying new fabric, and non-quilters who ,when they discover my hobby, assume the same. (before anyone takes me to task, I don’t insist on either new or old fabric, but explain that there is a choice). ‘Quilting’ here tends to mean ‘Patchwork’ and ‘Patchwork’ is taken to be small pieces of second-hand fabric tacked over papers (and probably shoved in the back of a drawer). Once drawn into the quilters’ web, of course, people very quickly learn otherwise <g> ‘Make-do-and-mend’ may not be the correct ‘historical’ view, but if it is the current public perception it must colour the way women feel about buying new fabric.
Sally in UK
Date: Fri, 02 Oct 1998 10:19:52 -0600 | From: Sharon Harleman Tandy <harleman [at] micron [dot] net>Hi all,
Curiously find myself agreeing with all parties on this thread. Within our own circles, we know that new, old, repro, used, everything goes. We also know now that the colonials did not piece from scraps and used garments. Still, the public perception is locked into the stories we heard in the 40s and 50s (earlier, too, I’m sure) that quilting began ‘with use it up, make do, and make over’. Just this last weekend, while sitting the antique quilt room at our annual show, the general ‘public’ mentioned that concept over and over. I heard one man, 55+/-, tell his group of 6 or 7 just such a thing as he looked at my ggm’s 1880s quilt, a two-color, four fabric classic. I gently corrected him and with the evidence right there in several other older quilts, he insisted that his version was true. Old myths die hard, I guess.
When husbands say “I don’t know why you buy big pieces of cloth, cut them up small and put them back together” my reply is “Why do you do the same with lumber?”
(;D
Sharon.
Date: Fri, 02 Oct 1998 12:15:55 +0400 | From: Xenia Cord <xecord [at] netusa1 [dot] net>
I think Sally and Sharon both have valid points: the task of education is ours, and is made more difficult by some of the misperceptions in print from the 1960s and ’70s, when we were just beginning to recognize the importance of quilts in history. We wanted to admire the ingenuity of American quilters from the past, and were happy to give them a history of thrift and creativity.
The concept of “Use it up, wear it out, make it do or do without” is one that was certainly firmly rooted in American culture, and it persists as a sort of myth of American (and Brit?) frugality.
Our view of quilts from the early part of the 19th century in the US is colored by what is available to us to study; that is, we should consider that only the better quilts survived. By that I mean best fabric, best workmanship, saved for best. There may well have been others that were the product of salvage textile construction, and that have been used up and discarded.
HOWEVER – considering the number of unwashed, unused quilts we have available to us to look at, we should also consider that many women used the fabrics remaining from dressmaking (not the worn dresses themselves except in special circumstances), and also purchased fabrics especially for the art of quiltmaking. Unwashed quilts typically do not contain soft, worn fabrics; everything is crisp and new-looking. It is unfortunate that the general public, and some authors, like to cling to the idea that used fabrics were recycled into quilts. As a practical matter, quilters know that it doesn’t make much sense to spend that much time and effort on something made of materials which have already outlived one form of usefulness. Problem is – let an idea like this get into print, and it dies HARD! (How often have you read that cotton seeds in the batting mean the quilt was made before the invention of the cotton gin? And that pieced quilts were an American invention? And that quilts were stuffed with fillers such as straw and grasses?) But as long as the pubic clings to the notion that quilting is for old grannies who have no better use than making quilts, the denigration of or disregard for quilts, their use, their construction, and their fabrics remains a problem.
Phew! I think I’ll go lie down under a quilt and think about this some more!
Xenia, in cold Indiana
Date: Fri, 2 Oct 1998 20:18:26 +0100 | From: “Sally Ward” <sward [at] t-ward [dot] demon [dot] co [dot] uk
Coincidental to other posts, I have been discussing a possible project with a children’s hospice to make memory quilts with bereaved parents. I have reservations about working on something so personal with people I don’t know. Any advice/suggestions/recommendations would be most welcome Please email me privately as this is not heritage related.
