September 21 – 22, 2004
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:
- Chile’s First National Quilt Congress — A member celebrates the success of Chile’s first-ever national quilt congress, which showed 250 quilts over four days.
- PA German Textile Museum Grant — A curator shares news of a grant for her Pennsylvania German museum and clarifies the scope of the collection with fellow members. (see the article on quilt museums)
- Researching Log Cabin Quilt History — A member researching Log Cabin quilts for a master’s degree in textile history invites others to share what they know.
- Why Is It Called an “Irish Chain”? — Members dig into the origin of the Irish Chain pattern name and whether it has any real connection to Ireland.
- Should You Machine-Quilt an Old Top? — A new debate begins over whether it’s appropriate to finish an old, unquilted top by machine rather than by hand.
From: “Pilar Donoso”
Dear Friends:
We did it!!!!! We just had our Primer Congreso Chileno de Quilts. for 4 days we showed 250 Quilts, we have about 8 classes, stands and everyting turn out great!
I organized this event. For the last 10 months I have not be able to Quilt, to clean or anything else not related to the organization. We had also participants from Argentina, Bolivia and USA. Quiltmaking it is (or was maybe) not very well known in Chile, but we were surprised about the amount of people that visit the Show. The place were we held the Exposition it is an old Train Station, remodeled,and now serves as a Cultural Center. The space is big, and very well lighted.
Even if the word Quilt it is not translated here in Chile, the word should be colcha. We don’t use edredn at all. Personally, I dont’ like to use the word colcha too much, because it is related to bed, and we are trying to teach the chilean people that Quilts could be use also as wallhanging.
I didn’t read the Digest from the last couple of days because we were celebrating our Independance days.
Pilar Pilar Donoso Santiago, Chile
Date: Mon, Sep 04 09:34:39 -0400 | From: “Lucinda Cawley” <lrcawley@>
I love small house museums. There’s almost always at least one fabulous treasure. The Calvin B. Taylor House in Berlin, MD is beautifully restored to the period when it was built (1830). They have an incredible chintz quilt made in Talbot Co., MD circa 1825 which descended in the family of one of their trustees. It’s the kind of pieced medallion that Maryland ladies made before they turned their attention to applique in the 1840s. The quilt on the cover of A Maryland Album is an example (also made on the Eastern Shore), but not as spectacular as what I saw in Berlin. The center of the quilt (it is mostly red, white and blue) is a large Sunburst. The first border is four slightly smaller Sunbursts alternating with four chintz appliques of an eagle with his wings spread on a floral swag (okay, Xenia, tell us about this one). It’s absolutley wonderful; I don’t think I’ve seen it before. The second border is large half square triangles; #3 is a solid chintz; #4 is a wide band of pieced diamonds in a kind of chevron design; #5 is another wide band of chintz. The quilt is huge. One of the reds is blown, but otherwise it’s in pretty good shape and so incredibly beautiful that I begged the docent to let me in the room for a closer look. I’m really good at whining and pleading so I prevailed. This confirms my belief that when you see a sign that says open you have to go in. Cinda on the Eastern Shore
From: Xenia Cord <xenia@>
What would we do without Cinda to lead us visually through so many museums and quilt exhibits that most of us will never get to see in person? Her ability to draw word pictures for us is almost as good as being there.
OK, so Cinda has asked for comments on an eagle with his wings spread on a floral swag. All I know is what I have read various places: that after the War of 1812, when we flexed our national muscles and discovered we were in better shape in international conflicts than we thought, the eagle began to appear everywhere as a symbol of pride (think of the outbreak of flags following 9/11). In the early 19th C one could buy wallpaper, stenciled designs, butter molds, decorative mantle clocks, weathervanes, dinnerware, and on and on, all with images of the eagle. Coverlet weavers adopted them for the borders on jacquard coverlets (and sometimes the centers), and Samuel Graham of New Castle, in Indiana, created his own fairly fat and abbreviated eagle as his identifying corner block on the coverlets he wove. To be fair, his version is somewhat later, maybe in response to the Mexican War. And then there were the candlewick spreads, stuffed whitework quilts, and the appliqués.
Some of the eagles looked like road kill and others were posed more gracefully. Look, for instance, at the eagle on p. 15 of All Flags Flying; it looks like it was flattened by a steamroller. The Bird, The Banner, and Uncle Sam has numerous images in various media, some giving evidence that the makers’ patriotism exceeded their ability to render the bird with elegance. The Baltimore Album Quilt Tradition shows a number of BAQs with eagles, some in Audubon-like poses with impossibly crooked necks, some flat, some busily holding all manner of military and patriotic accoutrements.
There, Cinda; now you’ve made me late for my quilt bee meeting <g>!
