October 29 – November 3, 2003
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:
- Quilt restoration reference books — Members recommend and track down out-of-print quilt restoration and conservation reference books, including ordering tips. (see the article on quilt restoration)
- Fabric pre-washing practices — A discussion of whether and how quilters pre-wash fabric before use, including methods and reasoning. (see the article on cleaning antique quilts)
- Marseilles spreads and coverlets, continued — Further research and dating discussion of Marseilles-style spreads and coverlets, continuing from the prior week’s thread.
- Eveline Foland’s pattern design history — Members trace the design history and publication record of pattern designer Eveline Foland.
- A misattributed circulating poem — A Civil War-era poem/prose piece circulating among members turns out to be commonly (and likely incorrectly) attributed, prompting a source-checking discussion.
- “Bravehearts: Men In Skirts” exhibit — A member flags the Metropolitan Museum Costume Institute’s exhibit on men’s skirted garments across history, including a quilted example.
Date: Wed, 29 Oct 2003 07:28:25 -0500 | From: Judy Roche <jrocheq@
Julie, Would like to see the ‘most interesting back’ on a 1940s Ninepatch. My Amish quilts all have plain backs (of course in glorious colors),but then they are all Lancaster and one Center Valley(is that right? western part of the state near Ohio–? as I type that it doesn’t sound right–have to look it up) Pa–and small ones. I know you saw one or two of them years ago in Phoenix at a AQSG— Thanks in advance for the picture Judy Roche in rainy Bucks County Pa
Date: Wed, 29 Oct 2003 | From: “Susan Wildemuth” <ksandbcw@
Thanks for pointing me in a direction Joan — I’ve ordered a copy of her book online from Quilting Books Unlimited – Bativa, Illinois and am hoping they have it in stock. QUILT RESORTATION /PRACTICAL GUIDE by Camille Cognac was listed as $29.95 plus shipping (and tax because I live in Illinois). . I’ve saw it listed around $115.00 and up at some of the other online bookstores so if any of you have been looking for a copy try QBU, 1309 Challenge Road, Batavia, Illinois 60510 – 1-800-347-3261 or http://www.qbu.com
Thanks again for your help, Sue
Date: Wed, 29 Oct 2003 | From: Dana Balsamo
Sue, Thanks! I had been looking for the book for awhile at a reasonable price…one was for sale for $.75 yesterday at half.com but I was too late….someone got a GREAT deal, though. I ordered mine from QBU, too. Hugs, Dana
Date: Wed, 29 Oct 2003 | From: “Maurice Northen”
That is a great price, yes I see it at that over 100.00 too. You will not be sorry, only that it will break along the spine, like many of the paper backs- Clue in the Calico is the worst I have. But the other one you must have, if you do not already. Joan of the South
Date: Wed, 29 Oct 2003 | From: “Judy Kelius (judysue)”
At 08:25 AM 10/29/03, you wrote:
You will not be sorry, only that it will break along the spine, like many
of the paper
backs- Clue in the Calico is the worst I have.
If you have a book you refer to frequently that is breaking along the spine, take it to a quicky printer and ask them to put a spiral binding on it. I did this with my copy of Clues and it cost less than $5. Well worth the money!
Date: Wed, 29 Oct 2003 | From: “Velia Lauerman” <velialive@
Dear julie, from sew many common scense questions in our quilting world this one really gets to me. to wash or not to wash. I call wash a four letter word. Instead or wash I like to think we should be treating our fabric a little at a time. When ready to use or start the project. Some of my students think they should start their washer and put all the fabric into soapy water right after the purchase. When I enter a fabric shop my eyes began to water. A natural function because of all the toxins in the air. Beginning with formaldhide. I like to treat fabric in white or apple cider vinegar to set the color and remove residue then air dry rather than putting in more chemicals from the soap and softners then heating it into yards. My mother , who is in quilt heaven now quilted until she was 95 years young in 1999. Her common scense came in quite handy for me now that I have been into the quilt world . her mother was also a quilter and seamstress. They created pieces out of necessity she would say. How do you shrink or make colorfast your fabric. You seem to be the expert as my mom, candelaria torres gutierrez, said I was. To her I was because I was able to show her some methods that to her were not new but revised. Such as paper piecing, string piecing, tearing cloth and of course the rotary cutter which she never used. I don’t use it either except to cut off the wiskers after tearing the fabric for a straighter grain. Now, thats another story. Many stories. Velia gutierrez_lauerman
Date: Wed, 29 Oct 2003 | From: “Maurice Northen”
Thanks, I have done that with some other books, but not the Clues book, as I keep it hid away. I love it when persons think I am really smart, not that everything I know I learned from Tristain and Brackman!!!!