20
Thanks20
20
Sally sward [at] t-ward [dot] demon [dot] co [dot] uk
Thanks
Date: Fri, 2 Oct 1998 16:35:02 EDT | From: QuiltAlive [at] aol [dot] com (Merikay Waldvogel)
Your Autograph Quilt with names and dates 1856-1857 is really intriguing. The Tennessee locations are near Knoxville where I live. Yes, Dandridge, Tennessee is very close to Knoxville, but Rhea County is also in East Tennessee [not West Tennessee as you stated in your message.] This is a great discovery! Autograph quilts (pre-Civil War) are very rare in Tennessee. I recognize some of the names–Rankin and Broyels. I can’t wait to go to the genealogy library and check the 1860 census to find out more about these women!! But . . . lots of things are on my plate in the next few weeks. We’ll have to wait until later, but thank you for sharing this information. For more info on Tennessee Quilts, Rhea County Quilters, etc., look for the book Quilts of Tennessee: Images of Domestic Life Prior to 1930 by Ramsey and Waldvogel–newly reprinted, by the way–and I think Kris has copies for QHL’ers.
–Merikay Waldvogel
Date: Fri, 02 Oct 1998 23:33:11 -0400 | From: Anthony Jones <ajones2 [at] tampabay [dot] rr [dot] com>
You are certainly right, quilts were highly prized throughout our early history. They routinely show up among the affluent’s household inventories right along with the silver . One only has to look at many of the 19 th century quilts and know that the large amounts of background or applique fabric couldn’t have been “left over” from any other project; not unless the quilter really overestimated (don’t we all, haha).
This was pre-central heat. It was a time when many people died of the common cold. They believed that colds could be avoided by staying warm at night (I still do in spite of scientific proof to the contrary). Quilts/blankets/comforters were lifesaving equipment and thereby an investment. Often they were a part of of a dowry. This was also a time when fabric was more expensive that it is today (relatively speaking).
Date: Fri, 02 Oct 1998 23:49:15 -0400 | From: Barb Garrett <bgarrett [at] fast [dot] net>
I believe from my research that both types of quilts were made at any given time in our country’s history, more of one type or another in any given place depending on how long it had been settled and the economic level of the citizens — often connected to whether they were wagon train immigrants or 4th generation farmers, merchants, whatever. There have been and continue to be places where length of settlement does not necessarily mean economic security — the Appalachians come to mind — and their quilt styles reflect that.
I would like to comment on Xenia’s comment as it relates to Pennsylvania German quilting. She said —
The concept of “Use it up, wear it out, make it do or do without” is one that was certainly firmly rooted in American culture, and it persists as a sort of myth of American (and Brit?) frugality.
In my area of PA, those of German heritage and who are of a certain age — my generation (50ish) and older – consider a variation of the wear it out, use it up part to be the way one runs one’s life. It isn’t thought of as being frugal, but as being good stewards of what one has — and it was the way everyone lived. When a piece of clothing would wear out, it would be subdivided for its new uses — buttons would be placed in a button box for later use, lace collar, cuffs, etc would be removed to be used again, and the good parts of the worn out fabric would be used as rags. I’ve even known people who cut off the snaps and hooks to be used later. Believe me, this training lasts forever, and when clothing reaches the rag stage, the fabric isn’t fit to be put into a quilt, unless it is wool, which is recycled into quilts and hooked and braided rugs.
During the late 1880 to 1900 time period the Mennonite and Brethren quilters of my area were comfortable economically. Most were farmers on established farms and had a bit of extra money to buy fabric at the local general store for quilts. Buying fabric for the purpose of making a specific quilt fits into their idea of good stewardship. I’m not sure our current practice of buying fabric “just to have” would fit though. Many quilts have been preserved that were obviously made from purchased fabric as they have from 2 to 4 colors only — not scraps from the scrapbag. As Xenia said, the preserved quilts were the good quilts, and many are in mint condition. At documentations we get scrap quilts in well worn condition, but the beautiful colorful quilts known locally as PD Quilts — Pennsylvania Dutch Quilts — both pieced and applique — are usually in unwashed condition, with stories of being in trunks for years.