Xenia
From: “Candace Perry”
And to insert my two cents, early immigrant Germans brought no quilting traditions, as far as I know, with them from the old country… Candace Perry
From: “Candace Perry”
I was just notified by our illustrious Congressman, Pat Toomey, that my museum is going to be receiving grant funds for our exhibit “Cotton in Pa German Life”…I am rather shell shocked at the moment because it is a highly competitive, Institute of Museum and Library Services grant program… I am going to sketch out details for those who are interested in an email to the list in the next day or so. The entire project will consist of the exhibition, a seminar, a kids’ art exhibit (funded by another grant), a catalog and an online exhibit of some of the objects in exhibition. The in-house exhibit will open next spring. I’ll be soliciting individuals who wish to present at a seminar and possibly for short article(s) in the catalog. I am very interested, for example, in a discussion of the importation of cotton to the U.S. and/or domestic production and distribution. And of course, any topics of PA German relevance…the use of cotton in quilts, clothing, and household accessories . Seminar has not yet been scheduled: I would be delighted to entertain suggestions as to favorable times (late spring? summer? early fall?) Still reeling, but most thrilled about our grant, Candace Perry Schwenkfelder Library & Heritage Center Pennsburg, PA
From: Kathie Holland
Congrats Candace will look forward to coming and spending a day at the musuem again! Keep us posted! Kathie in NJ
From: “selpaolini” <cigar2win@>
Sounds great Candace. A few questions. This is only for historically made articles? And they must be made by either a German or Dutch German household? Other ethnicities are excluded?
Thanks
Sue, on the Delaware in the Poconos ps just joined. how fortuitious!
matter represents the usefulness; non-matter the essence lao-tze
From: “Candace Perry”
Sue, yes, this is exclusively PA German, because my institution is very nearly exclusively PA German…and the materials in question would be produced by Pennsylvania Germans (or Pennsylvania Dutch, if that helps to define them). I suppose, most specifically, it would be objects produced by persons who were either immigrants, or descendants of immigrants, during the massive German immigrations to PA of the 18th century, rather than the later 19th century German immigrations. Candace Perry
From: “selpaolini” <cigar2win@>
thanks for the clarifcation. I know braiders and hookers who would fall into that category. I’ll pass it on. Parens added in for clarity.
Thanks Sue
matter represents the usefulness; non-matter the essence lao-tze.
From: “Candace Perry”
Sue, actually not produced only during the 18th century…sorry I wasn’t clear…actually, produced from the 18th into the mid th century. Candace
Date: Mon, Sep 04 10:03:56 -0700 (PDT) | From: Judy Schwender <sister3603@>
Congratulations, Pilar!!!! I remember when you first joined the list. You have accomplished a lot in a very short period of time. Welcome to our fellow quilters in Chile! Judy Schwender
Pilar Donoso <quiltpdmi.cl> wrote: Dear Friends:
We did it!!!!! We just had our Primer Congreso Chileno de Quilts. for 4 days we showed 250 Quilts, we have about 8 classes, stands and everyting turn out great!
I organized this event. For the last 10 months I have not be able to Quilt, to clean or anything else not related to the organization. We had also participants from Argentina, Bolivia and USA. Quiltmaking it is (or was maybe) not very well known in Chile, but we were surprised about the amount of people that visit the Show. The place were we held the Exposition it is an old Train Station, remodeled,and now serves as a Cultural Center. The space is big, and very well lighted.
Even if the word Quilt it is not translated here in Chile, the word should be colcha. We don´t use edredón at all. Personally, I don´t like to use the word colcha too much, because it is related to bed, and we are trying to teach the chilean people that Quilts could be use also as wallhanging.
I didn´t read the Digest from the last couple of days because we were celebrating our Independance days.
Pilar Pilar Donoso Santiago, Chile
From: <kerrybrack@>
pillar congrats. my argentinian friend says that people say commonly the word patch for quilting the verb. kerry who is presently in memphis.
This message was sent through MyMail http://www.mymail.com.au
Date: Mon, Sep 04 15:21:35 EDT | From: Palampore@
I have a quilt that is made of a quilted petticoat. Should I put it up on my website??? I didn’t realize what it was for several weeks/days— can’t remember—. Then I saw a quilted petticoat in the Conn. quilt documentation book and it hit me in the head with a loud thud. A really fun piece. Not a beautiful quilt, but a fabulous textile for study. My mother-in-law gave us a quilt for our wedding in 1980 and she had fabric in it that dated from 19-1980. It has swatches from her clothing in it. She didn’t do it to be sentimental. She did it because she liked the fabric. She grew up on the coast of NC and they didn’t have road to the mainland until the early 1930’s. She was accustomed to using what she had. Don, do you have several Sanitary Com. quilts to share with us? What are the patterns you are using? Have you written an article on this? I think your project is a great idea. Lynn in NC where the weather is fabulous…..blue sky with cool temps….AND NO RAIN!!!!
Date: Mon, Sep 04 16:50:40 -0400 | From: “selpaolini” <cigar2win@>
well that’s why I wrote it as I understood it. I’ve got some people via a friend on other lists; she posted it and they all contacted her wanting to know if they are eligible. Should I have them contact you directly?
