September 20 – 24, 2005
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:
- Decoding a Redwork Embroidery Symbol — Members trace the Christian symbolism of a cross, anchor, and heart in a redwork quilt design back to its 1890s pattern-book origins. (see the article on redwork and outline embroidery)
- Tracking Down a Quilt’s Place-Name Label — A search for “Kitchener, Canada” on a quilt label turns into sleuthing among Saskatchewan’s Orcadia and Orkney place names.
- AQSG Quilt Index Workshop — A free, hands-on workshop on the Quilt Index database is announced for American Quilt Study Group Seminar attendees.
- Tips for Reading Faded Signature Quilts — Members share techniques, including magnification and photo editing, for deciphering old embroidered names.
From: JLHfw@
Dear Pat, Which Rose Wilder Lane book are you referring to? Janet in Fort Worth
From: “Lynne Z. Bassett” <lzbassett@>
Thank you to all of you who have written to congratulate me on my whole-cloth quilts article in the current issue of Antiques! I greatly value your opinion! And I appreciate your patience with flipping pages back and forth so you can see the images and make the comparisons that the article discusses–the art director’s layout doesn’t make this an easy task!
Best, Lynne
From: Blackeyesandysue@
Southern quilts, Just a few comments. I grew up deep in the heart of Texas. I have quilts from 3 of my great grandmothers. The earliest 1890’s. None later than 1940’s. None have thick bats. Maybe bat thickness was availability, price or preference. My mother has told me that once the beds were made in the morning that you did not lay on them or mess them up. therefore, the day bed or a pallett for rest or napping in the afternoons. A pallet in my family meant making a place to sleep on the floor. Quilts and or blankets were used. In many hot regions it is very hard to work in the hottest part of the day. The afternoon nap was popular. Polly Mello
From: Jennifer Perkins <qltrstore@>
Hi all, I saw a symbol in a redwork quilt this week that consisted of a crossed cross and anchor within a heart topped by a flame. Anybody know what the significance of this is? The quilt had a dated block-1900. Jennifer in Iowa
Date: Tue, 20 Sep 2005 | From: Margareta.Faustcec.eu.int
Hi Jennifer, these sound like Christian symbols: the cross for faith, the anchor for hope, the heart for charity. Blazing hearts were common within Catholic 19th century visual imagery, you find a lot of the in French samplers embroidered at convent schools, to name one example. There was a cult of Jesus’ ‘sacred heart’ at that time. ( That’s what the famous church in Paris – SacrE9 Coeur – is named for, built around 1900). Not 100% sure since I can’t see the quilt you’re describing, but that is what it sounds like to me! Margareta in Europe.
From: “Linda Heminway”
Kathie, maybe at the end of the week I can. This has been a rough week here, my dad passed away and we are immersed in “arrangements” and family matters. When I have time to breath, I’ll take a photo of it. I have to say that I took a risk with this quilt and do not recommend that anyone do that with one that might be perceived as highly valuable or a family quilt. I got this quilt for free and it’s not made by an anscestor of mine, therefore my “risk” was minimal. Yet, I really wanted to report my use of Simple Green and the success I had with it to you all. It could be gentle enough for other types of old fabrics without destroying them. Will take a photo later, thanks. Linda Heminway Plaistow, NH
From: “Charlotte Bull” <charlou@>
I don’t know if Pat found the same book, but I was once fortunate enough to find the Woman’s Day Book of American Needlework by Rose Wilder Lane. 1963. Marvelous condition inside with a clear plastic covering over the original cover that was slightly torn. That was in 1992. It was in a used book store.
Now, for the “rest of the story”! A few hours later I found an amazing $10 bargain at an antique shop in Osage Beach, MO. I was attending the MO State Guild Retreat. A very specifically designed folder or box with the same picture on the top of it that was on the cover of the book. It rang my bell Big Time! It contained the patterns for many varied needlework projects in the book. Very big pages with full size patterns – even for a Hawaiian Applique Quilt! Also a 32 page general instruction booklet.
I just measurered the pattern pages – 35″ x 45″. I am amused as each is basically a yard of fabric! I am wildly thankful that you reminded me of this marvelous companion set of inspired needlework patterns, even if I don’t do knitting, crochet, embroidery or rug hooking. It is mostly Quilts!