Date: Wed, 29 Oct 2003 | From: “Velia Lauerman”
HAVE YOU TRIED MEDICAL TAPE. THE LINE IS WHAT WE ARE LOOKING FOR. THE 1/4 INCH TAPE CURLS TOO MUCH . WILL TRY THE CORRECTION TAPE, THANKS, VELIA
Date: Wed, 29 Oct 2003 | From: “Karan Flanscha” <SadieRose@
My choice is to pre-wash as soon as I bring my fabric home. I am allergic to some of the chemicals, which include insecticide, that are part of fabric finishing today. I don’t think they use formaldehyde any more, at least I know in the upholstery fabric industry, it is not used. But I am sure they have found substitutes, which are also not good for our health. I use Orvis to pre-wash my fabric, to remove chemicals, remove excess dye which has not bonded and will be released the first time or two that the fabric is laundered, and to pre-shrink the fabric so I don’t get nasty surprises after my quilt is finished.
Also, some of the chemicals are very dangerous for your lungs if they are released by the heat of ironing. I prefer to remove these chemicals before I store my fabric, so they are not giving off these odors in my sewing room/home. I don’t think that using vinegar will ‘set’ the dyes any more, with the fiber reactive and other new types of dyes that are used today. If manufactured correctly, the dye is ‘set’ but especially with dark colors, not all of the dye will have bonded to the fabric, and will wash away. I have seen some very interesting articles by Jinny Beyer and Harriet Hargrave on these
Subjects, would be great to see more.
I know there is a great deal of controversy, and strong feelings, on both sides of this issue. You have to choose for yourself what seems best for both your fabric care & your health. The fabric we are buying today is very different from the fabric just 20 years ago- and light years away from the fabrics of the 30s or the 19th century. The quantities of fabric that we are storing in our “stashes” is also very different from the scrap bags of the past… we have roomfuls of fabric (I’ve heard of storage sheds full of fabric 🙂 which could potentially be giving off chemicals in our sewing room/studios- something to think about along with the potential hazards in basting sprays, etc. Happy Stitching!! Karan
Date: Wed, 29 Oct 2003 | From: Patricia L
Hi Kim:
I believe the name you are looking for is Eveline Foland, (not Fuliene Roland). Eveline designed patterns for many years for the Kansas City Star.
Pat Cummings www.quiltersmuse.com
Date: Wed, 29 Oct 2003 | From: <chrisa@
Thanks Pat- Your information certainly changes things- glad I asked. I’ll inform the museum too.
Do you know if these patterns sound like ones she designed? I’ve seen some of them in many times quilts, yet never have heard of her, by either name! 🙂 Do you know if they have been reprinted anywhere?
Is Debbie K. out there and able to input?
Kim Wulfert
Date: Wed, 29 Oct 2003 | From: RAGLADY@
http://www.qnm.com/articles/feature12/ <<quote
In the 1930s, Sue turned up in the Kansas City Star newspaper wearing pantalettes. The designer was listed as Eveline Foland. <end quote
http://www.quilthistory.com/2002/237.htm Scroll down just a little from the top and you’ll see a message from Debby Kratovil re: Eveline Foland/KC Star
http://www.quilthistory.com/99016.htm Another QHL post: <quote
I’m think that the Fueline Foland you found on your KCS patterns isEveline Foland.=A0 I recently read about her in UNCOVERI NGS 1984, AQSGpublication.=A0 Louise O. Townsend tells about Mrs. Townsend in he r researchpaper “Kansas City Star Quilt Patterns.=A0 Hope this helps.Nancy Bri ght <end quote
http://216.239.39.104/search?q=3Dcache:vXGV8eMOoEMJ:www.heritagefarmstead.org/ro p_old-work/newsletter.htm+Eveline+Foland%2Bquilt&hl=3Den&ie=3DUTF-8
Scroll down to Craft Group Quilts…. for a wee bit more info on Eveline Smith Foland and the KC Star. (I had to use the “cache” section of Google t o get this. The main URL for the HeritageFarmstead.org is: http://www.heritagefarmstead.org Gloria raglady@
Date: Wed, 29 Oct 2003 | From: “Candace Perry”
Gail, I finally had my volunteer open up the “Marseilles” spread, and it is 46″ x 58″ and has various nursery rhyme figures also. Candace Perry Schwenkfelder Library & Heritage Center
Date: Wed, 29 Oct 2003 | From: Judy Schwender <sister3603@
“Judy Kelius (judysue)” <judysue@
wrote: At 08:25 AM 10/29/03, you wrote:
You will not be sorry, only that it will break along the spine, like many
of the paper
backs- Clue in the Calico is the worst I have.
If you have a book you refer to frequently that is breaking along the spine, take it to a quicky printer and ask them to put a spiral binding on it. I did this with my copy of Clues and it cost less than $5. Well worth the money!
Date: Wed, 29 Oct 2003 | From: “Martha” <mspark@
Hi Jean and all,
I have had some luck removing masking tape from fabric with Goo Gone as well, but keep in mind that it might leave some residue in the fabric which might have to be removed by yet another method(!) Another substance with which I’ve had luck is Xylene. You can get it at your local Home Depot or Lowe’s. Be careful — this is a strong solvent, and only use it in well ventilated areas. I can’t stress this enough! It will soften the adhesive residue enough to remove most of it manually (by stanless steel scraper or even tweezers).