Regards
matter represents the usefulness; non-matter the essence lao-tze
Date: Mon, Sep 04 15:36:26 -0700 | From: ikwlt@
a lady called me who is a long arm quilter and told me about a quilt top that she has in her possession. it comes from a woman who is about 70 years old and that woman said that her great-great grandmother made it. it is a log cabin design and has black centers. the quilter and i had a long discussion about the ‘underground signal’ of the black centers and she doesn’t have any thots that it might be a signal quilt, but she had heard of the story and wondered about any extra value this quilt might have because if its rarity. i explained to her the highly controversial HIPV book along with the skepticism that quilts were ever used in this way — and i’m sorry to bring it up to this group once again. the owner knows nothing about quilts, just wanted it quilted to give to her daughter for christmas. also, i’m taking all of this information with a grain of salt until i can actually see the quilt top in question.
i will see the quilt tonite (hopefully), or at least in this next week. i would love any comments about a black center in the log cabin as i have never seen one before, and only heard of it in the story of the UGRR. from her vague description, it sounds like it is going to be from the late 1900s, basing this mostly on the shirtings and a few what sound like mourning prints. i hope to borrow a digital camera for a few pictures, but have never posted pictures before. as i take the digest, i most likely won’t even see any responses to my post until after i see the quilt unless you e-mail me directly. she was asking me about quilting it and at least at this point she is considering using cotton batt, muslin backing, and just gridding the quilt using the centers of every other ‘3/4″ log.
some questions won’t be able to be answered unless i can talk to the owner, but i’m anxious to get my paws on this one. patti in san diego
From: Judy Schwender
As part of my research on Log Cabin quilts for my master’s degree in textile history from the University of Nebraska- Lincoln, I analyzed 72 Log Cabin from the International Quilt Study Center that were made in the 19th century.
Of the 72 quilts surveyed for the project, 33 have red centers, 10 have blocks with many different fabrics for centers, 6 have orange centers, 5 blue, 4 pink, 4 brown, 4 black, 2 green, 2 off-white or tan, 1yellow, and 1 purple.
So, while black as a center color appears to be not as common in surviving Log Cabin quilts (there is always the bias of survival) as some other colors, it may have been used as often as pink or brown, and could have been more frequently used than purple, yellow, off-white or tan, and green. I don’t think you can say it is rare. Unless there is accompanying documentation such as a letter or diary which specifically states why a particular color was used, any ideas we may have are pure speculation.
If this quilt was, in fact, made in the late 19th century, any connection to the UGRR would be entirely misleading. More likely the black centers came about because black was part of the palette of the day: claret, navy, black.
As for value, that determination should be made by a qualified appraiser. You can find appraisers in your area at http://www.quiltappraisers.org or http://www.americanquilter.com/members/appraisers/.
I would be interested as to whether the black centers are solid black or black prints.
Judy Schwender
ikwlt@ wrote: a lady called me who is a long arm quilter and told me about a quilt top that she has in her possession. it comes from a woman who is about 70 years old and that woman said that her great-great grandmother made it. it is a log cabin design and has black centers. the quilter and i had a long discussion about the ‘underground signal’ of the black centers and she doesn’t have any thots that it might be a signal quilt, but she had heard of the story and wondered about any extra value this quilt might have because if its rarity. i explained to her the highly controversial HIPV book along with the skepticism that quilts were ever used in this way — and i’m sorry to bring it up to this group once again. the owner knows nothing about quilts, just wanted it quilted to give to her daughter for christmas. also, i’m taking all of this information with a grain of salt until i can actually see the quilt top in question.
i will see the quilt tonite (hopefully), or at least in this next week. i would love any comments about a black center in the log cabin as i have never seen one before, and only heard of it in the story of the UGRR. from her vague description, it sounds like it is going to be from the late 1900s, basing this mostly on the shirtings and a few what sound like mourning prints. i hope to borrow a digital camera for a few pictures, but have never posted pictures before. as i take the digest, i most likely won’t even see any responses to my post until after i see the quilt unless you e-mail me directly. she was asking me about quilting it and at least at this point she is considering using cotton batt, muslin backing, and just gridding the quilt using the centers of every other ‘3/4″ log.
some questions won’t be able to be answered unless i can talk to the owner, but i’m anxious to get my paws on this one. patti in san diego
From: “Bonnie
Hello all,
I am way behind in reading my QHL messages, so forgive me if this has already been posted by someone else. However, it sounds too good to miss, so here it is.
For those of you who might be in the northeast in a couple of weeks, you may be interested in a first (hopefully annual) quilt festival on the beautiful coast of Maine. I will include the organizers’ brief description from the brochure and provide a link to the website, so you can read more if you wish.