I found the perfect quilt that I MUST replicate, Sunburst Compasses with appliqued Swag Border. It includes the full size feather plume quilting patterns too. The actual book offers the fullcolor pictures of the antique quilts that are in museums. It is definitely a set, just as the basic booklet in the box says! I’m glad I found & reunited them. As I recall, the man in the antique furniture shop seemed relieved to find someone who wanted the box as he did not normally sell “books”! I do know exactly how Pat felt or how a miner felt when he discovered a gold mine or …. well you all surely understand.
Thanks to Janet for asking the question that made me go and reread my Rose Wilder Lane’s book! Even if it might not be the book that Pat found! I had planned on asking the same question as I had a hunch! May you all find a perfect older book to treasure. Charlotte of Missouri Oz (arks) ——_NextPart_000_000B_01C5BDCB.4F7A8F10–
From: “Karen Musgrave”
I found this very cool crazy quilt envelope pocket with verse on eBay. Says c 1890. I’d love if someone could give me an idea of how much it is worth. Curiosity killed the cat but satisfaction brought her back.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item7347893217
Thanks, Karen
Date: Tue, 20 Sep 2005 12:36:17 -0700 (PDT) | From: catz@
From the Quilt Art list: a poll regarding shipping quilts. If you are not familiar with maria Elkins website “lost quilt” – have a look – its great
Marie Johansen
If you haven’t voted yet, please go to http://www.lostquilt.com/ShippingPoll.html to vote on which method you use most frequently when you ship a quilt.
Also, if you are part of any other quilt email list or chat list, please pass on this link so we have a large sampling. If you do, please let me know which list you posted to so I won’t duplicate your efforts. Thanks! Maria Elkins Lost Quilt Come Home Page http://www.lostquilt.com <http://www.lostquilt.com/> — marialostquilt.com Dedicated to displaying lost and stolen quilts and to providing information on protecting quilts http://www.mariaelkins.com <http://www.mariaelkins.com/> — memariaelkins.com
From: Jccullencrew@
I looked though the missing quilts web site and was very surprised to see a purple block missing from the same purse RR that I was in. Unfortunately, my block never came home either.
Now I’m wondering how coincidental that could be. I think I’ll check with the other owner of the purple block and see what we come up with. Both lost in the mail? Problem on the part of the person who was supposed to send it? Lots to think about.
It was good to see some quilts recovered. There is always hope when things seem impossible.
Thanks for your post.
Carol Grace
Date: Tue, 20 Sep 2005 23:36:52 -0500 | From: Gail Ingram <gingram@>
Ah, Rose Wilder Lane!
She, Carrie Hall, and R. Kretsinger were my earliest quilting companions.
I never thought I would own my own copy of Lane’s “American Needlework.”
And then, hot dog!, I came across one in a shop. Bought it for a song.
Of course, I thought, I would never find the companion pattern box. Yet, when I searched eBay one day, there were two boxes and a copy of the book. I think I spent about $12 for both a book and the two boxes, so that I could give a student who was an aspiring quilter one set and have a set of my own.
Since then, I have run across both fairly often on eBay.
For years, I kept the local library’s copy of “American Needlework” checked out. I would check it out for 2 weeks, renew it; then my husband would check it out and renew it. Although it had circulated almost none before I discovered it and no one ever placed a call for it, our librarian took great umbrage at what she regarded as my excessive usage. I live about 20 miles from where Clyde Barrow and Bonnie ??, the Depression era bandits, were killed and a woman who was kidnapped by the pair right off her front porch still lives in this town. Unable to figure a way to keep me from checking out Ms. Lane’s book regularly, the librarian turned to local legends and began calling my husband and me “The Bonnie and Clyde of the Lincoln Parish Library.” I cherish and hang onto to the title yet. I suggested to the librarian that she have a badge made up that I could wear the way Hester Prynne wore her Scarlet Letter. Alas, the woman was unamused.
I recognize Lane’s conclusions do not always meet the tests of later scholarship, but her soaring prose and her sense of American women are worth the price of the book. So are the photographs of quilts.