Martha Spark Antique Textile Specialist Fort Collins, CO
Date: Wed, 29 Oct 2003 | From: Judy Schwender <sister3603@
If the adhesive residue has not been pushed into the yarns but more or less sits on top of the fabric, has anyone tried freezing the piece then flaking it off with a dull instrument such as a tableknife? Reminds me of chewing gum and this has worked for removing that. I am concerned that all the solvents and solutions mentioned thus far would never be completely removed from the fabric, and the freezing method would be a less invasive solution. Judy Schwender
Dear QHL friends, I forward the following information for your consideration. I do not know how many quilts will be on display. Bonnie Dwyer, in Maine where we may wash away in the rain!
Maine Historical Society Presents:
Simple Variations: A Holiday Quilting Party at the Longfellow House
House Tours, Children’s Activities, Holiday Book Fair at the Longfellow House
Simple Variations: A Holiday Quilting Party at the Longfellow House is the theme for this year’s annual holiday events at the restored Wadsworth-Longfellow House. Nineteenth-century quilts from the collection of the Maine Historical Society provide the inspiration for House Tours, Children’s Activities, and annual Holiday Book Fair. Upon entering the Longfellow House, the residents are revealed to be hosting an intimate party for their closest friends. The women will spend the day together, quilting a bed cover for the annual church raffle and catching up on the latest news. As the light begins to fail, their husbands and beaux will join them for a festive dinner, followed by dancing and music in the front parlor. The greenery and holiday decorations throughout the rooms capture the spirit of the season, and the house is infused with warmth and good cheer.
Heading upstairs, visitors are welcome to view group quilts on display from the collection of the Maine Historical Society. Following the tour, guests are invited to enjoy Children’s Activities and the annual Holiday Book Fair.
Admission: Adults: $7.00; Children 5-17: $4.00
Simple Variations: A Holiday Quilting Party at the Longfellow House
Wadsworth-Longfellow House at Maine Historical Society Friday, December 5th – Tuesday, December 30th, 2003 (Closed December 24th and 25th) Monday – Saturday: 10:00 am – 4:00 pm Sunday: 12:00 noon – 4:00 pm 489 Congress Street, Portland, ME 04101 207-774-1822
www.mainehistory.org The Maine Historical Society promotes the understanding and enjoyment of Maine history.
Date: Wed, 29 Oct 2003 | From: Gail Ingram <gingram@
Candace,
My “Marseilles” spread measures 42 1/2″ x 53 1/2″.
Centered on two rows at its bottom are the letters of the alphabet (caps).
Scattered about the entire piece are birds which along with what I can only describe as an elaborated daisy chain forms a border for the two sides and top of the piece. Birds alone border the bottom, just below the strong alphabet, with the daisy-bird border coming above the alphabet.
Above the alphabet and botton inside border are identical two-story houses, one on left side, the other on right side. To right of first is “This is the house that Jack built” (on 2 lines). Scattered between are the dog, cat, mouse, old woman, etc that are part of that nursery rhyme.
Above this scene on either border side are identical swans, facing inward. On this “line” are “Hey Diddle Diddle” with accompanying scene and “Jack and Jill”. Above is a wonderful cow jumping over the moon.
Among the figures above those are “Cock Robin,” “Little Bo Peep,” “Ride A Cock Horse” (the figure here is large and the cross rather elaborate), with accompanying illustrations. The old see-saw (See Saw/Margery Daw) is illustrated but has no title.
At the top, positioned like the bottom alphabet, are the numbers.
This is a relatively “thin” Marseilles piece (I have a 19th-century double-bed size ‘Marseilles” piece, probably produced by the early Bates company, that is quite lush and thick.
This was one of the first piece of linens I purchased after finally getting our children in college. Both earned (I’m still thanking God here) full-tuition and fees academic scholarships, and so the budget was a little freer and permitted a few indulgences. I paid $15 for this piece. It was so charming in its Victorian ornamentation. I have always assumed it to be a product of the early 20th century, but have no scholarly reason for that belief.
I would be interested to see how this compares with the one you have. I would also be interested to know its orgin and approximate date. I’ve always wondered if it were produced by Bates, since they did so much of this sort of work.
Gail Ingram
Date: Wed, 29 Oct 2003 | From: Paul and Nancy Hahn <phahn@
I called QBU this morning to order the Quilt Restoration book by Cognac, as listed in their site. However, when speaking to a real person (I don’t like using my Visa # online), I was told that they did not have the book in stock. They were told it may be reprinted and QBU will take names for a call back list if they do get it again.
Nancy Hahn
Date: Wed, 29 Oct 2003 | From: “Judy Kelius (judysue)” <judysue@
If it sounds too good to be true, it probably isn’t <GR
!
