Date: Sun, 21 Feb 1999 19:23:08 -0800
From: Marilyn Maddalena <marilyn@crl.com>

Eileen, thank you so much for your thoughtful and intelligent insights into
the UGRR book, and for taking the time to set them out so clearly so those
of us who are still novices can learn from you. You put in words just what
I had been thinking, but hadn't taken the time to completely analyze yet. I
do think it's an interesting book, I'm glad I bought it and read it, and it
has added to my knowledge -- (as does everything I read in one way or
another) but I sure don't want to take it as the gospel truth. Last night
on the History Channel was a very lengthy program on the UGRR -- unless I
fell asleep in the middle, or was distracted by chocolate(!), there was not
one mention of quilts in the entire program. I kept waiting for it -- and
thought it quite odd that such a lengthy program, obviously thoroughly
researched by experts -- would not even mention signals by use of quilts,
or maps, or anything else about quilts. The only mention was of a lantern
in the window of safe houses. Wonder if the authors of the Hidden in
Plain View book knew of this program -- and which one is accurate? Anyone
else see it and wonder, too? Marilyn in Sacramento

------------------------------
Date: Sun, 21 Feb 1999 21:05:55 -0800
From: Audrey Waite <awquiltr@sedona.net>
To: QHL@cuenet.com
Subject: QHL: Dating Fabrics
Message-ID: <36D0E5B3.7D26@sedona.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
For those interested in learning more about dating antique quilts
through patterns and fabric, our own Eileen Trestain will be teaching a
class called "Dating and Heavy Petting" at Quilt Camp in the Pines,
Saturday, July 24, 1999. Send a SASE for the complete schedule to:
Quilt Camp in the Pines, 160 Sugar Loaf Drive, Sedona, AZ 86336.
Eventually we will have the class schedule on-line at:
http://www.quiltcamp.com
If you've never been to a quilter's retreat or similar outing, you're
really missing a treat!
Audrey Waite
------------------------------


Eileen, thank you for your insightful post about the book, "Hidden In Plain View." I am so afraid that with all the hype and publicity this book has been getting, a legend of truth will grow up around it that no person with any real knowledge will be able to shake loose. I also am afraid that any learned rebuttals and/or refutations of their thesis will be seen as racist by many of the defenders of the authors. Judy in Ringoes, NJ judygrow@blast.net
------------------------------
! ------------------------------

Date: Mon, 22 Feb 1999 07:59:37 -0500 From: Barb Garrett<BGARRETT@FAST.NET To: QHL@cuenet.com Subject: QHL: Re - Marilyn Kowaleski Message-ID: <36D154B9.F4E878A@fast.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit

To Judy and others - Marilyn Kowaleski owns a very high scale antique co-op on route 272 in Adamstown, PA, named South Pointe Antiques, just south of the Turnpike entrance. The shop has absolutely beautiful things, not just textiles, and there are always wonderful quilts displayed on the walls above the showcases. It is a showcase co-op, and they are very friendly. I go and look as often as possible -- it's like visiting a wonderful museum. Marilyn has been a fabric and textile collector for many years -- back when things were cheap -- and she just accumulated them. I don't know that she actively collects now. Each March she holds a vintage fabrics and textiles show and sale at the co-op -- which includes things from her collection and things from the other dealers in the co-op. This year's begins March 4.

I went last year and the things were truly beautiful to look at. I asked last year and they said they continually replace things that are sold, and suggest coming several times during March as new things come out. I know this is at least the 3rd year she has had the show, but it could be longer. As to whether it is worth coming -- that's a personal thing. I live 30 minutes from there, so enjoy looking and hope to go this year. The quality of the items is very, very good, the prices what one would expect for top quality from a dealer who knows what she has. She also has unusual, one of a kind things -- pot holders, pin cushions, all kinds of smalls. The shop is closed on Tuesdays If anyone has more questions, please ask and I can look for my literature with hours, etc. Barb in southeastern PA<BGARRETT@FAST.NET

------------------------------
Date: Mon, 22 Feb 1999 08:17:28 -0500 From: "jawhite@courant.infi.net"<JAWHITE@COURANT.INFI.NET To: Quilt History list<QHL@CUENET.COM Subject: QHL: Hidden in Plain View Message-ID: <36D158C5.34F9@courant.infi.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit

I wasn't going to say anything, but since the subject has been opened, I agree 100% about this book. My main question about this book is: why did Ozella Williams feel the need to tell a perfect stranger, someone she had never laid eyes on before, about this quilt code after all these years? If this is something that has been handed down orally in families, you'd think we would have heard about by now. The authors didn't back up the book with enough research. While there is an extensive bibliography listed in the back of the book, there were statements made (supposedly statements of fact) within the book itself that were never attributed to anyone or any research. If you are going to state something as true fact, it must be backed up with research. The bibliography is quite extensive (and very interesting) for such a small book. I also think that there were no directions obtained from the suggested quilt patterns/quilts that couldn't have been obtained from observing the night sky at the time. Dr. Gladys Marie Fry wrote an excellent monograph on Harriet Powers; yet this was never mentioned. I was left with the feeling that the authors were trying really hard to force a point and just didn't quite make it. I'm not saying the premise isn't true - I am saying that much more good research needs to be done. Judy White - Ct
------------------------------
-----------------------------
Date: Mon, 22 Feb 1999 10:10:11 EST From: JQuilt@aol.com To: qhl@cuenet.com Subject: QHL: "history" Message-ID: <921ae6d2.36d17353@aol.com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit

More and more we have come to realize how much of "History" is biased opinion...very little or none was ever written about the African American roles in American history...in the military, in the world of inventions and education....but to overcompensate by printing more fictionalized history..is not the answer... The freeing and rescuing of slaves came about because of Abolitionist activists....not by quilts hanging on fences...and to tell the descendents of slaves that it was anything else..does not do anything to help them understand the underground RR movement... when I first heard about the review of "Hidden in Plain Sight", in USA Today... stating that an old African American women chose a quilt customer to tell all of this "valuable" information...I wrote to QHL saying it had the taint of hoax about it... I know that racism runs rampant in this country and History has always short changed the minorities living in this country.... But "pretend" history is not the answer... jean jquilt@aol.com