“The festival begins with a champagne reception featuring guest lecturer Robert Shaw, the newly appointed Executive Director of The Alliance for American Quilts. Our program then offers visitors “three different shows”! The centerpiece will be the juried quilt show on the first floor of the Opera House with a special exhibit of antique quilts. On the second floor, in the “quilting room”, is “New Directions”. In this exhibition, Jennifer Gilbert, curator of the New England Quilt Museum, arranges an exploration into the personal vision of three Maine quilt makers- Elizabeth Busch, Mary Allen Chaisson and Patricia Wheeler. There are vendors on board to offer quilters and quilt lovers everything from fabric and supplies to finished quilts and wearable art. Our highly qualified teachers offer a wide range of classes to satisfy all, from beginners to seasoned quilters, both traditional and contemporary in style.” For more info: http://www.msquilts.com/brochure%intro.htm
See you all in Vancouver. My 2-color study piece is almost done!
Bonnie Dwyer in Maine, where the trees are *just* beginning to show some fall color. <http://www.msquilts.com/brochure%intro.htm> <http://www.msquilts.com/brochure%intro.htm>
From: Donald Beld <donbeld@>
Hi, I have a number of late 1800’s Log Cabin quilts and mounted an exhibit last year of late 1800’s Log Cabins. Of mine, I have one with dark brown, one with black, and one red–in the exhibit of 18 quilts, I have two black, one cream, one dark blue, one brown and the rest were either red or pink. So it probably has nothing to do with UGRR. In fact, black fabric was almost never used in Civil War era quilts and did’nt become popular until the 1880 onward. Don Beld
From: “JG Kane”
Thanks for the recommendation. I’ve been having a wonderful time zooming in and out – beware it leads to stiff necks!
The use of so many fabrics in the quilt reminded me of a couple of quilts in the new exhibition at Carlisle,(Cumbria, UK) both of which had hexagon borders, and the same beautiful ,mosaic -type ,overall effect.I was interested to see, in the description at the Met. site, that they think the maker may have had access to fabric samples.One of the quilts that I mentioned is dated 1790, and is absolutely exquisite – in design, colour, stitching. It has an applique centre of 4 squares of flowers tied with striped ribbon with borders of plain zigzag, separated by unbleached calico sashing that also has applique flowers and their stems twining along them.There are 3 further borders of mosaic patchwork – the double hexagon rosettes, zigzag and chained squares. In making this ,however, the stitcher has often first pieced tiny fragments of fabric together before she had sufficient to cut the square or hexagon that she then pieced into the pattern. In many instances she even managed to match the fabric patterns- 4 or 5 bits going together to create a 1 1/2″ or 2″ square.Some of the calico used in sashing looked like the edges of patterned fabrics – there are traces of the tips of a design or printing on them. I’m planning to return with a magnifying glass!
The other quilt can be seen at the Tullie museum website <www.tulliehouse.co.uk>. Go to the textile collection and scroll down to the quilts section, where there is a picture of an 1850 quilt, another northern, English, beauty
From: “Celia Eddy” <celia.eddy@>
Does anyone know why this pattern is so-called? What’s Irish about it?
Barbara Brackman, in Clues in the Calico, suggests that it may be derived from a weaving pattern of that name. Any other thoughts?
Thanks Celia Eddy
Date: Tue, 21 Sep 04 13:21:43 +0100 | From: Sally Ward <sallytatters@>
Celia Eddy wrote:
> Does anyone know why this pattern is so-called? What’s Irish about it?
On the back of Celia’s question, I’ve just read a reference to ‘ninepatch chain’ which I took to be the same pattern but wasn’t something I have often heard. Any comments on that, as well?
Sally W
Date: Tue, 21 Sep 04 11:30:25 -0400 | From: “Jan Drechsler” <quiltdoc@>
The question that wasn’t asked may be the most important.
Why on earth would a quilt top, probably foundation pieced, with mourning prints aging it to about 100-1 years old, even BE machine quilted to “preserve it?’
A log cabin that was hand quilted, instead of tied, is unusual. What damage will machine quilting render…immediately or in a decade or more.
IMHO, any knowledgeable machine quilter wouldn’t touch this job. I have seen a ton of log cabins here in Massachusetts and wouldn’t put a sewing machine to an heirloom.
That said, I did take a circa 1910 red and white court house square top apart entirely and square it and remove damaged squares. But it had no provenance, was stained in parts beyond bearing and was saved from a junk pile. I then resewed the squares back together by machine, backed and tied it and I have a visually dynamic wall quilt. All the fabrics were sturdy, with backings of linen or denim to start with, not fine dress cottons.
Question machine quilting the piece.
