------------------------------

Date: Mon, 01 Dec 1997 08:47:31 -0800

From: Frank & Inge Stocklin <stocklinerols.com>

Re Lynn Gorges message from New Bern, NC

As a quilt restorer and appraiser, I do have an information sheet on

care, etc. that I've compiled from different sources that I do give my

customers. I think they appreciate the advice and have something in

writing. Another good source is the First Aid for Quilters book. While

I do not agree with all the information, I think it's a good little book.

Regards, Inge

Quilt Studio, Historic Ellicott City, MD

P.S. Thanks to all of you out there for all the added information from

QHL - I share so much of this with my customers. This is truly what

makes quilting such a wonderful field.

www.erols.com/stocklin/

------------------------------

Date: Mon, 1 Dec 1997 16:16:15 -0500 (EST)

From: DDBSTUFFaol.com

I was just wondering what kind of damage was done by the contast with wood?

I agree that textiles should not come into contact with wood but I don't know

what kind of problems it creates.

Thanks in advance for the info.

Darwin

------------------------------

Date: Mon, 01 Dec 1997 16:49:49 0400

From: Xenia Cord <xecordnetusa1.net>

Hi, Darwin and QHLers - in my experience with casually stored textiles,

those quilts etc. stored against unsealed wood (more so than paper) turn

light to medium brown over time, and the fabric actually feels brittle.

In extreme cases I have seen cottons shatter in the same way dark dyed

fabrics with iron mordants shatter. I have seen quilts which, when

unfolded, show a brown quadrant on the back from long-term storage on an

unpainted wood shelf, and I have seen quilts with brown on the fold

lines, from the folded edges coming in contact with the sides of cedar

chests. (Also seen the same on quilts stored in the open in the home of

2 heavy smokers.) I have also had Marseilles spreads, in their original

brown paper wrappers, show the same kinds of discolorations from the

paper itself.

To balance the sides, however, I have also seen stuff brought out from

the most improbable storage with little or no damage - for instance, a

dated 1857 red and green applique found behind a temporary wall in an

attic dormer window, which was wrapped in white newsprint and tied with

string before being walled up. It looked great when it finally came out

of hiding (knowledgeable guesswork said the wall had been in place at

least 60 years). The window showed from outside the house but not in the

attic itself, leading curious auction staff to investigate.

Xenia

------------------------------

Date: Mon, 1 Dec 1997 17:00:39 0000

From: Hilary Ford <hf17cornell.edu>

I also saw the reference to a BROWN featherweight and was waiting

for more information. I have a white featherweight, purchased by my

parents as a college graduation gift for me in 1965. It was made in

England and has a green and white box. I use and treasure it today.

I will be very interested to learn about the brown machine.

Hilary Ford

------------------------------

Date: Mon, 01 Dec 1997 17:08:57 0400

From: Xenia Cord <xecordnetusa1.net>

Hi, Hilary and QHLers - Yes, Featherweights did come in "brown" -

actually, sort of a dark tan color. These were made by Singer in Canada

for a few years in the 1960s, and came in a 2-tone brown saddle-stitched

case similar to the one the white Featherweight came in.

Xenia

------------------------------

Date: Mon, 1 Dec 1997 17:04:30 -0500 (EST)

From: Baglady111aol.com

To: QHLcuenet.com

Subject: QHL: SYLVIA'S ADDRESS

Message-ID: <971201155913_-86617293mrin40.mail.aol.com>

I apologize..i neglected to add Sylvia Landman's address..

you can email her your prayers and strong thoughts at

studiocrl.com

she'll ove hearing from you...Jane of THE FEEDSACK CLUB

------------------------------

Date: Mon, 1 Dec 1997 17:22:53 -0500 (EST)

From: MothaNaturaol.com

Hi QHL friends~

I've decided to sell a very nice Singer Featherweight 221 I have. It's fawn

beige and has extremely low mileage. The lady who sold it to me was given it

by her husband who thought that was all it would take to turn her into a

crack seamstress. She showed him by using it once....or so she said.