------------------------------ ------------------------------ Date: Mon, 22 Feb 1999 10:37:35 -0600 From: Laura Hobby Syler<TEXAS_QUILT.CO@MAIL.AIRMAIL.NET To: JQuilt@aol.com, qhl@cuenet.com Subject: Re: QHL: "history" Message-Id: <3.0.3.32.19990222103735.006dd00c@mail.airmail.net> Content-Type: text/plain; charset="us-ascii" Jean, and all, You know, I've been suspicious of this since I first saw "The Good Dr." on Oprah....and expressed those views. But what is truely sad, and makes me a little mad, is that we all have bought the book hoping to get more information and at least I for one feel like I was taken to the cleaners!! Almost like that "Instant Expert" book on antique quilts that came out last year......... Laura In chilly N. Texas

At 10:10 AM 2/22/99 EST, JQuilt@aol.com wrote: >More and more we have come to realize how much of "History" is biased >opinion...very little or none was ever written about the African American >roles in American history...in the military, in the world of inventions and >education....but to overcompensate by printing more fictionalized history..is >not the answer... > >The freeing and rescuing of slaves came about because of Abolitionist >activists....not by quilts hanging on fences...and to tell the descendents of >slaves that it was anything else..does not do anything to help them understand >the underground RR movement... >when I first heard about the review of "Hidden in Plain Sight", in USA >Today... stating that an old African American women chose a quilt customer to >tell all of this "valuable" information...I wrote to QHL saying it had the >taint of hoax about it... >I know that racism runs rampant in this country and History has always short >changed the minorities living in this country.... >But "pretend" history is not the answer... >jean >jquilt@aol.com > > > ------------------------------

Date: Mon, 22 Feb 1999 11:44:29 EST From: WileneSmth@aol.com To: QHL@cuenet.com Subject: QHL: 1830s LC quilt in Tobin & Dobard Message-ID:<AE922D6F.36D1896D@AOL.COM Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit <<

However, it is the quilts which are supposedly slave quilts, one which was "a exceptional example of an early log cabin quilt that was made by a fugitive slave in the 1840's...." Though a terrible photo supplied by the museum, it appears to be a classic C.1880 black silk quilt with considerable damage. On the next page is another log cabin quilt which "is said to be slave made. The date is given as 1830's by it's owner." Here we have a c.1830 quilt, complete with a nice strip of mourning print right up the middle, at the front of the picture? It looks to me like a classic c.1900 log cabin utility quilt, with a baptist fan quilt pattern overall, and possibly a moderately thick to very thick batting, common at that time. Even relative novices I have asked, out of curiosity, and without leading the witness, as it were, have responded when asked "When was this quilt made?" have said without hesitation "Turn of the Century." >>

I've been hoping that someone else would notice (and question) the 1830s Log Cabin quilt in Hidden in Plain View because I wanted to see if others echoed my dating of it. Yes, I, too, immediately dated that quilt at ca. 1900-1910. It's fabrics are one of the common palettes of that time -- cotton calicos of whites (shirting prints), light indigo blues, mourning grays, and wines. While I learned not long ago that a similar light indigo blue existed in the 1820s (I'd love to share my story about those if anyone is interested), but it apparently was not widely used. The wine color did not, as far as I've discovered, exist until around the last quarter of the 19th century, and I believe the grays began around the same time, though they could date a tad earlier. And I've yet to see that fan quilting pattern in a quilt that was made prior to the end of the 19th century, and it was extremely popular for utilitarian quilts early in the 20th century. But my critique of that particular quilt is not limited to Jackie and Raymond's book, as I have long criticized not one, but many of the quilts illustrated by Gladys-Marie Fry in Stitched from the Soul: Slave Quilts from the Ante-Bellum South (NYC: Dutton Studio Books, 1990).

Six quilts are pictured on pages 18-20 (Plates 21-26) with the caption: "These six quilts are said to have been made by 'sewing women' -- slaves that were specially trained to do quilting." #21 is a broderie perse so DOES date to slavery days. #22 is "ify" to a date -- it's either 2nd half 19th century or 1st half 20th century. #24 is definitely 19th century (lots of well-worn brown calicos), but a closer date is not possible from that photograph. #26 is a whole cloth quilt which is undateable from this photograph. But #23 and #25 are 20th century and MADE from 1920s-1930s prints, so can't possibly be "slave made" for obvious reasons. Made by "former slaves," yes. #23 is a Grandmother's Flower Garden in the common configuration of two rows of hexagons around the center hexagon, the pieces are typically large, and the prints used are typical 1920s-1930s. #25 is a pattern first published May 1921 in Woman's World magazine (Chicago) as "Cracker," then repeated as a Four Patch in this quilt. (This is not to say the design did not "exist" prior to 1921, just that 1921 is the earliest publication date presently known.)

The next quilt, a two-color Lone Star top, Plate 27, is also said to be "slave-made," but I question it, too. Plate 31 (p.22) is an embroidered crazy quilt, mostly wools, said to have been started by a house slave before the Civil War and finished by her daughter in 1895. And there are still more obviously 20th century quilts on pp. 40-41 with the caption: "These three quilts made by slave Nancy Vaughn Ford are important, for they are good examples of the utilitarian quilts made by slaves for their own use in their free time." The first one, #56, dates ca. 1880-1910. #57 incorporates a printed fabric of giant pastel hearts with large words between them and likely a 1950s fabric. #58 needs no further comment here. #61 is pieced goblet blocks and it is unlikely that pieced picture blocks existed until after the Civil War. I also question #110, #111, and #114, all attributed to a woman "imported from the Congo in 1818" when she was 12 or 13 years old. All three appear to be early 20th century.