Regards, Jan — Jan Drechsler in Vermont Quilt Restoration; Quilting teacher www.sover.net/~bobmills
Date: Tue, 21 Sep 04 08:59:56 -0700 | From: ikwlt@
well, i am a bit disappointed now that i’ve gotten to see the quilt. it did have shirtings, but it was made closer to the 30s/40s by using the fabrics to date it. the earliest fabric was a mourning print with color, and only two of those. the majority was s fabrics, and a good number of 40s. the MQer is going to pass along the information to the owner so that a label can be made to more accurately put a time-frame to it. i explained that this is an important thing to stress to the owner so that she doesn’t assume it is really really old based on the family story. the centers were definitely a solid black, and i hope i was able to impress on this list that in no way did i ever even think it was related to the UGRR. thank you to all who e-mailed me privately, i passed along the info the the MQer who called me because she first met me at her guild meeting after a trip back east where she had bought three quilts. i helped give her an idea of the time frames for those quilts, and she knew enough to have second thots about MQing this quilt. with this new knowledge she feels better doing it now, and we talked about some appropriate patterns and backings to use. it feels good to be able to help increase knowledge and appreciation of old quilts. that you all so much for the information that is discussed each day on this list. i have learned much by just lurking and checking out referenced websites. dutchrose
Date: Tue, 21 Sep 04 11:29:03 -0500 | From: “Edith L. Taylor” <etaylorku.edu>
“One of my favorite D.C. museums is the Textile Museum. It’s on a quiet side street near Dupont Circle, I think. It’s at 23 S Street NW. It’s a small museum, but has a wonderful gift shop with an excellent selection of books and other treasures! http://www.textilemuseum.org/”
Edie and all, Yes, I loved it, too. I visited there this past June. The contemporary and historical tapestry exhibits were oustanding. Did you also tour the Woodrow Wilson home which is a couple of doors down on the same street? I thought it was quite interesting also. It was the home that Pres. Wilson lived in after his presidency. Walking around some of the streets where the embassies were located was interesting as well. There were many from countries that I didn’t know a lot about. I had to ask my geography major son where Myanmar, Benin, and Mauritania were located. Then it was interesting to read about those countries. I learned a lot.
Carol Elmore Manhattan, Kansas
Date: Tue, 21 Sep 04 11:33:10 -0500 | From: Susan Bleimehl <bleimehlmailbag.com>
I recently read a book geared for middle school audience called “The Quilt” by Gary Paulsen. The summary reads: During World War II, while his father is in Europe fighting and his mother is working in Chicago, a six-year-old boy goes to live with his grandmother in a rural Norwegian American community in Minnesota. Based on events from the author’s life.
The quilt of the title refers to a signature quilt that is the family, but has an interesting twist. This quilt only gets names put on it when a person dies. The quilt is carried to family gathering occasions and stories are told about each of the names on the quilt. In this way family history and stories are passed from one generation to another.
It is a really sweet story. I hope that those of you who have an interest in signature quilts have a chance to read this. It brings alive the very personal meaning these quilts have.
Susan Bleimehl
From: Patricia L Cummings
Jan D. brought up a very important point when she said that she does not generally machine quilt old tops. I can’t tell you how many times I have been asked for advice on this very subject. Generally, no one likes my answer. The end up doing what they had intended to do before asking me. I guess they just wanted me to wave my hand and give a blessing that it was okay to do this, and were extremely disappointed to hear the following answer:
Old quilt tops can be very fragile. While they may look “sturdy” to the naked eye, there is more going on, on a molecular level. Cotton was once a growing fiber. If the fiber is old, it is the process of breaking down, decomposing. There are some old fabrics I would not even hand quilt, let alone subject the ancient cloth to the rigors of machine quilting. Such weak fibers can often turn to dust (poof!) before your eyes, the minute you put a needle to it.
While machine quilting is a growing industry that is enjoyed by many and while it is very excellent in getting a new quilt quilted very rapidly, my personal preference is that it be used only for new quilts. I’ll go out on a limb even further here and say that to me, it looks ridiculous to see some of the traditional patterns (antique quilts) overlaid with pantograph stitching. There, I’ve said it. You can hate me, if you must.
I think that we can best honor our tradition of quilting and the work of our grandmothers, aunts, and other forebears whose heirloom treasure we may have in hand, if we keep her work, as she left it. Enjoy it for what it is. Make a copy of it and make your own quilt to use and if you want to machine quilt it, that will be your preference.
These are just a few thoughts, and probably unwelcome, unsolicited advice. Not trying to start WWIII here or a huge discussion as to the value of machine quilting or not. I’m just saying that it is important to think about your decision very carefully because sometimes the result will be irreversible.
From one who cares about the treasures of time,
Pat Cummings
From: “Sharon in NC”
Well I do machine quilt older tops per customer requests. These tops are usually era 1940-1970, made of all types of fabrics and would be impossible to hand quilt.
Currently I have three in progress that were made around 1967 ( the maker died in 1969) and are made from cotton scraps. They are all off kilter, none of the seams match, one is more of a diamond shape than a square and I won’t even begin to get into the other problems..lol… But the owner remembers her mother making these when her Alzheimer’s got so severe all she could do was sit and sew scraps together by hand. She wants quilts the grandkids can keep but use since they already have much nicer ones made by the same grandmother when she was in her prime. (I had to put them on hold until the move is done so some may have heard me mention them before.) She did NOT want any corrections made even squaring up so we had to work together to accomplish her desires and yet end up with usable bed quilts. One I ended up setting with off kilt borders so it has a funky retro look and yet is finished square to actually fit a bed…smile… I have had 5 different customers come to me in the last two years alone with “after Alzheimer’s tops”. All of these have been referrals from a single lady and all have requested just as she did for the tops to not be corrected or “fixed prior to quilting”. So it isn’t just a single one time experience.