I think Crazy Quilts are a good example of the buying fabric versus make do philosphy happening simultaneously. While wealthier ladies were able to buy bundles of satin scraps and actual block kits through magazine ads, in our area I see a fair number of cotton crazy quilts. They show some wear — not worn out, but definitely washed and used, and they are pieced in the same manner as the fancy Crazies, but are made from circa 1880 calicos instead of the fancy fabrics. So it appears we had make do ladies trying to make quilts similar to what was popular for the wealthier ladies to make. Unlike the fancy Crazies which were just for pretty, the cotton crazies appear to have been used for warmth. I believe the make it do or do without part materialized during the depression, when for many people there really wasn’t much other option. Like all good myths and traditional sayings, it is rooted in some fact, but has been blown way out of proportion to its original importance. And it will not die an easy death, but instead will become part of the romanticised view many have of days long ago.. As an early baby boomer I have seen how the depression has affected the thinking of my parents’ generation — many of them find it very hard to adjust to today’s throw away attitudes, and perhaps find these myths more comfortable than our “facts” about quilt making.
Barb in southeastern PA
<bgarrett [at] fast [dot] net>
Date: Sat, 3 Oct 1998 09:06:17 +0100 | From: “Celia Eddy” <celia [at] eddy [dot] u-net [dot] com>
There’s obviously much interesting food for thought in this topic. Perhaps one point I might have made in my previous posting is that, in UK at least, Patchwork and Quilting have different histories. In more recent times they seem to have become welded together, so that the word ‘quilting’ has become an umbrella for patchwork as well.
Quilting was a distinct craft in Britain from a very early time. Magnificently elaborate quilting patterns adorned bed-covers and clothes and were much valued by the more affluent in society, who could afford to pay to have others take on this labour-intensive work.
Patchwork, on the other hand, was always a form of needlecraft practised as an economy. Averil Colby, in her book PATCHWORK, published in 1965, states that the best period of English patchwork was from about 1780 to 1830 and that, leaving aside the excellence of pattern and colour then in evidence, its main characteristic was ‘the economy of materials, time and work given it.’ She laments the fact that it later deteriorated into an activity involving lengthy and tedious periods of unnecessary cutting out and piecing of thousands of pieces for one bed-covering, often with less than attractive results.
In America, with its very different Patchwork history, Xenia rightly points out that there’s evidence that people were buying fabrics specifically to make patchwork quilts from the nineteenth century on. That the American tradition and skills have been embraced with such enthusiasm by UK patchworkers and quilters is not without significance – whatever went from the Old World to the New has returned re-invented and re-invigorated. Patchwork, as much as any craft, reflects changes in social patterns and taste. There’s no logic in buying new fabric, cutting it up and re-arranging the bits in a quilt. You could buy plenty of cheaper and as effective bed-coverings. But if that’s what you enjoy doing – why not? And consider, too, the number of people who are drawn into the wider world of textile art through the medium of quiltmaking.
How fortunate we are to have the leisure to turn our hearts, hands and minds, and, if we have it, money, to such a creative activity. And if we’re short of cash and NEED to save money, we can even enjoy the satisfaction of really ‘making do and mending.’
I say: feel feel!
Now I’m going back to piecing my ‘homage’ to the English pieced quilt: a machine-pieced/hand-tied ‘Tumbling Blocks’ incorporating old ties, satin and velvet bits, American cottons, some Indian silks and the left-overs from making Tim’s Winter corduroy trousers. It’s not a bed-cover but a door-hanging/draught-excluder for a rather heavily ‘Victorianised’ library, where anything ‘contemporary’ looking’ would be an eye-sore. I don’t claim this is progress in the craft of patchwork, and I doubt it’ll become an heirloom, but it’s good fun.