In discussing Jackie and Raymond's book, we are doing exactly what Raymond suggested in his Author's Note on page 33: "Our interpretation of the code is based in part upon informed conjecture. While we believe that our research and the piecing together of our findings present a strong viable case, we do not claim that our 'deciphering' of the code is infallible. Nor do we insist that our perspective is the only one for viewing the code. We have written the book in a way that encourages questions. We leave room for the reader to add her/his own ideas and thereby contribute to the growing body of knowledge. In the spirit of quiltmaking, we invite you to join us in juxtaposing ideas so that patterns and meanings are revealed." And that is exactly what we are doing here on QHL, albeit rather harshly at times. Jackie and Raymond are to be applauded, in my view, for bringing this idea to us "in Plain View." I'll climb down off my soap box now, and Thanks for listening. --Wilene

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

Date: Mon, 22 Feb 1999 10:46:20 -0600 From: Laura Hobby Syler<TEXAS_QUILT.CO@MAIL.AIRMAIL.NET To: ZegrtQuilt@aol.com, QHL@cuenet.com Subject: Re: QHL: Re: QHL-Digest Digest V99 #51 Message-Id: <3.0.3.32.19990222104620.006e15f0@mail.airmail.net> Content-Type: text/plain; charset="us-ascii" Shelly, do you remember the conversations that we had last year about the "black centered Log Cabins"? There is some documentation back to King Tut's tomb with one of the golden cat idols wrapped in cloth strips that formed a log cabin design.......I think that Karen Evans also gave us some art history background???? But I do know that the pattern became popular during Lincoln's presidency and there after... Laura At 11:15 AM 2/22/99 EST, ZegrtQuilt@aol.com wrote: >I am curious as to when you all think the log cabin pattern developed. This >is in reference to Eileen's discussion of the book Hidden in Plain View. I >have always thought that the pattern was not in existance as early as it is >referenced in the publication.Shelly Z > > > ------------------------------

Date: Mon, 22 Feb 1999 12:21:47 EST From: JQuilt@aol.com To: qhl@cuenet.com Subject: QHL: (no subject) Message-ID: <762b6685.36d1922b@aol.com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit when I wrote my "Give me a break" message a month or so ago...after reading the review in USA Today...someone wrote to the list saying people(Me) shouldn't say negative things about a book before they read it...well the review was enough for me NOT to buy the book...that's what reviews are all about.... When you read that a book was written based on the "fact" that someone who died gave all of the secret codes to a stranger.......I think it's time to say Buyer Beware jean

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

Date: Mon, 22 Feb 1999 11:21:10 -0600 (Central Standard Time) From: Mary Persyn<MARY.PERSYN@VALPO.EDU To: qhl@cuenet.com Subject: QHL: Imperfections Message-ID:<SIMEON.9902221110.D@VUNEWS.VALPO.EDU.VALPO.EDU Content-Type: TEXT/PLAIN; CHARSET=US-ASCII

Have any of you seen this year's issue of "Vintage Quilts", the magazine issue from ??? (I'm at work and the mag is at home) containing pictures of old quilts and how to reproduce them? I remember we discussed last year's issue on line. Anyway, this years issue has an Amish quilt that is all churn dash blocks except one crown of thorns? block and the article says it is a typical example of not wanting to make a perfect quiilt. To my way of thinking the magazine is perpetuating the myth. There are some lovely quilts pictured in the magazine, but again they did not give any information about the provenance of the quilts or much other information of a historical nature. I have some questions about the information they did give also. I think that detracts from the magazine (but didn't stop me from buying it, of course. :+)) There are articles by Bev Dunivant (hope I spelled the name right) on crazy quilts, Anita Schakelford (ditto as to spelling) on collecting old quilts, and ??? (another senior moment). Now returning to lurkdom, Mary in sunny and cold Valparaiso, IN
-----------------------------

Date: Mon, 22 Feb 1999 12:27:29 EST From: WileneSmth@aol.com To: QHL@cuenet.com Subject: QHL: re: antique "orphan" blocks Message-ID: <6f9c79c1.36d19381@aol.com> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit << I have been pulling out all of the antique "orphan" blocks that I've inherited or found... just wondering what others of you have done to display these. I'm going to be doing some redecorating in the spring and want to use these in my decor. Just want to know what good ideas are out there to use these little treasures in new and different ways. Found one I forgot I had... found it a few years ago at a flea market. I have no idea what pattern it is but I bought it because it has three paper template pieces pinned to it. They were cut from an envelope and as fortune would have it, there is a postmark! November 26, 1928 at 4:30 p.m.

I would like to somehow display this block along with the templates. Ideas welcome! Lauri Klobas Pacific PaKarendes, California >> This is what I've learned to do with the ones that I avidly collect. I've accumulated a large collection (about 1,000 now) of these "orphan blocks" over the past 20+ years and they have become a vital part of my quilt pattern research. I've learned more about quilt making and quilt makers from them than from any other single source. Many of these were actually "pattern blocks" never intended to be used in a quilt, but as a pattern and how it went together, especially when one finds the templates attached to them. I did a research paper for AQSG about these that's in Uncoverings 1986. My collection now fills three very large boxes and many of them are unidentified as to name or published source. They range in age from about the 1820s-1830s to the mid-20th century. I use my huge collection of original vintage published sources (and database) to identify a possible source (or sources) for each block (based on the age of its fabrics), and print a label on 100% cotton paper, attaching it to each block with a brass safety pin like we used in the Kansas Quilt Project. I use Barbara Brackman's numbering system to keep them in a "findeable" order.