More recently, I acquired an in-progress kit quilt based on the Sunburst pattern in that book.
Were there other kits prepared, based on quilts in this book?
Gail Ingram
From: Patricia L Cummings
Hello:
Somewhere along the line I came across the Redwork design and learned that it is a symbol of the Methodist faith.
As for the Rose Wilder Lane book, yes it is the same one. I have had the “set” for a long time but the book was really in battered condition. It was great to find one in excellent condition. The pattern set is very nice.
Off to buy some new kitchen curtains. No self-respecting quilter would take the time to make her own!
Pat Cummings
From: Jackie Joy <joysbees@>
This discussion takes me back to 1969. I received my copy of the book and case of patterns in payment for typing a master’s thesis for a friend. The impoverished graduate student’s wife had left him and her copy of American Needlework behind. The phrase “porphyritic quartz monzonite” remains with me to this day.
Jackie Joy Reno, Nevada, once proud home to the Mackay School of Mines.
From: Patricia L Cummings
Thank you for mentioning the Redwork symbol. I found an early example in an 1890 catalog listed as #3029. The design is a tilted cross, an anchor leaning in the opposite direction, a heart, flames, and what appear to be morning glory leaves, all entwined. There is no title to the design, just a number.
I cannot find the book where I thought I’d read that there was a Methodist connection. The cross and flame is the symbol of the Methodist faith and one can see it here: http://www.ourchurch.com/view/?pageID84123
The above Redwork symbol may have been related to the Catholic faith, although I was brought up Catholic and have never seen it associated with Catholicism before.
At any rate, it is a lovely design. At the pearly gates, I don’t really expect that St. Peter will be sorting out the Catholics and the Methodists, into two separate lines. Sorry for any confusion I caused. Consider it hearsay, unless I find the reference.
I receive this list in “digest form”, so if any of you have said something else about the symbol, the earliest I will know about it is 12:01, eastern standard time.
Cheers,
Pat Cummings
From: “J. G. Row”
On Tuesday, September 20th, 12 members of our group met in Clinton New Jersey at the historic Red Mill Museum’s office/storage facility. Members attending were from New Jersey, Connecticut, Vermont, New York, Pennsylvania, and Virginia.
http://www.theredmill.org/visit.html
The museum’s curator of collections, Jean Daley, had set up two double tables for us, covered them with sheets, gave us white gloves, pointed out the huge roll of acid free tissue and left us to pull their boxes of quilts out of storage, empty them of their lovely contents, spread them out on the tables to study, and then refold them with new tissue to go back into storage . When I made the arrangements for the group Jean said that refolding the quilts had never taken more than 2 hours. It took us twice that and then some.
Among the items of interest were two fundraising redwork signature quilt tops, one red and white brickwork, the other a pink embroidered flower of 11 petals with names embroidered in all the petals. A group from the local quilt shop, Kindred Quilts, is reproducing this quilt in red and white as a fundraiser to support the collection. Many of our names will appear on this new quilt.
We saw three log cabin quilts, one in a streak of lightening set, one a straight furrows, and one in a large and very graphic “X”, all from the late 19th century. A lovely flying goose strippy had the vertical sashes of a late 19th century paisley stripe.
We all Oohed and Aahed over a crib quilt top of 30 blocks in the Kansas Dugout pattern with 4-patch corner blocks in the red sashing. The blocks were not more than 4″ square and the workmanship was supurb. Each block used 3 different fabrics, one for the squares, and two others for the elongated hexagons. What wasn’t apparent (to me) immediately until I studied my photo was that the maker had arranged the blocks so that there were definite diagonal stripes of the darkest fabrics running across the quilt.
Two Irish chains were in the collection, one a red and white from the first half of the 19th century whose red fabrics had almost entirely lost their dark figures so that from afar the fabric looked looked like a red and white check. The other Irish Chain had a border around three sides of Oak Leaf and Reel blocks. The only other quilt with applique was a lovely green and red “Poke Berries” with a vine border, from the 1850’s, the red fabric worn to missing in places.