It comes in a nice two-tone brown/beige case, with instruction book and

attachments. Write me with any questions...The price is $450 postage,

with the right to return it if it's not what you expected (returner to pay

postage).

I live in Orange County, CA, so, if you live nearby, you can come by for a

test drive any time.

Best from Susie

------------------------------

Date: Mon, 1 Dec 1997 17:53:24 -0600 (CST)

From: Nancy Evans <nevansnebnet.net>

At 05:08 PM 12/1/97 0400, you wrote:

>Hi, Hilary and QHLers - Yes, Featherweights did come in "brown" -

>actually, sort of a dark tan color. These were made by Singer in Canada

>for a few years in the 1960s, and came in a 2-tone brown saddle-stitched

>case similar to the one the white Featherweight came in.

>

>Xenia

>

>

>

I had replied to Jane about this earlier, but I may as well put it out for

general discussion and/or debunking!

My sewing machine guru, who has a lot of experience with featherweights has

told me to be on the lookout for "brown featherweights". He describes them

as a darker brown color, slightly larger than a 221, with a shorter flip-up

end. These are NOT 221's, though. He calls them 301's and in his opinion,

they will be almost as hot of a collectible for us as the 221, within a few

years. Accordiong to my guru, the 301 sews like a dream and because people

don't know what they are yet, you can often get them for a song and/or

pocket change - depending on your singing abiltiy! That's my little bit for

today - FWIW!

Oh, and I might add, that I am not very religious about looking for these

machines - I have been happily married to a little black beauty with all her

attachments for 3 years now, and we have a wooden square-legged table

together, so my life is complete! ;o)

Nancy Evans - Nebraska Quilter

------------------------------

Date: Mon, 1 Dec 1997 16:32:43 -0800

From: Asterix <invalid.recipientmailserv.caiw.nl> (by way of Quilting Heritage ListServ <qrsmail.albany.net>)

Hi, i am just starting to quilt and i am looking for information about

the European patchwork,i have been looking in the libary but with out

any luck,every little bit of information is welcome

greatings Carmen Leerdam(holland)

------------------------------

Date: Mon, 01 Dec 1997 19:03:32 -0700

From: Terri Ellis <tquiltscyberramp.net>

I too have seen the 301, and received the same information on it -

although it sold for slightly less than a regular 221. It looked just a

little larger than the 221, and was really cute! Maybe we will start

seeing more of these, now that everyone knows how much they can get for

the 221s.

Terri Ellis

------------------------------

Date: Mon, 01 Dec 1997 21:49:01 0400

From: Xenia Cord <xecordnetusa1.net>

Hi, All - Thanks to all who replied. The tan Singer Featherweight (221)

and the Singer 301 are two different machines - each is sought after for

its own merits. There is not as much collecting interest as yet in the

301s, but those in the know are looking for them, as they are still much

undervalued on the open market. The Elna Grasshopper is another comer.

The two machines are both "brown," but there is a difference in color.

The 221 is a creamier beige than the 301. The 301 is larger than a

Featherweight. It comes in 2 versions - long bed and short bed. And

by the way, Singer also made a table for this model. The table looks

very much like the one for the 221 - sometimes you have to fit a machine

into the cutout in order to know what machine the table was for.

The beige 221 is identical to the black version, but with less chrome

(none on the end plate, for instance). It has the same size fold-down

work surface as the black 221, the power supply is separate from the

machine, and the machine is gear driven. The white 221 (often called

light green) has a much shorter fold down work surface, is hard-wired,

and is belt driven.

Anyone consumed by this interest is invited to sign on to Featherweight

Fanatics at FWFanaticsttsw.com. Just e-mail to that address and say

subscribe (specify digest or not).