While it's all an exercise in "educated guesswork," it also gives me a chance to study how each quiltmaker interpreted her design as compared to the published illustration that might have inspired her (and some of these comparisons can be quite humorous today). I once attempted a simple framing project to "protect" them, but soon learned that the backs are nearly as important as the fronts, so I have gradually "unframed" many of them. I shudder when I think of the many "pattern blocks" that were wasted by others in the 1970s in throw pillows and other projects, but that's all part of the learning process for all of us. --Wilene
------------------------------

Date: Mon, 22 Feb 1999 19:51:45 +0400 From: Xenia Cord<XECORD@NETUSA1.NET To: QHL@cuenet.com Subject: QHL: Re: Log Cabin Message-ID: <36D17D09.1F4C@netusa1.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit On the question raised by Shelly of the age of Log Cabin as a quilt design: in Indiana there is a quilt made shortly after Lincoln's death, in the Log Cabin design. When the funeral train carrying Lincoln's body passed through Indianapolis, the pillars of the State House were wrapped in black wool bunting. The plan was that the catafalque was to be placed in the rotunda so the citizenry could file past, but a terrible storm necessitated a change in plans, and the casket remained on the train. After the train departed, an Indianapolis restaurant owner obtained some of the bunting and gave it to his wife and daughter, who made a very somber Log Cabin quilt from it. The quilt is rusty black and dark green, primarily, with red centers and a pinky beige wool for the light half of the blocks. The set is Barn Raising. It is presumed that the quilt was made at the time the bunting was obtained, so around 1866-68. You can see the quilt on page 31 of Quilts of Indiana (1991), and read the story. Although not pictured there, there is a photo of the state house and the draping taken when the funeral train was in Indianapolis. A book with this photo is with the quilt. The quilt has been exhibited a number of times in central Indiana, as the descendant is generous in lending it to qualified exhibitors. Xenia ------------------------------

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

This is the Quilt History mailing list. For information on

members services, including subscription changes, visit our

website at http//www.QuiltHistory.com.

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

Date Tue, 23 Feb 1999 000005 EST

From KareQuilt@aol.com

Dear QHL,

The last two QHL Digests that I have received (#51 & 52) contained a long list

of posts in the table of contents, but as I scrolled down to read them, I

realized I only received about four posts each time out of all those listed in

the T of C. Can someone from QHL respond to me privately. I cannot read all

the posts when I open the Digest. Is this the "worms" doing? What a mess.

Karen

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

Date Tue, 23 Feb 1999 000221 EST

From KareQuilt@AOL.COM

To qhl@cuenet.com

Subject QHL Posting troubles

Message-ID <b262060e.36d2365d@aol.com>

Content-type text/plain; charset=US-ASCII

Content-transfer-encoding 7bit

When I say I cannot "read" all the pots, I really mean they don't even appear

following the table of contents. Only maybe the first four posts on the list

appear in the" body" that follows. Is anyone else experiencing this problem!!

I have "missed" all kinds of posts I would love to read! What has happened?

Karen

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

Date Tue, 23 Feb 1999 153743 -0400

From sven@pnc.com.au

To QHL@cuenet.com

Subject QHL Australian Prison Quilt at auction.

I am having difficulties with the description of the Australian Prison

quilt that has been placed for auction on the new Quilt Collectors site.

I have been corresponding with the owner of this site and we now have

been given two dates, 1860 and 1880, at two separate occasions.

I was also told that it was just a TOP until very recently and was

quilted within the past three years.

Transportation of convicts to Australia ended way before 1880!!!

The value placed on the quilt is quilt extrordinary.

The following is what I recieved from my query to Mark Kriss.

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

Here's what I've learned from Diana Leone about the Australian Prison

Quilt

"The Prisoners' Quilt, from my understanding when I exhibited the quilt

in

Melburne in 1997, is that this rare piece was made by the prision women

who

were being transported from England to Australia while on board the

ship.

The women were being sent to become the wives of the early settlers of

Australia. Each person was given 3 pieces of fabric. Each person worked

with the 3 pieces of fabrics, cutting and sewing the small triangles

together into a larger section probably 1' to 2' in size. The many

different sections were put together and the top was finished. The early

"Medallian" style with the center area formed and the rows and sections

raidiating out from this center area is familiar to historians as early

English, possible 1860's. I can do further research dates to be more

exact.

If you know more about these please contact me. From what I heard this

piece is extremely rare, one of possible 2-3 in existence.

This piece is museum quality, one center piece of fabric was weak and

has

been replaced. (This top was quilted by an expert in 1996.) The hand

quilting is approximately 12 or more stitches to the inch. The piece is

very stable and should withstand proper archival display for many years

to

come.

The minimum auction price will probably be about $5-6,000. I have it

appraised at $12,000 and could be much higher with more research.

(Shipping

and insurance to be paid by buyer. Add approx $120.)

It really should be purchased by an Austrailan and some day donated to

the

History Museum. Thanks for the interest." -- Diana Leone

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

As an Australian I am extremely interested in this quilt, (though I will

certainly not be the one to buy it.) Is there anyone on the list who

would look at the photos and give me a small opinion? Hiranya is also

very interested.

Lorraine in Oz

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

Date Tue, 23 Feb 1999 012456 EST

From Kathi2174@AOL.COM

To qhl@cuenet.com

From Mark Kriss <mkriss@quiltcollector.com>

Dear Charter Members and Friends of QuiltCollector,

For your information and reference, I'm enclosing below a press release

about the new QuiltCollector auction website which will be on the

PRNewswire tomorrow morning.

Feel free to forward, copy or post this release to your friends,

colleagues, news groups or guilds who may have an interest.

Thanks in advance for helping to get the word out about our new auction

website!

Best regards,

--Mark Kriss, Director

*****************

Rare Australian "Prison Quilt" to be Auctioned on the Internet;

New Online Auction Features Quilts of Great Historic Value

PALO ALTO, Calif., Feb. 23 / PRNewswire / -- A rare 120-year old

Australian "Prisoners’ Quilt" is one of many quilts of historic value to be

offered on the new QuiltCollector.com auction website.