The magical quilt of the day wasn’t quilted at all. It was a tied comforter, whole cloth, the same fabric front and back. And what a fabric! It was a blue and white pillar print with an eagle. It still had its glaze and was in excellent condition, in contrast to many other of the quilts in the collection.
Many of the 40 quilts saved and conserved by this little local museum were no more than ordinary, and were well worn and well loved. They may not see the light of day very often, and many wouldn’t be able to be hung and exhibited because of condition. But they are being preserved for future generations by a community which obviously reveres its past. As study tools they are invaluable.
How many hundreds of other small museums have collections like this one? How many historic societies are just waiting for you to knock on their doors and ask to study their collection? How fortunate we were that it was time to refold the quilts at the Red Mill Museum!
Judy, now in Flemington NJ aka The Ringoes Kid judygrow@
From: Sally Ward <sallytatters@>
Can anyone help me locate this place? I’ve googled all over the place and can’t seem to get a definite answer.
Orcadia, Orkney, West Ebenezer.
Its Canada…but where?
Sally W
From: “Jan Drechsler” <quiltdoc@>
Linda,
If it was your quilt, and you were willing to take the risk of using Simple Green, then who are we to condemn you?
Re:I chose Simple Green as it is recommended for laundry issues and non-toxic
If you were concerned about leftover residue from the soap in the quilt, you could do your final rinse with de-ionized water. After removing as much water from the quilt, I buy gallons of de-ionized water from the supermarket, pour over the quilt while still in the tub, and then squeeze that out with a large, clean sponge. It isn’t very cheap, but considering the value of the quilt, it really is cheap. De-ionized water was the last rinse step that many of us learned at Restoration Workshops in Omaha.
Jan
— Jan Drechsler NEW E-MAIL ADDRESS: quiltdoc@
Quilt Restoration; Quilting teacher
From: “Sharon in NC”
Are you sure it is Canada? http://www.orcadiadesign.co.uk/
Sharon in NC
From: “Sharon in NC”
Here is something else that might relate.. http://www.orkneyjar.com/folklore/ Sharon in NC
From: Jennifer Perkins
Hi again, I also saw a Drunkard’s Path quilt this week in a medium blue solid and white, cut into the T shape with a 6 1/4″ drop and bound with fringe. The quilt was 70″ by 89″. I know the T shape and fringe indicate a pre 1860 date, but was not sure about the Drunkard’s Path pattern. I have looked, and the earliest one I can find is dated 1884. Does anyone know of an earlier quilt with this pattern? Does the size of the drop indicate anything about the date of the quilt in a T shape? Thanks! Jennifer in Iowa
From: Sally Ward <sallytatters@>
Sharon in NC wrote: > Are you sure it is Canada? > http://www.orcadiadesign.co.uk/
Yes, definitely Canada. I was given the place name in connection with some research on wartime Red Cross quilts. I hoped to find out more about the place, but have drawn a blank.
Sally W
From: “Sharon in NC”
I see an Orcadia, Saskatchewan http://www.becquet.com/director/maps/Orcadia.htm Orkney, Saskatchewan http://ca.epodunk.com/profiles/saskatchewan/orkney/2001706.html and an Ebenezer Saskatchewan.. http://www.ourroots.ca/e/toc.asp?id4442
Maybe that will help..
Sharon in NC
From: “Pam Weeks” <pamworthen@>
Does any one have any experience dealing with fabric and quilts that have been exposed to fumes from a tank of heating oil that emptied into a basement area near the textile storage area? Will airing eventually remove the odor?
Pam Weeks in NH, happy for the first day of autumn.
—
September 21, 2005
Immediate release
A SPECIAL OPPORTUNITY FOR AMERICAN QUILT STUDY GROUP SEMINAR ATTENDEES!
REGISTER FOR A FREE, HANDS-ON, WORKSHOP ON THE QUILT INDEX, an innovative on-line resource providing unprecedented access to images and information about quilts in museum collections and those documented in state quilt projects.
Learn about the Quilt Index Project, who is involved and how you can be involved Sample tools and resources currently available on the Index Get assistance in using the Index to produce a lesson plan and/or research project proposal Give feedback and suggestions directly to two of the Index’s primary project staff
THIS LIMITED-ENROLLMENT WORKSHOP WILL BE OFFERED ONLY ONCE DURING THE SEMINAR ON FRIDAY, OCTOBER 7, FROM 10:30 A.M. – NOON.