Another set of three that were just dropped off last week are all beautiful round the world variations from 2 inch scraps but are ALL made of polyester. The stitching is all by hand and perfect, not a single seam off or square not a perfect 1 1/2 after piecing. One is 118 inches square!!! The owner purchased them at auction and wants to give them to her boys and their wives as mementos again of someone they knew growing up. These tops would never be considered museum quality no matter how they were finished or left and she definitely wants them quilted and not tied. She recently had a stroke and is now unable to finish them herself. So again I discussed with her what she envisioned and how we could accomplish that but within a reasonable cost to her. Obviously she didn’t want to spend over a thousand dollars on the extra large one to get it hand quilted. And she does not care for tied quilts.. So again we go back to machine quilting.
So while I agree that a historically significant work should be kept and preserved there are instances where older tops can be machine quilted with the right care and patience.
Sharon in NC
Date: Tue, 21 | From: KareQuilt@
http://www.sdc.org.uk/museum/turkeyredarchive.htm
Here is another great website. Stumbled across this one via a post on the BQHL list about a Scottish quilting seminar that is planned for next May — www.lochlomondquiltshow.com
Karen Alexander
From: Patricia L Cummings
Sharon wrote:
Well I do machine quilt older tops per customer requests. These tops are usually era 1940-1970, made of all types of fabrics and would be impossible to hand quilt.
* * * * * * * *
Just for the record, I was thinking of 1880s and 1930s antique quilts when I made my remarks.
Pat
From: “Marcia Kaylakie”
HI All, this is a general query to those QHL people who may know of any type of Asian quilting culture in Texas. Would you please contact me? Thanks, Marcia Kaylakie Marcia Kaylakie, AQS Certified Appraiser Austin, TX www.texasquiltappraiser.com
From: “ElizaBeth L.
Why go to all the time and effort to make a quilt, if you’re not going to quilt it by hand. I just started quilting and yes, it takes me forever to do a quilt by hand, but the result is worth it. Yes, my stitches have a lot of room for improvement, but everyone was a starter at one time. I get great pleasure from doing it by hand. I look at the ones that my mothers and grandmother’s did and I can’t imagine them doing it by machine. I agree with Patricia and how to do it.
Patricia L Cummings <quiltersmuse@> wrote:Jan D. brought up a very important point when she said that she does not generally machine quilt old tops. I can’t tell you how many times I have been asked for advice on this very subject. Generally, no one likes my answer. The end up doing what they had intended to do before asking me. I guess they just wanted me to wave my hand and give a blessing that it was okay to do this, and were extremely disappointed to hear the following answer:
Old quilt tops can be very fragile. While they may look “sturdy” to the naked eye, there is more going on, on a molecular level. Cotton was once a growing fiber. If the fiber is old, it is the process of breaking down, decomposing. There are some old fabrics I would not even hand quilt, let alone subject the ancient cloth to the rigors of machine quilting. Such weak fibers can often turn to dust (poof!) before your eyes, the minute you put a needle to it.
While machine quilting is a growing industry that is enjoyed by many and while it is very excellent in getting a new quilt quilted very rapidly, my personal preference is that it be used only for new quilts. I’ll go out on a limb even further here and say that to me, it looks ridiculous to see some of the traditional patterns (antique quilts) overlaid with pantograph stitching. There, I’ve said it. You can hate me, if you must.
I think that we can best honor our tradition of quilting and the work of our grandmothers, aunts, and other forebears whose heirloom treasure we may have in hand, if we keep her work, as she left it. Enjoy it for what it is. Make a copy of it and make your own quilt to use and if you want to machine quilt it, that will be your preference.
These are just a few thoughts, and probably unwelcome, unsolicited advice. Not trying to start WWIII here or a huge discussion as to the value of machine quilting or not. I’m just saying that it is important to think about your decision very carefully because sometimes the result will be irreversible.
From one who cares about the treasures of time,
Pat Cummings
From: “Corinna Camacho” <c.camacho@>
Hi,
I have been reading the postings and have finally gotten the time to write. Last year, I started doing research on Civil War quilts at the request of my daughter’s 5th grade teacher. I didn’t know much about the Civil War nor quilts. I am an English Professor at SJSU. However, I found several quilts with extensive amounts of text written in pen. Unfortunately, the pictures of these quilts are from a distance that makes reading the text impossible. The one I am most interested in reading appears in the book Hearts and Hands. It was engineered and overseen by Cornelia Dow. The author only transcribed one playful sentence. “While our fingers guide the needle, Our thoughts are intense (tents).” There are also two other authors who wrote on quilts, one is on an Evening Star cradle quilt and the other was done by Mary High Prince.