Xenia

--------------------------------

------------------------------

Date: Mon, 1 Dec 1997 22:36:36 -0500 (EST)

From: DDBSTUFFaol.com

This is in response to J.JOYMED>UNR>EDU's response to my question: "what

type of damage occurs when fabric comes into contact with wood? I don't know

what kind of problems it creates". Her answer was: "I thought you said you

had been dealing in antique quilts for 20 years". " Foxing is found

frequently when one collects antique textiles and results from the textiles

coming into contact with lignins from the wood."*

*("lignins are an amorphous polymer related to cellulose that provides

rigidity and together with cellulose forms the woody cell walls of plants and

the cementing material between them".) I'm sure we all knew that but...

Thanks for your enlighting yet somewhat retalitorical response. Yes, I have

been an antique quilt dealer for over 20 years, not a scientist. I guess

I've just never bought a quilt with foxing. I always thought "foxing" was

created by molds causing fungal infections, which in turn cause acidity and

thus causes the loss of sizing in the fabric and is visible as reddish-brown

freckle like spots. I've seen this on paper but never on textiles. All

this, of course is due to humidity problems which we can now control by air

conditioning. It can develop when air is not permited to move around the

material, be it fabric or paper. So it would seem that is one reason why it

is not advisable to store textiles in plastic bags. If this is true, than

what does acid free paper actually cause? It wouldn't be foxing would it?

In a pamphlet I have from the Textile Conservation Center at the Merrimack

Valley Textile Museum in North Andover, Mass. I found this: "Most readily

available paper and wood products that might be conveniently used for holding

or padding textile items in storage seem to harm the items they serve. Paper

tubes, cardboard boxes, tissue, wrapping paper, wooden dowels and most tapes

belong in his catagory. Obtaining safe materials for use in storage is as

important as the facility itself. The best sources for acid-free containers,

tissue and assorted papers are to be found in the appendiof K.J. Harris's

book, COSTUME DISPLAY TECHNIQUES. this book can be obtained from the

American Association of State and Local History in Nashville. Tennessee."

About problems with wood it says," seepages from wood can

also stain textiles and all wood surfaces that might come in contact with

textiles should have some form of barrier installed. The Center recommends

that no textile come in contact with bare wood. A polyester resin coating or

a polyester film barriermay be uded to protect the textile from possible

staining or other damage. The Center does not reccomend the sole use of

pourous barriers such as paper or muslin to protect textiles from wood.

Some reccomend painting the wood with a polyurethane varnish or sealer. The

Center prefers polyester as a barrier because of superior vapor permeability

figures when compared with a polyurethane of the same thickness. Either is

preferable to direct contact."

Sorry this is so long but I dug it out and I had to do something with it. By

the way, this museum has published a series of 15 pamphlets on textile

conservation and the above was from #14moth-proofing. They can be purchased

by calling the museum or writing to the museum at 800 Mass. Ave., Andover,

Mass. 01845. They are very informative and deal separately with cotton,

wool, silk, storage, light, mounting, display etc., etc.

Go ahead, flood there phone lines.

Darwin

------------------------------

Date: Mon, 1 Dec 1997 23:12:50 -0500 (EST)

From: BBMorrisaol.com

A few years ago when I was helping document quilts for our state quilt

project, a gentleman brought in a large stack of quilts that had been his

mothers and had been stored folded, in a cedar chest for over 10 years.

Every edge or fold that had touched the wood of the chest had a burn mark on

it. It looked almost like a rust stain except that it was in straight lines

that just matched the folded edges. They were beautiful quilts except for

those burn marks. He said that he had never looked at them as he had always

heard that the best place to store fabric items was in a cedar chest.

We did have a sheet of care instructions we gave out. Education was a part

of the documentation process.

Just my 2 cents worth for today.

Barbara in GA

------------------------------

Date: Mon, 01 Dec 1997 23:16:58 -0500

From: Denise Schirmuhly <lucysfvillagenet.com>

Hi!

-----------------------------

Date: Tue, 9 Dec 1997 23:51:56 EST
From: Ellyn LK <EllynLKaol.com>
In regard to Nancy Evans' discussion of the ad to turn quilts into teddy
bears...