REGISTRATION IS LIMITED TO 15 PARTICIPANTS. Each participant will need to bring their own laptop and USB cord; all workshop participants will get free internet connection that day via the hotel’s Ethernet connection.
The Quilt Index is a collaborative project led by Michigan State University Museum MATRIX: Center for Humane Arts, Letters and Social Sciences Online, MSU; and The Alliance for American Quilts. This phase of development of the Index is supported by a National Leadership Grant for Library-Museum Collaborations from the Institute for Museum and Library Services.
To register, please contact Mary Worrall, Assistant Curator, Michigan State University Museum, at Worrall@ or (517) 432-4118 by October 5, 2005.
_____________________________________________
From: Kaytriplet@
http://www.zandsfabrics.com/view_category.asp?cat288
Sorry that I can’t remember who, but someone was looking for dots and printed plaids. Happened to stumble across some today. A line called Cinnamon Stars from Moda which is available at the link above (and surely other fabric stores as well).
Kay Triplett Still in hot (100 degrees!) and humid Houston
From: Sally Ward <sallytatters@>
Can someone please remind me who is documenting signature quilts? I seem to struggle finding things like this in the archives.
TIA
Sally W
From: “Susan Wildemuth”
This is the latest information I have on it as it appeared in a magazine article — It is my understanding that she is the contact person for the status of the project.
Signature Quilt Database
Nancy Hornback 201 Circle Drive Wichita, KS 67218 nancy9336@
Sue in Illinois
From: Alice Kinsler <alicek@>
Dear List Members, I’m writing to thank all of you on QHL who have provided support and inspiration for my upcoming exhibit, “46rom Dust Bowl to Salad Bowl:
The Quilts and Quiltmakers of the Depression Era Migration to the Salinas Valley” at the National Steinbeck Center in Salinas, CA…and of course, I want to remind you to see it!
At this very moment a week from now, I will be enjoying the pleasure of
sharing the exhibit with many people on opening night (Friday, September 30). My presentation that evening will include slides with 7
photos of the 9 quiltmakers and all 15 of the quilts in the exhibition. My colleague and cultural affairs manager for Monterey County, Meg Clovis, and author of the recently published Arcadia book,
“The Salinas Valley,” will share photos and information about life in the Salinas Valley in the 1930s to set the stage for my sharing stories
about the quilters and their quilts.
The exhibit will also include tableaus that give context for the quilts, 5 vintage Dorothea Lange photos (including the famous Migrant Mother) on loan from the Oakland Museum of California, as well as audio
recordings of a FDR Fireside Chat about the the Dust Bowl, “Voices of the Dust Bowl” from the Smithsonian, and Woody Guthrie songs.
Should you be in the Central Coast of California from September 30- February 26, 2006, I hope you will consider visiting the National Steinbeck Center to experience this exhibit. It is my first time as curator, and the journey has been extraordinary from the beginning of my research last September until this amazing experience of actualizing
my vision. Hearing the stories of the quiltmakers’ families, as well
as those of the one living quiltmaker, and putting together facts of their lives from census and obituary records has been a fascinating process. Applying hanging sleeves to their quilts has brought me even
closer to their stories and lives as I touch their creations and hear and feel their voices. In the exhibit there is one quilt of questionable origin, discovered in the refuse bin of a woman’s estate sale. It is like so many quilts that we who are interested in quilt history have seen…the quiltmaker92s story about this beautiful quilt
and the time it was made will likely never be told. It pleases me that
each quilt in this exhibit will be identified for as long as it and its
new label exist.
Thanks for all the wonderful information that this communion of quilt lovers provides and for your interest in endeavors such as this exhibit. Alice Kinsler
Date: Sat, 24 Sep 2005 07:44:49 -0700 (PDT) | From: Judy Schwender <sister3603@>
Hello all, Just to clarify: AQSG is NOT the sponsor of this event. To register, please contact Mary Worrall, Assistant Curator, Michigan State University Museum, at Worrall@ or (517) 432-4118 by October 5, 2005. Please do not contact AQSG. My apologies if this has confused or inconvenienced anyone. Judy Schwender
Judy Schwender <sister3603@> wrote:
September 21, 2005
Immediate release
A SPECIAL OPPORTUNITY FOR AMERICAN QUILT STUDY GROUP SEMINAR ATTENDEES!