I have asked Howell Press if they are going to republish it and they said they plan to but had no date – probably sometime in 2004. According to them it is not “out of print” since they do plan to reprint. So you may see it in some booksellers’ lists but will find out that it is “back ordered.”
Date: Thu, 30 Oct 2003 09:06:40 -0800 | From: <chrisa@
Many thanks to those who responded to my question about Eveline’s background. I have admired her patterns in quilts but had thought the credit went to McKim in my mind. I wonder if Eveline came into the job with a similar style to McKim when she took over for her, or if she stylized her patterns to compliment McKim’s since they were successful. I will have to get my hands on the 1984 Uncoverings article!
Has a count ever been done on the patterns done by certain designers to see who was most prolific in the 1920s and 30s era?
Kim Wulfert
Date: Thu, 30 Oct 2003 | From: “Kathy Moore” <KathyMoore@
There is a good summary of Eveline Foland’s design history in an article in the 1984 issue of Uncoverings. It’s by Louise O. Townsend, titled “Kansas City Star Quilt Patterns: 1928-1949”. Also, all the Star patterns were republished by Groves Publishing Co. of Kansas City. The phone number I have for them is 816-361-1505. Hope this helps.
Kathy Moore
Date: Thu, 30 Oct 2003 | From: “Martha” <mspark@
Hi All,
Has anyone on the list found any specific recipes for creating glaze finishes to apply to modern Chintz fabric, to give the traditional finish similar to the original Chintzes? (Since we know that once the fabric is washed, the glaze goes bye-bye, and would have to be re-applied). I am interested in any references, new or old, and would also like to know methods of application, preferences of materials, etc. A very talented friend makes reproduction Chintz quilts and would like to find out if she can achieve a glazed finish on her pieces.
Thanks for all your great info!
Martha Spark, Colorado
Date: Thu, 30 Oct 2003 | From: “Laura Fisher” <laurafisher@
Hi — I have four different versions of children’s all white marseilles spreads with nursery rhyme figures, letters, etc. They were also manufactured in color — I have one with a pink background and the detail in white, and had a similar baby blue one. They are wonderful as baby gifts.
Has anyone found out more manufacturing info? Any Bates Marseilles I have had usually had a sewn in mfr. tag on the corner, or the manufacturer’s name woven into the border. I somehow don’t think these are Bates, but may be late 19th century from some other source.
Laura
Date: Thu, 30 Oct 2003 | From: Joan Kiplinger <jkip@
For those with an interest in Vintage Fashion magazine — it is alive and well. There was a misconception and rumor that it had folded when subscription checks were being returned. The reason for that was that first publisher did not follow through with complete mailing and subscriptions were fouled. More good news. Price has been cut to $4.95 issue or 6/$29 or 12/$49. Persons are urged to resubscribe by calling toll free 1 800 487-3333 or online at www. magazinepublisher.com/fashion Second issue will be mailed in the next several weeks. Third issue features costumes from Florence Italy and the Eurpoean fabric market. Magazine will be available sometime next year on newsstands.
Joan new column live Wm Skinner & Sons– The Bride Wore Ultrasuede http://www.fabrics.net/joan.asp
Date: Thu, 30 Oct 2003 | From: Loretta Woodard <Lwoodard@
Don’t know the original source for this belated reply to Gail Ingram and Sue Reich and company (myself included). Not directly quilt-related but certainly impacts on our quilting lives!
Many of you have asked why a computer crashes. It is usually very
technical but maybe this will help.
Dr. Seuss Explains Why Computers Sometimes Crash (Read this to yourself
aloud)
If a packet hits a pocket on a socket on a port, and the bus is
interrupted at a very last resort, and the access of the memory makes
your floppy disk abort, then the socket packet pocket has an error to
report.
If your cursor finds a menu item followed by a dash, and the
double-clicking icon puts your window in the trash, and your data is
corrupted ’cause the index doesn’t hash, then your situation’s hopeless
and your system’s gonna crash!
If the label on the cable on the table at your house says the network is
connected to the button on your mouse, but your packets want to tunnel to
another protocol, that’s repeatedly rejected by the printer down the
hall, and your screen is all distorted by the side effects of gauss, so
your icons in the window are as wavy as a sauce; then you may as well
reboot and go out with a bang, ‘cuz sure as I’m a poet, it’s gonna hang!
When the copy of your floppy’s getting sloppy in the disk, and the macro
code instructions cause unnecessary risk, then you’ll have to flash the
memory and you’ll want to RAM your ROM then quickly turn off the computer
and be sure to tell your Mom!
WELL! That certainly clears things up for ME!