I was at an antique flea market a couple years back and I spied a tired, well-
loved, well-worn and "mostly dead" turn-of-the-century baby... a scrap beauty
(my favorite kind; I have a soft spot for those "make do" quilts) that was a
textbook example of the period-- clarets, cadet blues, faded indigoes,
mourning prints and shirtings.

It was a magnet and just sucked me in. Most of the fabrics were threadbare,
seams were history, pieces were shredding and the batting bleeding through the
holes quietly boasted of many years of use. It was clean, it had signs of
mending-- someone had dearly loved this quilt. But oh! It was W A Y past
saving. I thought to buy it, thinking I could fold it in some way to give the
illusion that it was still a quilt. It would have been tricky but hey, I've
done origami before. If I could make a piece of paper into a crane, I could
make this baby look like a quilt again.

The proprieter of the stall was as seedy as the quilt. "How much?" I asked.
I expected a price of fifteen dollars or less.

"Forty dollars."

I could not believe my ears! Now, I love quilts, fabrics, treasure the
workmanship and the hours and love that go into quilts. But honestly, this
was a rag. There probably wasn't one intact fabric in the entire quilt.
"Forty dollars?" I exclaimed. "This is a RAG!"

He literally sneered at me. "Lotsa people," he assured, "will pay forty
dollars to cut up that 'rag'!"

I offered him ten bucks but he proudly refused. "It's worth forty dollars,"
he assured.

"It's still a rag," I said, walking away.

I was sick-- knowing that someone likely WOULD buy and cut up that quilt. And
I don't have enough casual cash laying around that I could drop forty bucks
just for the honor of being a quilt social worker. The only thing I could see
left for the poor thing was, as I said, a careful folding job so that it would
enhance a shelf of quilts in a way that would disguise its many, many ills.

The only saving grace is knowing that whoever was silly enough to pay forty
bucks for the honor of cutting up that quilt quickly found that there wasn't
enough good fabric left to make much more than a potholder!. But that quilt
is lost forever.

It's times like that that I wish I was rich....
Lauri Klobas
Pacific PaKarendes, California where it is so cold that people are shaking
their heads in wonder-- but people from the east would wonder why we are
shaking because it's not that cold in THEIR scheme of things!

------------------------------

Date: Wed, 10 Dec 1997 11:44:25 -0000
From: "Audrey Cameron" <audrey.cameronvirgin.net>
To: "Quilt History" <QHLcuenet.com>
Subject: QHL: Popular Patchwork
Message-Id: <199712101146.DAA17239orbital.cue.com>
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

Dear Jane & the rest,
    Yes, I know & subscribe to Popular Patchwork which is one of 3 such
magazines in the UK. It is very different from any of the US magazines but
as far as I know it is completely reputable. My best friend writes for it &
has never had cause for concern.
    If you need its address or the name of someone on the staff to write to I
can help. Just let me know.
    The magazine is a bi-monthly & covers projects as well as the occasional
article on history, type, etc. Subjects are more for a general patchwork
audience with not a great deal of experience. It is a good magazine & has
been out for some years.

Audrey Cameron in cool damp England
audrey.cameronvirgin.net

------------------------------

Date: Tue, 09 Dec 1997 22:18:12 -0500 (EST)
From: JOCELYNMdelphi.com
To: janetjavanet.com, QHLcuenet.com
Subject: QHL: Re:Stitches per inch and ebay
Message-id: <01IQZI6Y0D0I9BVNCBdelphi.com>
Content-type: TEXT/PLAIN; CHARSET=US-ASCII