See photo at http//www.quiltcollector.com/prisoner300dpi.htm

The museum-quality "Prisoners' Quilt" is one of probably only two or

three in existence. It is among the quilts to be in the Opening Auction (date

to be announced April 5) on the new website which gives collectors and

home/office decorators the opportunity to easily purchase antique quilts of

great historic value. See http//www.quiltcollector.com

"This quilt was made by women prisoners while on board a ship en route

from England to Australia circa 1880," says Mark R. Kriss, managing director

of QuiltCollector. "The women, who were being sent to become wives of

Australian settlers, were each given three pieces of fabric to cut and sew

into small triangles. These pieces were then combined into the single

Prisoners’ Quilt."

QuiltCollector is the only online trading community just for quilts,

Kriss says. Unlike "flea-market" online auctions that offer dozens of

different categories of goods for sale, QuiltCollector buyers can select from

over a dozen quilt-specific sub-categories, Kriss says.

"The timing of this new service is excellent," says Diana Leone, a

distinguished quiltmaker, author and owner of a large antique quilt collection

that includes the Australian "Prisoners’ Quilt". "Quiltmakers and quilt owners

need an outlet for their pieces, and a friendly quilt-centric place to shop,

learn and meet people."

Categories of quilts to be available include abstract--traditional and

non-traditional patterns; African-American; Amish; applique; collage;

coverlet; crazy; Hawaiian; patchwork; whole cloth; as well as antique & toy

sewing machines, quilt books, and quilt memorabilia.

All listings include photographs, and are keyword searchable. A

"Certificate of Authentication" service is available to help reassure buyers

of the authenticity and value of the antique quilts on auction.

Submissions for QuiltCollector’s Opening Auction are due March 31. See

http//www.quiltcollector.com.

SOURCE Sandhill Arts (parent company of QuiltCollector)

CONTACT Mark R. Kriss, Sandhill Arts, 650-857-9035 or email

mkriss@sandhillarts.com

+ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - +

Mark Kriss <mkriss@quiltcollector.com>

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

Date Tue, 23 Feb 1999 100037 +0100

From "Tilde Binger" <binger.hougaard@get2net.dk>

First, thank you to all who responded to my question re. Hidden in Plain

view.

I am not going to write an answer any of the specific comments made here (or

to me privately), but only to give a more general comment, mostly because I

*need* to. I work, professionally, with history and the writing of history,

with oral traditions and with evaluation of sources. I am NOT, however, a

quilt-historian, and my knowledge of US-history is very basic. Also - belive

me - in my specialized field the black vs white "fight" (and I am not

referring to anything as immaterial as colour of skin here -) is far worse

than most of you can imagine. Since this is the case, it is very, very

important, that one's method is sound, and that the data is solid. It is the

existence of data that makes your case. To argue with "we might not have

found yet" or "this might concievably have happened..." is shoddy method.

To argue from what is not there is a definite no-no in scholarly history

writing (but still it happens). If data is what shows (proves) a thing to be

*so* absense of data can never do the same. If it did, anything would be or

could be true, and everyone could write the history s/he would like. Since

this be-lies the purpose of (scholarly) history-writing, arguments from

silence are strictly forbidden.

History and the writing of history can also never depend on whether one

likes the results or not (again, it is frequently presented as such, but

this is also shoddy worksmanship). If one is committed to the writing of

history, one has to work with the data, the solid data, that is there, and

to work with it all. No more, no less. If this leads one to conclusions that

are different from what one expected or which one does not like, there isn't

a whole lot one can do about it (well, not publish it, but then someone else

will, eventually -). If no data exists, the history is no longer history,

but story.

Since this is the case, and from what I have been told so far, "Hidden in

Plain View" is story, and thus folklore. Folklore is interesting, IMO very

interesting, but it is not history or history-writing in the sense we in the

late twentieth century percieve history-writing (i.e. as reports of fact and

reconstructions of the past from the extant data).

Oral tradition is part of folklore and of folklore studies, and is also a

mighty interesting thing. But Oral tradition is .... not to be relied on

when one wants accuracy of data (anyone interested can write me and get the

title of the long, very high-brow, very longhaired and very, very boring

basic study on this). Oral tradition can be profound, can carry important

nuggets of "historical data" and can even have a "kernel of fact". Problem

is, it is impossible to discern from the tale itself, what is fact and what

is fiction. One has to have access to other sources in order to falsify or

verify any given oral tradition with regard to its historicity (that is, how

reliable it is in the facts dept -).

Now, imagine (and this is fairly recent history) that there are no written

sources. No-one can read, no-one can write. Unless you are of an age where

you were an adult in 1950, how would you discern between the Korea-war and

the Vietnam war ? Same general area, same general problem, far away from

where you are and were living. Anyone under the age of 40 would -without

written sources - have great difficulties discerning between the two, and a

good number would not even know they happened at all. Now, move back a bit.

If there were no written records, how much would you know of something that

happened 100 years ago ? 150 years ago ? 200 years ago ? Some information

would stay in certain circles, particularly if it was tied up with specific

items, but in general, the third generation is where oral traditions

disappear. If history-writing depends on data in order to show that things

happened in a certain way, oral tradition is not valid data.

When all this is said. I will say that I find the story that quilts (and,

for that matter any other type of inconspicuous household items) could be

used as signals, very believable (this is mostly based on data from the

various european "undergrouds" that existed during WW2, where the placement

of a vase of flowers could mean the difference between life and death).

Finding it believable, however, is not the same as it being true. It is a

wonderful story. It is believable. We might as well get used to it. However,

from what you all have told me, I also do not believe that the story which

is told is factual. "True" perhaps, but hardly factual.

I hope I have not stepped too much on anyone's toes, it's only that history

in all its aspects is important to me, and shoddy works(wo)manship gets my

hackles up.