—– Laurie Woodard Hawaiian Quilt Research Project http://www.openstudio.hawaii.edu/hqrp/index.htm
Date: Sat, 1 Nov 2003 10:35:53 -0600 | From: “Steve and Jean Loken” <sandjloken@
Laurie, The poem is charming and I’d like to pass it to other friends who’d love it, but I’d like to credit the author along with the doggerel. Can you share who wrote it? Jean in MN
Date: Sat, 1 Nov 2003 | From: <chrisa@
In case this discussion has interested anyone else, I was able to buy the 1984 Uncoverings with the article on Eveline Foland from AQSG for $10.00 at www.h-net.org/~aqsg/ or 402-472-5361
Other back issues are also at a discounted price, 1980-84 and 1989-93. All more recent issues are available too, except 1996. You don’t have to be a member to buy these excellent journals. The membership now includes a copy of Uncoverings annually. The next conference is in Vancouver/Portland, WA, Oct. 8-10, Fri- Sun. There are pre-conference activities to attend if you like and you most likely will!
Kim Wulfert
Date: Sat, 1 Nov 2003 12:02:44 -0600 | From: “Molly Fryer” <fcmuseum@
Dearest Quilt History experts: I am a small town museum curator in East Texas. I have been a silent member of your list for several months and have learned much from “listening”. I am also a quilter and have had quilts published in several magazines by Harris Publications. I also collect antique quilts and am fortunate enough to have inherited some. I have two late 19th century quilts in dark blue and black prints with dyed feed sack backing that I would love to share with you. I would interested in what you had to say about them. I have a 1930’s plate variation that I have been unable to find a pattern name for even in Brackman’s encyclopedia. The museum also has some interesting antique quilts–two identical red and green quilts–very worn–but worthy of study. I am very interested in becoming an appraiser, but wonder if I will ever be knowledgeable enough. I wish I had become a member of the quilt study group that had a conference in Dallas recently–That is so close to me. I should not have missed it. Thanks for all your help and hope to meet some of you sometime. Thanks, Molly
Date: Sat, 1 Nov 2003 | From: “Maurice Northen” <3forks@
Hi Molly in Texas, I am also in Texas, and work at a small museum. I will be attending the Southern Quilt Study group meeting in LA at Gail’s in Feb. Perhaps if someone can not attend, you can go with me. Get in touch, and lets talk. Joan of the South e-Mail: stream.net.
Date: Sat, 1 Nov 2003 | From: <mreich@
I found this in the Adams Sentinel Gettysburg, Pennsylvania March 10, 1856
Gloss on Linen – To restore the gloss commonly observed on newly purchased collars and shirt bosoms, add a spoonful of gum-arabic water to a pint of the starch, as usually made for this purpose. Two ounces of clear gum-arabic may be dissolved in a pint of water, and after standing over night, may be racked off, and kept in a bottle ready for use.
I haven’t yet tried this. sue reich
Date: Sat, 1 Nov 2003 18:50:10 -0500 | From: <mreich@
This is a brief story about a late nineteenth century Presidential-wanna-be. With local elections looming, I thought this might be timely. sue reich
Weekly Nevada State Journal November 8, 1884
A Female Cabinet Meeting
The Washington Republican describes a meeting of Mrs. President Belva Lockwood’s Cabinet, when she becomes President: A servant said the President would be down as soon as she finished trying on her dress. The Attorney-General took out her knitting and said: “Well, I might as well be working. No telling how long we’ll have to wait.” Eager attention on the part of Cabinet interrupted by the servant’s announcement: “Her Excellency, the President of the United States.” “Good morning, ladies.” “Good morning. Mrs. President.” (All in chorus.) “Oh! What a lovely dress.” “Yes,” said the President, “I thought I would just wear it down and let you see it. It is pretty isn’t it? Just look at the hang of the train.” “It’s perfectly magnificent,” said the Secretary of War. “Those fine plaitings of crepe de chine give it such a lovely finish. But isn’t it a little short in front?” “Why, of course,” said the President, with some asperity: “I have them all made that way so as not to have to change when I ride the tricycle.” “I hope it’s all silk,” said the Attorney-General, sticking her knitting needle through her back hair, while she rubbed a piece of the dress between her thumb and finger. “Did you save me a piece for my crazy-quilt?” “Oh, yes,” answered the President, affably, “And now let’s get to business, ladies. I haven’t much time this morning. I have to sit for my picture at 1 o’clock.” “The most important business I know of,” said the Secretary of State, “is to decide on a Minister to the Court of St. James. You know Lowell has asked to be recalled.” “Oh, yes; I forgot all about that,” said the President. “Whom shall we send?” “If it had only been earlier,” said the Assistant Secretary of the Navy, reflectively, “I would have gone myself, but the season is over by this time, and then I would get horribly seasick.” “It will be hard to get any one to go,” observed the Secretary of War. “I am told the climate is so damp that your hair never stays in a curl at all.” “Is that so?” asked the President, apprehensively. “Well, we must send some one. And then,” the President went on, “there’s Germany to provide for.” “Oh, what’s the use of sending any one to Germany, Mrs. President?” said the Secretary of War. “Oh, don’t you know,” said the Secretary of State, “there’s Herr Most and pork and Lasker and Bismarck and all those things to talk about?” “I know there was a color called Bismarck some years ago,” said the Secretary of the Treasury, meditatively, as she sorted her crewels, “but it’ s hideously unbecoming.” “But there’s a new red brown this Fall,” said the Postmaster-General, eagerly, “that’s just perfectly lovely for a dark complexion, though I think myself nothing wears as well as seal brown.” “Speaking of seal brown,” said the Assistant Secretary of the Navy, “how about the commissioner who was to be sent to Alaska to provide us all with sealskin dolmans? It’s getting pretty cool; the frost touched my tuberoses l
Date: Sat, 1 Nov 2003 | From: “judygrow”
That was so charming, Sue. Don’t you get the feeling that it had to have been written by a woman? There are some ideas in it that a man just wouldn’t have thought of in that time.