My father is from Alabama and has been an avid Civil War historian his entire life. I have been relying on him for information. He felt that most of the quilts I would like to find would be found in people’s attic trunks. The one I mentioned in the book is the Collection of the Simmons family. I actually dragged my family through the South this last summer. We started in Atlanta and worked our way up to Gettysburg. We loved it. The kids learned so much about the Civil War and the cultural differences that exist in the U.S. I made several discoveries and contacts. The trip made me even more committed to the idea of creating a collection of quilt writings.
I am sending out this plea for anyone who knows of one of these quilts. I have contacted a couple of publishers and have been encouraged to collect these writings and put together an anthology. I would naturally give full credit to the owners of the quilts. Any help would be greatly appreciated. I just feel strongly that these women wanted to be heard and chose the only medium available to them. I think it is worth the effort to publish their words again but on a more traditional and widely distributed medium.
Thank you, Corinna
Date: Tue, 21 Sep 2004 21:41:21 -0700 | From: “Christine Thresh” <christine@>
I sent a part of the message written by Jennifer to the ISMACS’ (International Sewing Machine Collectors Society) list. Here is the response from two people who are familiar with the machine:
>> Jennifer said: Has anyone ever seen a wooden full-size treadle machine? I saw one at the >> Granary Mall in Walnut, Iowa today. The machine had a big picture of the >> US patent listing posted beside it. It was patented in April 26, 1880 by >> John and William Webster in Springfield, Ohio. Listed price is $7550.00 I >> told the guy I couldn’t afford it, but I knew those who could! > >This sounds like the machine that was offered at the Ismacs 2001 auction >in Lowell. I don’t remember if whether it sold. I recall that the bidding went pretty high, but can’t recall if it met reserve. ………………….. I believe it’s the very same machine — not a patent model at all but a normal production machine. It failed to reach its reserve at the ISMACS auction. The seller who has had it for many years, is simply offering a copy of the patent information to go with it. Graham Forsdyke Purveyor of fine Featherweights to the gentry ISMACS London http://www.ismacs.net ……………… Christine Thresh http://www.@
Date: Wed, 22 Sep 2004 06:17:58 -0400 | From: Judy Kelius <quilts@>
This is one area where I am going to disagree with most people. I think it is OK to machine quilt SOME old tops, given some reservations:
1. Many antique quilts WERE quilted by machine! I personally look for these since I like to see what women were doing with their machines many years ago . . . the earlier the better. I have an 1850s book in my possession which lauds the benefits of the machine for quilting, and one of the points it makes is that it is easier to make fancy patterns like feathers, so they weren’t just referring to straight lines. Crib and doll quilts were more likely to have been quilted by machine, probably because it was easier to do than with a large quilt – a problem we still deal with today. So machine quilting doesn’t have to be inappropriate.
2. I don’t think machine quilting stresses the old fabrics any more than hand quilting – in fact, I think it is just the opposite! If you use a fine cotton thread (not those heavy threads sold for quilting, polyester, or a polycotton thread), the thread is not likely to cut through the fabric, and the motion of the machine can be gentler than our rocking the needle back and forth – in fact, when I hand quilt old tops and encounter an especially fragile fabric, I change to a stab stitch to avoid splitting the fabric. So I think machine quilting with a fine cotton thread, a very sharp needle, and perhaps a walking foot will be less harmful to the old fabrics than the stress of hand quilting.
3. There are some tops that I think should NEVER be quilted because they are more valuable as they are . . . but these are the exception, not the rule. For many tops, especially those made after 1890, if they are still intact, quilting is a much better fate than being used as a tablecloth, tied, cut into pillows, or – gasp! – used as curtains or shower curtains. Even if hand quilting is the first choice, I think machine quilting is often preferable to doing nothing – don’t forget that quilting actually strengthens the old fabrics and gives them a soft cushion to rest on.
One thing I am absolutely resolute about is that whether an old top (meaning prior to 1950) is quilted by machine or hand, the batting and thread need to be 100% COTTON. I have seen too many antique tops ruined when someone hand-quilted them using polyester batting or thread – the batting often acts like thousands of tiny brillo pads cutting through the fabric from the inside out, and polyester thread (or even heavier “quilting” cotton thread) is stronger than the old fabrics, and cuts through them.
Everything is relative – the decision depends mostly on the top (age, importance, rarity, condition, skill of the maker), but also on the skill of the quilter and the materials used. But I think machine quilting is a great fate for SOME older tops. I always say quilt tops were created for one purpose . . . to become a quilt! Most people will handle quilts with more respect than tops (people on this list excluded!), and I always think about what will happen to my treasure when I no longer own it.