Thank you for your time

Tilde

In Copenhagen

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

Date Tue, 23 Feb 1999 095944 -0000

From "Sally Ward" <sward@t-ward.demon.co.uk>

To "QHL" <QHL@cuenet.com>

Subject QHL Screening Mail?

Message-ID <001201be5f24$ea5430c0$eb58e4d4@bob>

Content-Type multipart/alternative;

boundary="----=_NextPart_000_001A_01BE5F13.3D2B0740"

This is a multi-part message in MIME format.

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charset="iso-8859-1"

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The Happy 99 worm has indeed been a troublesome episode, but it is the =

first in my many months on the list and there have been so many =

warnings about it that it should not have been a surprise that it turned =

up eventually. Kris maintains the list voluntarily and I am sure has =

many other things to deal with in her life. As we (should) all know not =

to open unsolicited files, I am happy to screen my own mail in return =

for the enjoyment and education QHL gives me. (even the Garden of Eden =

had worms....<G>)

Sally

------=_NextPart_000_001A_01BE5F13.3D2B0740

------=_NextPart_000_001A_01BE5F13.3D2B0740--

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

Date Tue, 23 Feb 1999 072554 -0500

From Jean Ann <quiltmag@mindspring.com>

Lorraine in Oz, I am also having difficulties with the description of the

Australian prison quilt because transportation of prisoners did end before

1880. Although I love folk lore and oral history one always has to suspect

that the information has been embellished, romanticized, or exaggerated, or

not remembered quite correctly over the generations. I wonder if anyone

researched the fabric to determine when it would have been manufactured?

That would help set the date. Diane Leone has much integrity and would not

misrepresent this quilt knowingly, and she would have been careful about

the information she gathered. From reading what she says about the quilt,

she was going on information given to her by others.

No doubt "brides" were sent to Australia long after prison ships stopped,

and if these women were brides for the male settlers of Australia maybe

they were not prisoners at all. There, that is my addition to the oral

history mis-information. Anyone else?

Jean Ann Eitel, Editor

QUILT magazine site http//www.quiltmag.com - IRC chat site

http//www.quilttalk.com

Personal web site http//www.mindspring.com/~quiltmag/jeanann/jaeindex.html

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

Date Tue, 23 Feb 1999 112143 -0500

From Diane Seamans <dsigns@cyberportal.net>

To QHL@cuenet.com

Subject QHL Quilting Trip to England

Message-ID <36D2D597.4384@cyberportal.net>

Content-Type text/plain; charset=us-ascii

Content-Transfer-Encoding 7bit

I have been lurking for several months and enjoy this list very much.

I saw a listing this week which included information about a retreat

including a registration form. I didn't know this could be done on this

list.

So since one has been submitted, I'd like to let all of you know of a

trip which has been designed with quilters in mind. I asked the travel

service, "Britain Before You..and beyond", to design a trip that would

be of interest for quilters. There are openings for up to five more

people. This is a small group trip, up to 15 people with individual

attention and suggestions from us if you wish to explore on your own

during "free time". I hope you can join us!

(Ann of "Britain Before You" is an American woman who lives most of the

year in London).

Leave Boston on Sept. 23, arrive on Friday morning 24th

>10 nights, 2 meals daily

>London-Festival of Quilts

>V&A Museum, theater ticket

> Liberty of London - More than just a visit to the store!

>Greenwich-boat ride on the Thames, weather permitting

>Bath-guided city tour includes Royal Crescent where Jane Austen lived.

>Avebury, Stone Circle

>Cotswolds

>Dartmoor-visit with Devon Guild of Craftsmen

>Hampton Court Palace where we will stay for three nights with free

>access to palace and 60 acres of gardens;

>Entry fees and buttons for group events

>Train transportation, minivans and London travel pass

>Cost $2339. per person, double occupancy, single supplement per hotel.

>Airfare not included (This past fall airfare at this time of the year

>was approximately $450. from Boston)

For a free packet of information and registration form, send e-mail to

Diane at dsigns@cyberportal.net

>

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

Date Tue, 23 Feb 1999 111406 EST

From KirkColl@aol.com

To QHL@cuenet.com

Subject QHL Re Quilt Heritage Foundation and Lectures at NQA

Message-ID <ae85e77.36d2d3ce@aol.com>

Content-type text/plain; charset=US-ASCII

Content-transfer-encoding 7bit

To answer Bobbie's questions

1) The Quilt Heritage Foundation is the non-profit (501-c-3) corporation we

formed two years ago to sponsor the Quilt Restoration Conference and the Crazy

Quilt Society and Conference and other educational activities relating to

quilt history and preservation. Since then we have also added The Dead Quilt

Society, which is an effort to preserve old quilt patterns from quilts that

are too fragile to restore.

The Quilt Restoration Society is separate from the Foundation. Camille

Cognac, the founder of the Restoration Society, decided not to bring it under

the auspices of the Foundation. She is keeping it as a private enterprise.

The Foundation is coordinating the appraisals at the NQA. We are co-

sponsoring Quilt Heritage Days at Trinity Cathedral across the street from the

auditorium. The church will be holding an antique quilt exhibit downstairs

and luncheons and Victorian teas Thurs-Sat., and we will offer lectures and

appraisals upstairs.

Jan Sears is the lead appraiser -- she is from Nebraska and NQA always asks a

local appraiser to serve as the main appraiser. However, we expect more work

than she can handle, so if there are other AQS appraisers out there who plan

to be in Omaha and would like to do some work while you are here, let me know.

The lectures will be offered by Jan, Cindy Brick, a staff member from the Ford

Conservation Center and me. We are dividing up the lectures right now, so I

can't tell you who will be be doing which for another couple of weeks.

If you have any other questions about NQA or the Quilt Heritage Foundation,

give me a call at 1-800-599-0094 or drop me a note to QuiltHF@aol.com.