Judy in Ringoes, NJ judygrow@
Date: Sat, 1 Nov 2003 | From: Loretta Woodard <Lwoodard@
Hi Jean– I received the Dr. Suess poem as a copy and paste inside another email with no attribution attached. Interestingly, I just went out onto Google and typed in the first line, “if a packet…” and turned up fourteen pages of hits!! Some sources imply that the writer is also the author but this link, among others, which is dated October 2000, says the source is anonymous http://www.cio.com/archive/101500/tl_troubleshooting.html. Thanks for asking. And thanks for writing.
BTW, I also turned up a page advertising packet sockets!
Date: Sat, 1 Nov 2003 | From: <mreich@
I’ll be away lecturing on Election Day. I thought that you would all enjoy this descriptive of a political crazy quilt. I love the stuff about the embellishments. We can all see in our mind’s eye just what the reporter is talking about, however, we never knew the appropriate terminology for 1887.
Daily Nevada State Journal Reno, Nevada November 11, 1887
Political Crazy Patchwork A Quilt Made by Contributions from Presidents’ and Statesmen’s Wives.
Miss Ella Fike, of Warrensburg, Mo., says the St. Louis Globe-Democrat, has just completed a crazy quilt which she has spent over four years in making. It is two yards in width and three-fourths yards long and is bordered with heavy ruby-colored surah silk, and is beautiful in the extreme. The feature of the quilt is that it consists entirely of silk, velvet, and plush scraps from famous and noted persons, such as Presidents and their wives, most of all President Arthur’s Cabinet and their families, most of President Cleveland’s Cabinet, officials and families of diplomatic corps, United States Senators and Representatives and their wives, Governors and families of different States, actors and actresses and other noted persons. Every piece in the quilt has a history. The quilt comprises nine large blocks, one of which contains pieces from the dresses and cravats of members of her graduating classes and her teachers. The kinds of work which she had decorated it with are flat and raised wool and silk chenille and arasene, tinsel embroidery, brush painting, Kensington painting, raised work in ribbon, velvet and plush, Kensington embroidery in silks and crewels, braiding, beading, appliqué, etching, transfer, cross-stitch, different designs in fans, palettes, plaques and bugs of silk, satin, velvet and plush: The quilt contains pieces of ribbon from two of Mrs. Cleveland’s wedding bonnets.
Date: Sun, 2 Nov 2003 | From: <chrisa@
Speaking of late 19th century quilts, can anyone comment on when the synthetic color claret became available? Usually it was claret with a white print discharged or resisted. The quilt I saw was dated 1885 with excellent provenance. If there is any evidence of it earlier than that please let me know.
BTW- Virginia Robertson has a new line out with some of these colored prints and some unusual greens from that same time period.
Kim Wulfert
Date: Sun, 2 Nov 2003 11:34:23 | From: <chrisa@
There was another quilt at that CO antique quilt exhibit that is exactly like the one in Doris Bowman’s book on Smithsonian Treasury American Quilts, page 57. A very similar one is also in B. Brackman’s first CW book on page. 31. It is the stars and stripe baby quilt seen in many other books. All of these are dated in the mid 1860s as there was a pattern in Peterson’s magazine in 1861.
The quilt in CO was made in 1865 for the maker’s soldier son. The blue color was a light blue, not from fading. It was not faded like the Smithsonian quilt that looks, from a darker blue to some lighter areas. This quilt was light blue to start. It had been used and washed, but indigo didn’t fade and this color was good. Synthetic indigo was not available at that time. The light blue prints called confederate (sounds like this relates to the CW, but I’ve never heard that) or cadet or wash blues, are usually thought to date later in the 19th century, into the 20th century. Don’t confuse this with Lancaster blues or Prussians of earlier times. Think of Harriet Hargraves reproduction blues, which she in the 1880s. I think of darker blues than this for the 1860s indigo fabrics. Can anyone comment on this? B. Brackman’s Clues doesn’t mention this color of indigo being available in the mid-century. If it were dyed in woad, wouldn’t it have faded out more? There were synthetic blue dyes being made earlier than they paptented version, but 1860s is really early for that it would seem. Any thoughts?