Sorry this is so long. I promise to go back to lurking now.
Celia.
Date: Fri, 02 Oct 1998 22:52:26 -0400 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
Well, I went to an antique mall on my lunch break today, doing my by-weekly quilt sweep (even if the quilts DON’T sell quickly – ‘ceptin for the $50 not-worth-restoring ones). Anyhow, I went past a boot that, low and behold, had a set of 14, c.1880, dark double pink and indigos blocks, in a chimney sweep-type variation! What’s better, the dealer doesn’t know how to count. The set had 16 blocks (priced by the set, not per block, thankfully). Needless to say, they came home, and I’m thrilled.
File this under – “I-Love-The-Blocks-But-Will-Probably-Only-Admire-Them”
Now to go figure out the pattern.
BTW, I’ll be sending VQTS a mystery block pattern for it’s newsletter – the block is very simlar to Mexican Cross, but I can’t identify it at all (have been looking for a few years – c.1870 – browns, blues and pinks, mostly brown). So if you know the pattern, PLEASE tell me!
Laura, surprise!
Alan
Date: Sat, 03 Oct 1998 14:50:03 -0400 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net>
Well, the packages in the mail started coming to me ! When I spoke to Mom on Thursday, she told me that Dad had put a package in the mail to me. An “interesting” package. Boy, do I hate suspense. My birthday and Xmas are both in December, so what’s the occasion? The package came today, rather small, but it had the feel of being stuffed with fabric (I guess I’ve handled enough boxes full of quilts to know the feel). I opened it carefully, and underneath the letter from Dad, and another sheet with handwriting I didn’t recognize, was a double wedding ring, c. Depression. Oh goody!
But it’s really an emotional gift. Had me in tears. My father had been talking with his tailor about the skills necessary to tailor (the man’s 84). As they talked, the subject went on to me and my restorations. Of course, then the tailor talked about his wedding quilt that the children weren’t interested in. Maybe your son would like to have it? (Twist my arm. Please!) Well, next time Dad was there, the tailor handed him the quilt. All he wanted in return was a thank you and the knowledge that it was going to someone who would treasure it. I can do both. The quilt is smallish – not full, not twin. Well loved and washed. Soft. Heavily, if not perfectly quilted. Soft, worn pastels. Well-constructed. I started examining the damage (probably why the kids aren’t interested – fabric wear in many of the pieces, and the knife-edge is going bad) and was thinking “Where will I get fabric to match?”. Duhhhhhhhhhh. I have two Depression quilts, very worn, washed and in need of serious work (I have *got* to stop rescuing quilts I really don’t want/need – yeah, right, like that would ever happen). Rather than restore the one, a fan, I’ll *borrow* some fabrics to rescue the DWR. Incredible. He’ll get a long, handwritten letter thanking him profusely. Not only do I have a great story to go with this quilt, but I have the names of the recipients AND the makers (2) AND the year (1936). Guess I’ll have to make a label tonite – this one can’t wait.
Alan
Date: Sat, 03 Oct 1998 16:02:46 -0400 (EDT) | From: JOCELYNM [at] delphi [dot] com
On 3-OCT-1998 00:13:23.5 ajones2 said to JOCELYNM
> common cold. They believed that colds could be avoided by staying warm at night (I still do in spite of scientific proof to the contrary).
FWIW, when I was an undergraduate 20 years ago, I caught viral pneumonia and was treated by a wonderful grandmotherly physician. She would test my blood for something called ‘cold agglutinins’, which, as I recall, meant that when you have a viral infection and you get cold, your blood cells would start to clump together. At any rate, I had to have a hat, scarf and gloves with me at every appointment, or I got a big lecture. <G> So maybe cold doesn’t affect 100% healthy folks, but if you’re infected, and so far you’ve been able to fight it off, getting chilled will tip you from having a successful immune response, to coming down sick?