Thanks,

Nancy Kirk

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

Date Tue, 23 Feb 1999 150504 -0000

From "Audrey Cameron" <audrey.cameron@virgin.net>

To "Quilt History" <QHL@cuenet.com>

Subject QHL Log Cabin

Message-ID <000201be5f56$e9ddb580$2079a8c2@audrey.cameron.virgin.net>

Content-Type text/plain;

charset="iso-8859-1"

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Hi Everyone,

How is everyone feeling after the happy" excitement? I hope that's the end

of it but I suspect not.

Anyhow for some information on the origins of "log cabin". There is a

strong feeling that it may be British in origin & brought to the New World

by Scotish & Irish emigrants.

If one looks at old medieval maps you will see that the characteristic

makeup of small farms was in a long, narrow strip & a medieval village would

be surrounded with a "log cabin quilt pattern" of these strip fields.

Several strips scattered all over could beheld or be worked by one farming

family. Could this be the origin of the pattern? There is no evidence one

way or the other but it is interesting.

One of the earliest uses of this pattern was on an English perfume

bag dating to 1650. The first known full quilts date from Victorian times

probably about 1850 & are quite common in Scotland.

Averil Corby, the veneranted English quilt writer, attests to a women

from Stirlingshire (Scotland) who had log cabin quilts made from patterns

handed down in the family from the "Forty Five." ( The Jacobite Uprising of

1745 - Bonnie Prince Charlie & all that.)

The earliest example of a log cabin quilt was made of shirting fabrics

in 1860 & is in the Bowes Museum, Barnard Castle in County Durham.

The above information is from Janet Rae's book The Quilts of the British

Isles which I believe is out-of-print.

Audrey Cameron on a beautiful sunny, but cold day in England

audrey.cameron@virgin.net

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

Date Tue, 23 Feb 1999 112741 EST

From ZegrtQuilt@aol.com

To QHL@cuenet.com

Subject QHL Arizona

Message-ID <963bb3fa.36d2d6fd@aol.com>

Content-type text/plain; charset=US-ASCII

Content-transfer-encoding 7bit

A friend is moving to Tucson later this Spring and has asked if I know a

resource for stretching and installing a quilt in the Tucson area. I would

appreciate any information I might pass on to her. Thank you Shelly Zegart

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

Date: Sat, 20 Feb 1999 23:07:13 EST

From: EllynLK@aol.com

I have been pulling out all of the antique "orphan" blocks that I've

inherited

or found... just wondering what others of you have done to display these.

I'm going to be doing some redecorating in the spring and want to use these

in

my decor. Just want to know what good ideas are out there to use these little

treasures in new and different ways.

Found one I forgot I had... found it a few years ago at a flea market. I

have no idea what pattern it is but I bought it because it has three paper

template pieces pinned to it. They were cut from an envelope and as fortune

would have it, there is a postmark! November 26, 1928 at 4:30 p.m. I would

like to somehow display this block along with the templates.

Ideas welcome!

Lauri Klobas

Pacific PaKarendes, California

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

Date: Sat, 20 Feb 1999 22:16:46 -0700

From: Eileen Trestain <ejtrestain@earthlink.net>

To: QHL@cuenet.com

Subject: QHL: underground RR book

Message-ID: <36CF96BE.DDC84A5E@earthlink.net>

Content-Type: text/plain; charset=us-ascii

Content-Transfer-Encoding: 7bit

OKAY folks. I just can't bite my tongue any more.

I bought the underground RR book, Hidden in Plain View. First, I have to

say up front that I believe in the likelihood that an Underground RR may

have used quilts in some manner to give directions, or memorize the way,

similar to a map. I bought the book believing this to be a possibility.

I believe the African American culture is/was wise in many more ways

that anyone ever gave them credit for at the time, and that their

resiliency of spirit is what helped them to survive in the most

appalling of conditions.

Now to the book itself. The original author of the book, Jaqueline

Tobin, met an African American woman selling quilts in a flea market in

South Carolina, and the woman hinted at the Underground RR legend, which

has been with us for years. Leaving aside the possibility that this

could have been a most delightful ploy for an elderly woman to sell her

quilts to a tourist, we assume she has told them an oral legend handed

down that nobody so far has been able to prove.

For the first 63 pages, we get to read the forward by not one, but three

people who I presume are well known for their knowledge of African

American history and African tribal history, as well as introductions by

both authors. One of these people is Cuesta Benberry, a highly respected

quilt historian.

Much of the first portion of the book itself is about African tribal

arts and history. The book makes a point that the African American

community has a long history of oral traditions. I understand that,

too. But every time I felt that approached the subject the book was

supposed to be about in the first half of the book, I felt like they

dodged, and danced, and never quite reached the subject I was interested

in.. the quilts.

the authors give a grouping of quilt blocks which the woman named as the

blocks that were used. Then they take us on a convoluted journey of how

they decided what the blocks may have meant in use. One of the ideas

which they have put forward was the Dresden plate pattern symbolizing a

town of Dresden Ohio. Does anyone know of any recorded history of the

pattern named as Dresden Plate in the 1800's? Yes, the pattern existed

in c.1800 medallion quilts, where it is now named in England as a

Dahlia, but can anyone tell me how old the Dresden Plate name is? Yes,

Wagon Wheel patterns were in use. Why would the Wheel pattern lead them

to Dresden, Ohio?

Next, we come to how old spiritual songs relate to underground railroad

themes. And about the representational pictorial quilts of Harriet

Powers. But, so far, I fail to see a great relation to proving the

underground RR theme.