On 9-DEC-1997 09:02:26.9 janet said to JOCELYNM
>questions prior to bidding, and refrain from bidding on any quilt with
>an "All Sales Final" policy, or any quilt where the dealer seems
>reluctant to provide an accurate description.
Janet and all,
I've never been to ebay, because of the 'bidding'. But I have been to
several websites where quilts are offered at a fixed price. I don't believe
I've seen any of them that don't agree to accept returns. Some are quite
pricey, sometimes because they deal in museum-quality quilts (I saw a quilt
the other day that cost more than my house sold for 3 years ago! <G>) and
others just seem to be highly impressed with what they have. <G>
I have found one site that meets my satisfaction. The prices are
reasonable, at least partially because you can get unfinished tops and
blocks to finish yourself. I have not yet found anything that's not as
described...although I am intrigued by that one quilt that is sashed with
'the ugliest black and red print you've ever seen'. I've gotta admit, I'm
tempted to order it, just to see if the description is accurate! <G>
As for the dealer's honesty...well, first I asked her if she would take
a layaway on the items I wanted, since I don't use plastic. She agreed to do
so, then shipped them as soon as she got my downpayment! Now, I can
understand the concept of layaway, in that she keeps the merchandise until
I've paid for it....but I was amazed that HER thought was, 'I want you to
see what you've bought, so that you aren't sending me money for something
you won't want.' How can you argue with logic like that? <G> So I have my
order here, and she has half of the price we agreed on. I can't imagine that
a person who does business like this would give anyone a hard time about
returning merchandise if they didn't care for it.
The standard disclaimer applies. <G> If you are interested in the name
of this merchant, email me privately.
Jocelyn

------------------------------

Date: Wed, 10 Dec 1997 10:45:36 +1000
From: quiltcomplex <quiltcomplexearthlink.net>
To: QHLcuenet.com
Subject: QHL: Re: Jinny Beyer address
Message-ID: <348DE630.78C5earthlink.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I'm looking for the current address/phone/fax/e-mail, etc. for JINNY BEYER.
Pls. e-mail privately, and thanks.

Julie Silber

------------------------------

Date: Wed, 10 Dec 1997 10:51:15 -0800 (PST)
From: Lonni Sexton <lsextonOREGON.UOREGON.EDU>
To: QHLcuenet.com
Subject: QHL: Re: Quilting stiches
Message-id: <Pine.PMDF.3.95.971210103630.539024765A-100000OREGON.UOREGON.EDU>
Content-type: TEXT/PLAIN; charset=US-ASCII

Regarding quilting stitches, Sue wrote:

>Most quilters use a size 10 or 12 between needle for quilting. I have
>found that with a thin batt, no seams to quilt through, and a bias
>quilting line you can actually squeeze 20 front and back stitches on a
>size 10 needle, but it takes great skill to do this consistantly on a
>quilt top.

It does take a lot of skill to stack up 20 stitches on a size 10 needle,
but it is absolutely not necessary to stack up stitches on your needle, in
order to achieve 20 stitches per inch. Because I suffer from incipient
carpal tunnel syndrome, I take a maximum of 3 (six front and back) tiny
stitches on my needle. I find it makes pulling the laden needle through
the quilt much easier, which is better for my hands and wrist, and I still
acheive about 18 (front and back) stitches per inch.
Now, our foremothers were a lot tougher, and I'm sure they set a premium
on tiny needles with lots of stitches on them. Maybe that's why Grandma
was such a terrific pincher of cheeks and noses!
xoxoxoxoxoxoxoxoxoxoxoxoxoxox
Lonni Sexton
Knight Library, Serials Dept.
lsextonoregon.uoregon.edu

------------------------------

Date: Wed, 10 Dec 1997 15:50:59 EST
From: TOPSPEAKER <TOPSPEAKERaol.com>
To: QHLcuenet.com
Subject: QHL: Re: QHL-Digest Digest V97 #331
Message-ID: <5e24f7e4.348f00b7aol.com>
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit

Please take TOPSPEAKER off your list. Add QuiltsRI. Thanks

------------------------------

Date: Wed, 10 Dec 1997 17:59:40 -0500
From: Alan <quiltfixbellsouth.net>
To: qhlcuenet.com
Subject: QHL: trash quilt (?)
Message-ID: <348F1EDC.35D4bellsouth.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Well, I bought a very enjoyable quilt last Saturday. It was UGLY. 30's
vintage, but poorly designed fabrics and tied. But I have a rule - look
at ALL quilts. So I looked, I bought, I took it home. At the shop I
noticed a tear, and when I looked inside, there was another top, didn't
look too bad. So, for $20, I went home and started ripping ties. What
fun. It was tied within an inch of it's life. What I found underneath
was a strippy ninepatch. The ninepatch stips were in browns and white
set with muslin blocks. The ctrips between were a light blue stripe.
Looks as if the top is 1870-ish. The back of it was a cotton crazy
patch. The outer quilt was reversible also! So, four tops for the
price of two. Unfortunately, nothing to restore, but a good bit of
fabric to save for other jobs.

Stayed up until past 1 am ripping stitches!

Alan

------------------------------

Date: Tue, 9 Dec 1997 17:29:59 -0800
From: nikdebjuno.com (Debra L Hofland)
To: stocklinerols.com
Cc: QHLcuenet.com
Subject: Re: QHL: Stitches per inch
Message-ID: <19971210.160655.12662.4.nikdebjuno.com>

Dear QHL'ers...

I've been having a bad week and this was great news, to hear that
counting stitches by AQS standards means counting the top AND bottom
stitch. I'm rather a new quilter, and for the life of me, I couldn't
get more than six or seven to the inch (counting only the top stitch).
However, now I'm delighted to know that I'm a GOOD QUILTER (at least by
AQS standards!!!???).

Oh, this is so nice to know. I'm good. I'm good! Yeah. I can quit
poking my finger so much trying to squeeze more stitches into an inch!!!!
Hallelujah!

Deb in Spokane

------------------------------

Date: Wed, 10 Dec 1997 20:43:49 -0800
From: cpk3juno.com (Linda K Kotarba)
To: QHLcuenet.com
Subject: QHL: Library Quilt
Message-ID: <19971210.210302.3278.1.cpk3juno.com>

Hi quilters,

I certainly enjoy the QHL digests. The expert advise and information
shared is appreciated.

I hope my participation is within the realm of standards:

Recently the Northville Community Library (Northville, Michigan) unveiled
the Library Quilt that my quilt group (Hands All Around) created. It was
a fund raising endeavor for the new Library. Donors names were
embroidered in varying script down the spine of a book ($75) or across an
entire open book ($150). We raised over $11,000.

We feel good about the community project and want to share it with you.
You can see a color photo of the Library Quilt at my web site:
http://www.geocities.com/Heartland/Acres/2771

Feedback is very welcome. If you are interested in knowing more about
the quilt, please feel free to contact me.

Hope you are enjoying holiday preparations...

Linda

With lots of snow in Michigan :-)

------------------------------

Date: Wed, 10 Dec 1997 21:58:15 +0400
From: Xenia Cord <xecordnetusa1.net>

If you get a chance, see the free exhibit at the Cleveland Museum of
Art entitled "When Silk Was Gold" (until Jan 4, 1998). They have
mounted an amazing collection of 64 silk fragments from the 700s to
larger pieces dating up to the 1400s. These are woven in a variety of
techniques, some with gold thread based on paper, and are both
embellished and painted with dyes. There are exquisite garments made
for royalty and as political gifts, some displayed in freestanding cases
so that all dimensions can be viewed. Each piece is described in detail
(some knowledge of Asian silk-weaving techniques and terms would be
helpful), and the exhibit is arranged into dynastic and ethnic
groupings.

Be sure to pick up all of the literature, as the lighting is very
subdued and the richness of the textiles is necessarily diminished.
There is a wonderful, full-text book with color plates in the museum
shop ($50) that fleshes out the exhibit, especially in explaining the
commercial aspects of the silk trade (rather than just the artifacts).

Xenia

1998