Kim Wulfert
Date: Sun, 2 Nov 2003 | From: “Newbie Richardson”
Martha, Years ago when first doing furnishing plans for historic houses, I did research on the early fabric glazes. At the time I got a receipt book from the Library of Congress ( I had a neighbor who was high up on the Hill) with all kinds of instructions for jow to treat furnishing fabrics. It was fron the 1850’s. Sorry, 20 years later, memory fails as to title. The formula to treat linen “holland” cloth for making roller shades was to mix equal parts cornstarch and parafin or beeswax. This mixture was painted on the cloth and the whole was run through a hot mangle. I actually got a local cleaner who still had a mangle for banquet clothes to let me do it in his shop – but it was cheaper to buy the restoration roller shades that are treated with a plastic coating to simulate the old sheen, so I never actually attempted it The trick, however, would be to have a mangle to run the fabric through as both the weight and the heat will make the glaze penetrate the weave structure of the cloth. Newbie Richardson.
Date: Sun, 2 Nov 2003 15:58:24 -0500 | From: <mreich@
Newbie, I wandered if mangles would help with glazed finishes. We had this same discussion at AQSG. I remember my grandmother’s mangle and it seemed to exert a considerable amount of pressure. I was allowed to mangle smalls such as pillow cases and handkerchiefs. They always came through the mangle with a sheen. I am actually on the look out for one. I found one in Pennsylvania but I am not sure if it works. sue reich
Date: Sun, 2 Nov 2003 16:16:57 -0500 | From: “Newbie Richardson” <pastcrafts@
Sue, You are in luck! My sister-in-law is trying to find a home for her Mom’s mangle – It works great. It is the size of a small apartment refrigerator. If you are interested, I will send you Phyllis’s email. She lives in Annapolis. Newbs
Date: Sun, 02 Nov 2003 19:45:57 -0500 | From: Joan Kiplinger <jkip@
A book just out — I have just finished reading Triangle, the Fire That Changed America [library copy] by David Von Drehle, a Washington Post journalist. If you have an interest in history and in women who labored in unspeakable labor condtions and who pioneered social reforms, this is the book for you. The story follows the political and social conditions leading up to the 1911 fire in NYC — the worst tragedy until 9/11, and the events in the following months and decades. Heart of the book is the step-by-step fire itself on the 8th, 9th and 10th floors of the Asche Bldg which housed the Triagle Shirtwaist Factory as told by survivors, onlookers and police, fire and rescue units. You feel as though you are there so descriptive is the narrative. From this fire grew the end of Tammany Hall corruption, birth of the liberal left and the New Deal with social reforms that affected the whole country and includes a cast of real-life characters who were bigger than life stretching from Teddy Roosevelt to FDR. There are photos and diagrams which help you to track the narration describing the fire, caused by still-burning matched tossed into one of the baskets filled with scraps of lawn and tissue that were below the cutting tables. It didn’t take much for the thin fabric to burn, float upwards into tiny flaming pieces and land in a million places to kindle new surfaces. Triangle was the king of shirtwaists, one of 500 shirtwaist factories in NYC with a total labor force of 40,000 persons, mostly women. With an average 800 persons per, that’s no small potatoes for just one category in one city!. Benevolent on one hand, condescending on the other, Triangle was a disaster waiting to happen. Again, this is a book you can’t put down. It’s fast reading and totally absorbing.
Date: Mon, 03 Nov 2003 08:27:06 -0500 | From: Palampore@
What does a mangle
look like? Never heard the term. Is it similar to the rollers of an old
wringer washing machine? I do know what they look like. My granny
and our neighbor had those. What did the India-Indians use? Thanks
for the info. in advance. What a group! Lynn Lancaster Gorges, New Bern,
NC
Date: Mon, 3 Nov 2003 08:41:17 -0500 | From: macdowel@
Dear QHLers: In regards to the recent posting re. a crazy quilt
purportedly made from shoe linings…The MSU Museum collection has a
70″ x 72″ cotton and silk quilt made of shoe linings by
Edna Freshour (1860-1870). Freshour was a resident of
Hillsdale County, Michigan when she made this quilt and,according
to the donor, she used scraps of silk lining material from a local
women’s high-button shoe factory to construct the 16 large blocks.
The use of a variety of shapes and colors throughout the blocks
gives the impression that the pinwheels are in motion. The quilt
was donated to the MSU Museum by William R. Freshour, grandson of
the maker. Other quilts including fabric scraps from projects in
work settings outside the home were documented in the Michigan
Quilt Project; these include ones made from salesman fabric sample
books, casino employee uniforms, and shirtings from the men’s
department in the Detroit-based Hudson department store. –Marsha MacDowell
Curator and Professor, MSU Museum –
Date: Mon, 03 Nov 2003 09:24:19 -0500 | From: “Judy Kelius (judysue)” <judysue@
If you have a book you refer to frequently that is breaking along the
spine, take it to a quicky printer and ask them to put a spiral binding on
it. I did this with my copy of Clues and it cost less than $5. Well worth the
money!