REGISTER FOR A FREE, HANDS-ON, WORKSHOP ON THE QUILT INDEX, an innovative on-line resource providing unprecedented access to images and information about quilts in museum collections and those documented in state quilt projects.
Learn about the Quilt Index Project, who is involved and how you can be involved Sample tools and resources currently available on the Index Get assistance in using the Index to produce a lesson plan and/or research project proposal Give feedback and suggestions directly to two of the Index’s primary project staff
THIS LIMITED-ENROLLMENT WORKSHOP WILL BE OFFERED ONLY ONCE DURING THE SEMINAR ON FRIDAY, OCTOBER 7, FROM 10:30 A.M. – NOON.
REGISTRATION IS LIMITED TO 15 PARTICIPANTS. Each participant will need to bring their own laptop and USB cord; all workshop participants will get free internet connection that day via the hotel’s Ethernet connection.
The Quilt Index is a collaborative project led by Michigan State University Museum MATRIX: Center for Humane Arts, Letters and Social Sciences Online, MSU; and The Alliance for American Quilts. This phase of development of the Index is supported by a National Leadership Grant for Library-Museum Collaborations from the Institute for Museum and Library Services.
To register, please contact Mary Worrall, Assistant Curator, Michigan State University Museum, at Worrall@ or (517) 432-4118 by October 5, 2005.
From: “Pat L. Nickols”
Could anyone help with information about this pattern for one of our European friends. She is multi-talented, combining art and history with quilt history. Know she will appreciate any help this knowledgeable group can give her.
Pat L. Nickols
From: “Constanze Schweiger” <cschweigeronemail.at> To: patlnickols@
Dear Pat Nickols,
I am an Austrian visual artist, a painter, using the tradition of quilt making as a pretext to my work.
So far I found only very little information on the motive of the Joseph’s Coat – besides that it is referring to the coat of Joseph from the Old Testament and that most of the quilt’s examples I have found in books and on the net where done by Mennonites. Do you know more about the history of this quilt, or could you advise me where to look for it? I would be especially interested if the pattern could have bore any potential of identification for women (for example for it’s naive, brave, dangerous boldness) or other meaning than to retell or cherish the bible.
I would appreciate your help very much! Thank you and with kind regards,
Constanze Schweiger
_____________________________________
From: Kaytriplet@
Nancy Hornback > 201 Circle Drive > Wichita, KSA0 67218 > nancy9336@
I believe the actual address is nancy9636@. Last I heard from Nancy, there was not a lot of activity on this project.
Kay Triplett in hot, humid Houston, having done well through the hurricane last night
From: louise-b
Nancy Hornback’s name was included in one of the articles in the current Piecework magazine that is devoted to quilts. I had seen her the previous weekend and had no idea (or had forgotten) that she was involved in this. The MOKA group (a regional quilt group) had devoted one of the meetings to signature quilts and there was a variety of them.
For myself I don’t think I shall ever forget the presentation at Rockford by Melinda Jurgensa (sp?) on the one she researched from the James collection in Lincoln using a variety of techniques including databases, plain old detective work and finding the right people to help.
Louise Bequette
From: Merry
A few months back, some people on my quilting lists were talking about and/or buying those little blue Kenmore sewing machines. One of my students recently bought one and it seems like a very nice machine. Do any of you own one, and have you done any actual quilting on it? Does anyone know if there is a 1/4″ foot available for this machine, as well as a walking/even-feed/dual-feed foot? Thanks so much 🙂
Hugs, Merry
From: Kaytriplet@
I don’t know about the little blue Kenmore machines, but I still have the Kenmore that I received from my mother for high school graduation in the ’70s and actually use it over my Bernina for buttonholes. It can use any of the standard feet, and I have purchased a walking foot and “Little Foot” 1/4″ foot for it. Chlotilde is a good source for these standard feet if it is the same.