Jocelyn
Date: Sat, 03 Oct 1998 14:08:21 -0700 | From: Anne <gbaj [at] sprynet [dot] com>
I am making a quilt from some blocks of postage stamp squares that a friend bought at an estate sale. They look to be 30’s and 40’s fabrics. I find they have a bit of a mildew smell and would like to know the best way to get rid of it.
Also are there any web sites that deal with cleaning old quilts?
Thanks for any ideas,
Anne
Womenfolk – a Gathering Place for Women
http://www.womenfolk.com
Date: Sun, 04 Oct 1998 09:46:45 -0600 | From: Sven Olsson <sven [at] pnc [dot] com [dot] au>
Hello all from Australia,
Alan has told us of his wonderful DWR and the need to label it. I would like to know the the proper way to label an old quilt. I also have provenance on a quilt, which is in perfect condition (1940s) and would like to attatch a label so the history passes along. Is it the same thing as when one makes the quilt?
Lorraine in Spring time OZ (the apple and cherry trees are in full bloom)
Not only do I have a great story to go with this quilt, but I
> have the names of the recipients AND the makers (2) AND the year (1936). Guess I’ll have to make a label tonite – this one can’t wait.
> Alan
Date: Sun, 04 Oct 1998 21:41:59 -0300 | From: susan silva <woody [at] ior [dot] com
Sharon, I had to laugh about your husbands comment about, cutting up pieces of fabric and then sewing them back together. Your analogy of what men do with lumber really made me laugh. It reminded me of my friend, whose husband couldn’t fathom why she had “so many” different kinds of scissors (small, large, applique, etc.) My friend is really sharp and when her hubby questioned her on this, she promptly marched him out to the garage and said “why do you need SO MANY different screwdrivers, hammers etc?” He just looked at her and said “o.k., you’ve made your point”!
Hope this makes all you quilters chuckle.
Susan in Spokane Wa.
Date: Mon, 05 Oct 1998 08:02:15 -0400 | From: Alan Kelchner <quiltfix [at] mail [dot] jax [dot] bellsouth [dot] net
Xenia, you are so right. We are custodians. The quilts are only ours to love while we have them.
But delight is not a word I would have used in describing my feeling about this quilt. When I wrote, I had only had the quilt a couple of hours, and the excitement hadn’t worn of. Overcome? Overwhelmed? Grief-stricken? Definitely not delighted (okay, free quilts are not a dime-a-dozen!). But I was definitely the first three. The tears were for the man and his quilt. That he would feel so about his children kills me. That the connection to their father is so unconnected he felt that to avoid the trashcan, he felt he had to give it to a stranger. It looks as if he and his wife slept under it every night (wash-worn, soft). That a quilt that has existed where I grew up for 62 years is now in Florida (but went to someone local – weird).
I have to agree totally, quilts should remain in the family where possible – I don’t do any heavy-duty selling, so haven’t come up against someone selling family quilts. This one, tho’, is an exception. This man wants a good home, no restitution desired, and will go to his grave one day, safe in this knowledge that someone will look at the quilt and remember him, his wife, and the two women who made it. I can’t think really hard about the quilt still, because I’m still getting all choked up. The one thing I inherited from my mother and grandmother is sentiment. It’s impossible to explain, but this quilt – one that in a shop I might have passed – makes me feel *so* connected to it, more so than any other. That this man would entrust me, an almost total stranger (he knows Dad), is to lay on my hands a major responsibility. How does one say “Thank you” enough? Outside of the letter, the only way to show the gratitude to his trust is to place this in front of the other personal jobs, and restore it.
Alan
Date: Mon, 5 Oct 1998 08:39:25 -0500 | From: “Lisa Erlandson” <erland [at] cooke [dot] net
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Just dropping a note to let you know that Laura Hobby Syler is out of touch – her computer died this weekend (at the hands of her DH) – if you need her for anything, you can let me know – I will be talking to her via phone daily.