Date: Mon, 03 Nov 2003 08:42:54 -0600 | From: Gail Ingram <gingram@
Scattered about the entire piece are birds which along with what I can
only describe as an elaborated daisy chain forms a border for the two sides
and top of the piece. Birds alone border the bottom, just below the strong
alphabet, with the daisy-bird border coming above the alphabet.
Above the alphabet and botton inside border are identical two-story
houses, one on left side, the other on right side. To right of first is
“This is the house that Jack built” (on 2 lines). Scattered between
are the dog, cat, mouse, old woman, etc that are part of that nursery rhyme.
Above this scene on either border side are identical swans, facing inward.
On this “line” are “Hey Diddle Diddle” with accompanying
scene and “Jack and Jill”. Above is a wonderful cow jumping over
the moon.
Among the figures above those are “Cock Robin,” “Little Bo
Peep,” “Ride A Cock Horse” (the figure here is large and the
cross rather elaborate), with accompanying illustrations. The old see-saw
(See Saw/Margery Daw) is illustrated but has no title.
At the top, positioned like the bottom alphabet, are the numbers.
This is a relatively “thin” Marseilles piece (I have a
19th-century double-bed size ‘Marseilles” piece, probably produced by
the early Bates company, that is quite lush and thick.
This was one of the first piece of linens I purchased after finally
getting our children in college. Both earned (I’m still thanking God here)
full-tuition and fees academic scholarships, and so the budget was a little
freer and permitted a few indulgences. I paid $15 for this piece. It was so
charming in its Victorian ornamentation. I have always assumed it to be a
product of the early 20th century, but have no scholarly reason for that
belief.
I would be interested to see how this compares with the one you have. I
would also be interested to know its orgin and approximate date. I’ve always
wondered if it were produced by Bates, since they did so much of this sort of
work.
Gail Ingram
Date: Mon, 3 Nov 2003 08:20:38 -0800 (PST) | From: Ark Quilts <quiltarkmv@
Hello! I am trying to locate specific issues of
Workbasket magazine
for research. Any suggestions on where to find these? I am seeking
citations & patterns for state bird & state flower quilt blocks
(embroidery). Thanks-Connie Ark Please reply privately to email. =======================================================
WORKBASKET
Magazines with State Bird/State Flower patterns : Volume 1,
No. 5 Feb 1936 All pieced state quilt blocks (48) – series later
reprinted in book form Volume 1, No. 65 March 1936 p. 12 —
C8129T (24 blocks) and C8125T (48 blocks) Volume 1, No. 7 April
1936 p. 4 – C8126T (24 blocks) and C8129T (48 blocks) Volume
1, No. 8 May 1936 Cover & p. 2 – C8127T (24 blocks) and C8129T (48
blocks) Volume 1, No. 9 June 1936 C8128T (24 blocks) and
C8129T (48 blocks) __________________________________
Date: Mon, 3 Nov 2003 17:15:08 -0500 | From: “crossland_n_j Crossland” <crossland_n_j@
Someone pointed out this wonderful quilt
up for auction at Skinners a few weeks ago. I hadn’t seen anyone
else post the final result from the 1 Nov Auction, so I looked it
up. Thought you might be interested. Results for Sale 2241,
American Furniture & Decorative Arts. Generated at 5:04:33
PM on Monday, November 03, 2003, Prices are
Subject to change.
Prices include a buyer’s premium equal to 17.5% of the final bid price up to and including $80,000, plus 10% of the
final bid price over $80,000 on each lot sold. Skinner is not responsible
for
typographical errors or omissions. Prices shown in US Dollars.
Lot Description Price Result Sold 102 Pieced and
Appliqued Cotton Civil War Memorial Quilt, made by Mary Bell
Shawvan, c. 1863, 149,000 Sold Julie in NH where it is Spring
again.
Date: Mon, 3 Nov 2003 21:30:58 -0500 | From: “judygrow” <judygrow@>
I thought that might get your attention. Actually, it is not my writing, but is the title of the new show at the Metropolitan Museum’s Costume Institute. The show runs from Nov. 4 – Feb. 8.
The show is expanded from a 2001 exhibition at London’s Victoria and Albert Museum. It traces the history of men in skirts through history and across the globe and includes recent examples.
What caught my eye (and took my breath away) is a small insert on page 85 of the November 3rd issue of New York Magazine. Oh my, I am going to be so un-PC. There is photo of a bare-chested “hunk” wearing a floor length, full circle, quilted, satin skirt by Jean Paul Gaultier. There is no visible waistband, and the quilting is in 5 tiers, each one separated by a row or two of horizontal quilting. It is fully lined in unquilted satin — Mr. Hunk is fetchingly holding up one edge of the full skirt so the lining is visible.