Kay Triplett in still hot, humid Houston
Hi, Linda — I congratulate you on your nerve to launder a quilt in Simple Green. Last week while doing an appraisal day at a shop in California, one lady brought in a bright and beautiful Irish Chain quilt made from 1930s fabrics, including some feedsacks. Apparently she had had a fire, and the only quilt to survive was this one. She said it was black and smoky. She took it to her mother to keep safe until she decided what to do…………her mother washed it in the washing machine with Simple Green!! The owner and I both nearly had heart failure — there may be damage down the road a ways, but at the moment, the quilt is sparkling, bright, and clean…..only a very faint smoke odor, so faint in fact that I don’t think I’d have noticed it if she hadn’t told me the story. So, no matter what we historians and quilt care folks say, something is going on out there. Has anyone contacted the company to see if they’ve done tests on using it with vintage or antique fabrics?
Marilyn Maddalena Withrow Professional Quilt Appraiser, Judge, Designer, Historian and Speaker www.marilynquilts.com
From: Donna Keating
Merry – I own the little blue Kenmore machine – bought it about a year and a half ago after taking a class from Billie Lauder in Fort Worth. She had one and highly recommended it. I needed a small machine to haul around to quilt classes because my big Janome is so heavy and cumbersome.
Little Blue works just great! Don’t know about quilting on it – I just do piecing. I marked the quarter inch line on the machine so haven’t tried to locate a 1/4″ foot. It was well worth the 100 bucks!
Donna K N. TX
A few months back, some people on my quilting lists were talking about and/or buying those little blue Kenmore sewing machines. One of my students recently bought one and it seems like a very nice machine. Do any of you own one, and have you done any actual quilting on it? Does anyone know if there is a 1/4″ foot available for this machine, as well as a walking/even-feed/dual-feed foot? Thanks so much 🙂
From: Laura Fisher <laurafisherquilts@>
How encouraging that some talented historic researchers think it’s possible to determine where some signature quilts were from, even without a town and state name on them It wouod be wonderful topress a button (or two or three) and have info pop up. I have some quilts with literally hundreds of names embroidered or inked in, but nothing else to place them. Now, how to get someone to transcribe them to then submit to a data base–that’s the real fantasy. Does anyone have a method to deciphering signatures when embroidery in old penmanship is hard to read, or the ink is quite faded? Thanks for tips and clues…. Laura Fisher
From: Sally Ward <sallytatters@>
Does anyone have a method to deciphering signatures when embroidery in old penmanship is hard to read, or the ink is quite faded?
I did have some success in deciphering the printing on a very faded piece of flour sack by taking a digital photograph and messing about with the image in editing software. I tried all sorts of colour enhancements until one suddenly lit up the word.
There is probably a more scientific approach than ‘messing about’, but it worked for me <G>
Sally W
—
“NPR : Hidden Treasures: Mrs. Parmeter’s Klan Quilt”
<http://www.npr.org/templates/story/story.php?storyId4866157>
*Listen to this story* Please click on the headline to the story using a RealAudio or WindowsMedia player. For players or technical support, please visit NPR’s Audio Help page. <http://www.npr.org/help/audio/>.
*Order a text transcript of this story* <http://www.npr.org/transcripts/story.html>
From: Polly Mello
Laura, I had fairly good luck with a high intensity lamp and the maginfying glasses that I use to sew with. I use the kind that fits like a headband on my forehead. Polly Mello
From: Litwinow@ D
Good morning, I hope you have picked up your copy of “Pieceworks” magazine Sept/Oct Vol. XIII No. 5. Our very own Susan Wildemuth of Illinois (also a founder of IA/IL Quilt Study Group) wrote “Investigating an Album Signature Quilt.” Andi in Iowa has an article on “Caring for Modern Quilts” in the same issue. Andi and I had an interesting day signing the magazine at the only independent book store in the Quad-Cities. It averaged 1 magazine an hour! It just happened that a quilt from my collection is pictured on the cover. I haven’t done any research on this quilt which was purchased in Des Moines, IA. Catherine, counting the days until Golden and AQSG
From: Laura Fisher
I just wish I had the time, and the stick to itiveness – to research signed quilts for more information on origin. Some I have bought have ONLY names, not one clue as to locale. Names of organizations oer groups whose members signed sure gihelp when delving into historical research.