At 06:11 PM 9/21/2004, you wrote: >Why go to all the time and effort to make a quilt, if you’re not going to >quilt it by hand. I just started quilting and yes, it takes me forever to >do a quilt by hand, but the result is worth it. Yes, my stitches have a >lot of room for improvement, but everyone was a starter at one time. I >get great pleasure from doing it by hand. I look at the ones that my >mothers and grandmother’s did and I can’t imagine them doing it by >machine. I agree with Patricia and how to do it. > >Patricia L Cummings <quiltersmuse@> wrote:Jan D. brought up a >very important point when she said that she does not >generally machine quilt old tops. I can’t tell you how many times I have >been asked for advice on this very subject. Generally, no one likes my >answer. The end up doing what they had intended to do before asking me.
Date: Wed, 22 Sep 2004 08:42:31 -0400 | From: Barb Garrett <bgarrett421@>
Elizabeth wrote —
Why go to all the time and effort to make a quilt, if you’re not going to quilt it by hand.
My answer —
Because machine quilting can be just as beautiful as hand quilting, and can take more skill, talent and practice than hand quilting. I know there will be people who think I’m wrong, but I think a well done machine quilted quilt from the late 1800s is beautiful. To me, there is nothing sacred about hand quilting. Yes, well done hand quilting is beautiful and can enhance the beauty of the quilt, and I admire a well done hand quilted quilt. But just as piecing made the natural progression from hand to machine after the machine was available, so too does method of quilting. Well done machine quilting is beautiful and can enhance the beauty of the quilt.
I have seen quilts with poorly done hand quilting, and with poorly done machine quilting. But I have also seen, both vintage and contempory, absolutely knock your socks off beautiful quilts quilted by machine.
Just my thoughts, Barb in sunny southeastern PA
Date: Wed, 22 Sep 2004 11:00:01 EDT | From: Litwinow@
The local Figge Art Gallery is considering hanging a display of quilts from Eli Leon’s collection. I’ve been asked to get quilter’s view on his quilts. I’d appreciate inofrmation sent to home e-mail. Thank you. Catherine Litwinow
Date: Wed, 22 Sep 2004 08:00:58 -0700 (PDT) | From: Gary Parrett <gparret1@>
I came across this article in the Ladies Repository dated March 1860. It starts by introducing Elias Howe as the inventor with the first patent in 1846 for the “lockstitch”. It continues: Very few machines were manufactured prior to l853; and as all the parties making sewing-machines using the feature just mentioned, are compelled to pay Mr. Howe a fee for each machine sold, and are also compelled to make quarterly returns to him, stating under oath the number sold, his books give a reliable amount of the entire number sold by the different manufacturers. From this source, we learn that the total number of machines sold by Wheeler & Wilson, from 1853 to the end of last year, is 38,991; by Grover & Baker, 24,818; by I. M. Singer & Co., 23,353; and by Ladd & Webster, 3,352. The sales by Wheeler & Wilson in 1859 were 21,306; Singer & Co., 10,988; Grover & Baker, 10,280; Ladd & Webster, 1,788; all others 1,881.”
The last paragraph states, “Contrary to the predictions of many on the first introduction of sewing-machines, the sewing girls – those whom necessity compels to earn their livelihood by the use of the needle – have been greatly benefited by this invention. … Indeed, many girls who own their machines have earned more than ten dollars per week.”
Thought you might find the numbers interesting and the terminology. I think there are many “sewing girls” on this list, and, hopefully, their wages have gone up a bit.
Karen
Date: Wed, 22 Sep 2004 13:11:12 -0500 | From: “Edith L. Taylor” <etaylorku.edu>
Hi all!
Our local quilt guild, the Kaw Valley Quilt Guild, is auctioning a quilt on eBay. It will only be available this week. The link to see it is here
Further information from the Guild is below and on ebay.
Thanks!
Edie Taylor Lawrence, Kansas
> Subject: raffle quilt to be sold on eBay > >Unique Fundraising Quilt Made by Several of Today’s Important Quilt >Artists including Alma Allen, Barbara Brackman, Terry Thompson and Cherie >Ralston. Kaw Valley Garden is a masterpiece in today’s popular >folk/primitive style, a star pattern with appliqued border using Moda >fabrics they’ve designed. Ten women hope to raise money for their quilt >guild with this original machine stitched 88″ square quilt made in >Lawrence, Kansas in 2004. The group, Women Who Run With Scissors,” meets >weekly, The members (Alma Allen, Barbara Brackman, Shauna Christensen, >Lori Kukuk, Pam Mayfield, Cherie Ralston, Deb Rowden, Jean Stanclift, and >Terry Thompson) are well-known quilt designers and authors whose works are >published by C&T, Kansas City Star Publishing, Blackbird Design, Peace >Creek Patterns and the Sunflower Pattern Co-operative. > >The quilt will be on eBay from Sunday September 19th to the next Saturday >under Collectibles. If you are on any web pages or discussion groups can >you post the information? The reserve is $1000. (Category collectibles for >quilt or by one of our names) > >Big thank you’s go out in advance to the members of Women Who Run With >Scissors for this wonderful donation to the Kaw Valley Quilt Guild!