And for you VQTS members out there, this sudden computer death will probably delay the VQTS newsletter a bit – if you need to email anything to VQTS, that address went to Laura’s computer also, so you can just “e” it to me. Hope everyone else’s week gets off to a better start than this!! Lisa in Texas – awaiting severe thunderstorms – come on rain and cool weather !!
Date: Mon, 5 Oct 1998 08:56:15 -0500 | From: “Jeff & Sheri Lesh” <jefflesh [at] netins [dot] net
I have a wool comforter, that belonged to my great grandma, we have used if off and on for years. A couple years ago the outside cover finally disintegrated. It was not quilted or anything, just a piece of fabric, like a sack. I need to wash it, I have had it stored away in the linen closet for a long time. And I know I have seen how to do this, but when you don’t need it you don’t pay attention, right!!! 🙂 You guys were so helpful with the wool rugs, I know you will know how to proceed with this. I then plan to make a new duvet cover for it and make it functional again.
Thanks so much,
Sheri from very rainy Iowa
Jeff & Sheri Lesh jefflesh [at] netins [dot] net
Date: Mon, 05 Oct 1998 09:59:23 -0500 | From: Mary Waller <mswaller [at] iw [dot] net
Xenia, and others,
But what about all of us quilt lovers that were born into families that don’t have family quilts for us? Can’t I sell the family farm I left 15 years ago and 1500 miles behind and buy quilts from a family that isn’t interested in them and really does need the money? Or the thousand canning jars? Or the 1948 John Deere that won’t fit on my 100′ x 100′ lot? Is blood always thicker than thread?
I certainly wouldn’t want to take advantage of someone in distress struggling to part with something they love. And I’d like to try to educate someone who doesn’t realize what they’ve got. But if a quilt or any item is truly just a “thing” or “junk” to them, I’d like to help them and the quilt and the new quilt owner benefit by finding it a new home. Perhaps think of it as a well-placed adoption. If the daughter-in-law really won’t take care of it and gives it to the dog to sleep on, why talk someone out of letting the quilt move on? I absolutely agree with your bottom line: we are custodians of these objects for the time they remain in our hands. And appreciative custodians are better for the continued health of the quilt than those who are unable/unwilling to understand the significance of our quilt history. On another subject, the grandmotherly doctor’s advice to keep a sick person warm does have scientific basis. Any form of stress, including exposure to cold, does affect a person’s ability to resist or survive an infection. And lemon juice helps loosen mucus so it can be more easily expectorated. Alcohol has many medicinal effects beyond being sedative and diuretic. But we’re not here to discuss pharmacology.
Mary Waller
Date: Mon, 05 Oct 1998 12:27:51 -0300 | From: Barbara Robson <robsonbh [at] dbis [dot] ns [dot] ca
Dear QHL,
On Saturday the Nova Scotia Heritage Quilt Project held a Quilt Registry Day in West Pubnico, Nova Scotia. West Pubnico is on the south shore of Nova Scotia, near Yarmouth, it was first settled in the 1650’s and is an Acadian French community. It was the first Acadian community that we have visited for our Quilt Project. There were several interesting stories that we came across that I wanted to share and see if anyone else has heard similar stories.
We had at least 8 white quilts, from different owners, these were referred to as “sick quilts”. They were used when someone was sick so that if there were any spills or accidents then the quilts could be bleached. I believe in French they were referred to as “quilts de malade”. We also had quilts that were made with “scallop bags”. These bags were made of a muslin type cloth. When the scallops were brought on board the boat they were placed in these bags then put in the hold with layers of ice in between the bags to keep the scallops fresh until they got to shore. After the scallops were emptied from the bags, the bags were taken home to be washed many times and bleached and then they were used in quilts. The bags were just used once for the scallops.
One of our helpers told us a story of life on the islands that are just off the coast. During the winter if the people who lived on the islands could not get to shore and there was an emergency or they needed to get news to the mainland they used “signal” quilts. Black meant there was a death on the island. Other colours had signifigance too and she is going to do more research to find out the rest of the meanings and see if she can find any of these quilts.