I am always frustrated because the most often asked questions from visitors to my shop are: do you know who made it, and where is it from. It’s unfortunate that no one among the hundreds of signers of some of those great quilts thought to write in the WHERE and the collective WHO or any organization information that would help for posterity. I hope now, if people do this kind of quilt, they include at least one little bitty area mentioning the town and state, group and date of completion.
I hope I didn’t convey a wrong tone in my note to QHL. It’s just that finding a quilt with hundreds of names but no other info is ultimately so frustrating to seller and buyer alike. All I can share with shoppers–without hiring a researcher – is the locale in which any quilt was picked from, and that might not even be the locale of origin, as things move around the country through many hands, as we know.
Maybe tomorrow I’ll put a signture quilt on eBay–and someone out there will be able to tell me where it’s from!!
thanks for taking the time to write me, and let me know also if you know any people who are interested in being hired from time to time to conduct geneological research on some quilts with names I would like to know more about.
Laura Fisher
Susan Wildemuth <ksandbcwgeneseo.net> wrote: Good Evening Laura,
I decided to write you off list as I would like to talk with you about signature quilts in a friendly, kind, and non-flaming fashion.
I know you are very respected in your field and please don’t be upset with me or think I think I know it all — I don’t, but investigating signature quilts is an interest of mine. You are right it is impossible to research some signature quilts with numerous names on them, but that is not true of all signature quilts.
I collect signature quilts. I have been researching a Schuyler County Illinois Quilt since 2003 and the research is still on-going as I don’t feel like I’ve got this quilt’s whole story yet. I purchased this quilt off E-bay something I do not normally do, but it had my maiden name on it so I took a chance. I learned from the seller that it came out of an estate sale in Schuyler County. I used that piece of information (the fact that it came from a Schuyler County estate) as the starting place in my research. I was originally told that the quilt was from the turn-of-the-century — well I knew that wasn’t right as the fabrics were 1930’s fabrics. That led me to 1930 census and other research documents, databases, ancestor contacts, and organization contacts too numerous to mention here. My research is still continuing — I have four three-ring binders full of documentation about this quilt and the women who made it.
My goal in researching this quilt was to tell the stories of the woman who signed the quilt and to save a piece of Illinois Quilt History.
I just purchased a signature quilt from an antique mall. It is one of the wagon wheel ones with tons of signatures. The quilt has the name of a hospital, Epworth League, the name of a nurse (it says nurse under her name), and the name of two Reverends. I have not fully investigated this quilt, but have done some preliminary (very-very early stages) investigating and I believe this quilt is from Nebraska – though Nebraska is not written on the quilt. The two Reverends are from the same Nebraska County – same town, the nurse is from the same county – same town, the hospital is in the same county-same town, the nurse worked (as a teacher of student nurses) at the hospital in the same county – same town, and the Epworth League was very active in this particular Methodist Episcopal Hospital. I have looked up one of the wagon wheels of names and they are from the same county- same town (I have many more names to look up, but as I said I’m in the beginning stages of this project) I have someone at the ME Hospital checking records for me even as we speak to see if they kept a archive/list of the student nurses (they verified the nurse worked there) and if they have a list of projects the Epworth League was working on during the time frame that I believe this quilt was created. I am also corresponding with an elderly Reverend that the hospital put me in contact with who is suppose to be the person to talk to about the history of this particular hospital. I’m just beginning to work on this project. At this point I can’t definitely say this is a Nebraska Quilt, but it looks like it might have originated from there.
You are right there are some signature quilts that we will never know the provenance of, but there are others we can research. I get a great deal of joy from researching the ones I can.
I welcome your feedback.
Yours in quilt history, Sue Wildemuth.
From: AG32040@
Laura, If you have access to a Photoshop computer program you can scan the names in and then digitally enhance the name.This worked out great on some very faded 1891 historic photos ofCoconut Grove . Amy G. in Miami