All in all it was a most interesting day. We registered another 56 quilts and that brings us up to 939 quilts documented.
I will be very interested to hear if anyone else has heard these stories in their communities.
Barbara Robson
Fox Point, Nova Scotia
Date: Mon, 5 Oct 1998 11:50:33 EDT | From: Lalalawyr [at] aol [dot] com
In a message dated 98-10-05 11:08:12 EDT, mswaller [at] iw [dot] net writes:
<< Any form of stress, including exposure to cold, does affect a person’s ability to resist or survive an infection.
This statement does not address the issue of how much cold or exposure to cold constitutes stress. It also does not address how much a given stressor would impact the course of a given infection (in a given individual, let alone the entire population), or whether it is a significant factor or a very slight one overall.
This is where the old wives’ tale aspect comes in – and how these myths persist (having germs of truth in them, which are then wildly overgeneralized).
So you have parents and grandparents who think that anything less than a hot- house environment (like failing to wear a scarf, even if you have a warm coat) is what contributes to catching colds, or makes colds worse. Bunk! Kids (who are usually the ones admonished in the name of these old wives’ tales) get colds because they are exposed to a lot of germs (classrooms are “crossroads” for infections from many families and sources), because they are not careful about practices which spread infections (sharing things like food, cups, toys, pencils – not washing hands – holding hands in games) and because their immune systems are still developing – not because they forgot their hats.
I still contend that failing to “bundle up” will have little effect on someone’s susceptiblity to infection, or on the course of an infection – unless you have a compromised immune system (e.g., autoimmune disease), or prolonged exposure to significant cold temperatures (which can be a problem even if you ARE bundled up!).
Now I’ll stop addressing this subject, and get back to quilting.
Melissa
Date: Mon, 5 Oct 1998 09:37:13 -0700 (PDT) | From: Kris Driessen <krisdriessen [at] yahoo [dot] com
As the list mom, I feel obligated to point out one of the unwritten rules of this list is that whenever one of us goes outside in the cold, they should bundle up….if they go outside in the rain, they should wear their boots…I want you all here as long as possible, old wives tales notwithstanding.
On a personal note, I will add that as the wife of a nurse, I will tell you that I wear a sweater whenever HE feels cold… Kris, urging everyone to drink lots of water and wear a thimble when they quilt.
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Date: Mon, 5 Oct 1998 11:40:39 -0700 (PDT) | From: bevquilt [at] sprynet [dot] com
Xenia: As an appraiser I often hear what you hear from people wanting to liquidate quilts that are a part of their heritage. Your reply is so very eloquent! All of us are indeed “custodians of the quilts.” I too have had experiences such as Alan’s and I am always deeply touched, but somewhat perplexed as I am not sure I am always the best person to care for the heritage of someone else’s family.
Beverly Dunivent
HTTP://home.sprynet.com/sprynet/bevquilt
Date: Mon, 5 Oct 1998 18:11:02 EDT | From: Qltldy10 [at] aol [dot] com (Beth)
Wow! I’m impressed with all of the work you went through for me. Here’s where I stand-
A copy of the autobiography, with a picture of the center medallion all the way down to the border. i know the book title covers a few rows, because I have the close up in Baird’s Quilts. In Australian Patchwork , Vol 4 #2, there is a pattern, but no photo. The person who made this repro may have worked from the autobiography (it’s shown in one of the photos) and must not have known the title covers some of the rows because the color placement in row 1 is actually that of row 3 or so (row 3 looks like row 1 on the cover of the book). Anyway, English and American Textiles, by Schoeser and Rufey page 62 has a closeup clear shot of the join between patches and borders, and the colors are clear. Now, the info from the museum, saying the colors are lightest blues and softish reds-
OK, campers, she’s off!!! Give me, say, one week….
Beth in Maine qltldy10 [at] aol [dot] com