Now, to a more telling part, in my estimation. The photographs. Many of

the photographs are recently made quilts, made by the second author,

Raymond Dobard. Staged in scenic positions in old slave quarters, but

in bright modern colors, the quilts do stand out. However, it is the

quilts which are supposedly slave quilts, one which was "a exceptional

example of an early log cabin quilt that was made by a fugitive slave in

the 1840's...." Though a terrible photo supplied by the museum, it

appears to be a classic C.1880 black silk quilt with considerable

damage. On the next page is another log cabin quilt which "is said to be

slave made. The date is given as 1830's by it's owner." Here we have a

c.1830 quilt, complete with a nice strip of mourning print right up the

middle, at the front of the picture? It looks to me like a classic

c.1900 log cabin utility quilt, with a baptist fan quilt pattern

overall, and possibly a moderately thick to very thick batting, common

at that time. Even relative novices I have asked, out of curiosity, and

without leading the witness, as it were, have responded when asked "When

was this quilt made?" have said without hesitation "Turn of the

Century."

A few pages later, we have a quilt, admittedly made in 1980, from the

MEMORY of a quilt owned by the maker in her childhood, but which was

destroyed by a fire. It features stars in a random pattern, and an

unusual quilting design, with some colored threads as some of the

quilting. This is supposed to be the topographical map of an unnamed

plantation, where the maker, who is still living, quite obviously never

lived during the years of slave incarceration.

On the following page, we have a quilt made by the Daughters Of Dorcas,

an African American Quilters Guild. This quilt was made in 1987-88, and

features several of the patterns listed by the elderly woman. (but who

DIDN't use those same patterns in the 1980's for their sampler quilts?)

It is convenient for the authors that the African American quilt maker,

Ozella Williams, passed away last fall, as there is no one left to

further question by any other person who might be interested, or who may

have been more through in their research. If I, at first glance, can

shoot holes in the dates of the quilts they tell us are very early

examples of Log cabin quilts, and this is what kind of knowledge and

research they have built their story around, it makes the rest of the

book look pretty shoddy.

I personally had hoped for some definite proof, or at least a decent

jumping off place. The best part of the book, in my opinion, is the

extensive bibliography on underground RR articles and books which we

find at the back of their book. If you want to know more about the

Underground RR, use that list. If you want to know about quilts from

the underground RR, this isn't going to help you much.

Just my very personal opinion of this much discussed book.

Eileen

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

Date: Sat, 20 Feb 1999 22:29:23 -0700

From: Eileen Trestain <ejtrestain@earthlink.net>

To: QHL@cuenet.com

Subject: QHL: battings

Message-ID: <36CF99B3.6AC85FFE@earthlink.net>

Content-Type: text/plain; charset=us-ascii

Content-Transfer-Encoding: 7bit

I guess I am on a soap box tonight.

There are a couple things to consider other than ease of quilting in

choosing battings.

Cotton and wool battings have a long history of survival. Polyester

doesn't.

Cotton and Wool are very breathable, and are not so likely to trap

moisture under the quilt, so they feel cooler in the summer and warmer

in teh winter.

Wool and cotton are somewhat fire resistant, wool more than cotton. If

you see a burned quilt with a poly batting, you will never forget the

sight of how it burned , and melted. There is nothig quite like the

feel and sound of a smoked poly batting, which melts between the layers

of cotton top and lining, and crinkles and crackles as you handle it.

Rather eerie whan you think somebody might have been sleeping under it

as it melted.

I like Mountain Mist Blue Ribbon, probably because grandma would never

use anything else, and I like that traditional feel, and Hobbs Organic

if I want a bit more loft. I like way Hobbs wool feels, but I am afraid

to handle it too long, as I am allergic to wool, and don't want to take

teh chance. I don't quilt with it.

Eileen

Date: Sun, 21 Feb 1999 11:33:32 -0500

From: Nancy Roberts <robertsn@norwich.net>

To: QHL@cuenet.com

Subject: QHL: Story of reproduction fabric

Message-ID: <36D0355C.355D@norwich.net>

Content-Type: text/plain; charset=us-ascii

Content-Transfer-Encoding: 7bit

For those interested in how reproduction fabric lines are designed, you might

check out Chiori Santiago's article on the topic in The Fabric Special

Showcase, a special issue of Traditional Quiltworks magazine from Chitra

Publications. The article covers P&B Textile's collection based on quilts

from the Oakland Museum. This issue is no longer on the newsstands, but back

issues can be purchased from the publisher if you missed it. The website is

http://www.QuiltTownUSA.com/ or you can call a credit card order at

800-628-8244. Nancy

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

Date: Sun, 21 Feb 1999 11:43:21 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: should I buy?

Message-ID: <36D037A8.1BB803FD@mail.jax.bellsouth.net>

Content-Type: text/plain; charset=us-ascii

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Liz, I have only one suggestion about your quilt - if it is something

that you dearly love, cannot stand the thought of not owning, you feel

the price is reasonable and you can afford it, then run (not walk) back

to the store and get the silly thing before someone else falls in

love!!!! I missed out on one (at that point too chicken to bid on ebay)

that I wish I had bought. Can't get it out of my mind. But OTOH, if

it's not screaming to come home, I won't buy it. So I buy very few any

more. Would rather buy something that wants to come home with me. And

this does not mean that they are fancy and expensive. That is not

requisite. My most favorite one is a utilitarian piece that is worn (it

was filler for another, very ugly top). As for date, it's not fair to

ask online (whimper-chinquiver). We have to see it. I will stick my neck

out far enough to guess at depression era, but that is not definite.

My suggestion is to buy and take it home. Love it as is, folded over a

chair that is infrequently used, so you can look at it. And never on

the couch - someone will inevitably snuggle under it. One of my first

jobs came from such an incident. The ladies daughter got under it and

was re-arranging the portion over her legs with her foot (don't we all

before we sit up and use our hands?). Anyhow, the quilt was a fragile

pieceand, sure enough, her foot went straight through the center! It was

easily repaired, and (brag, brag) I couldn't find the repair easily

myself (someone caught me photographing the wrong place - oops).

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

Date: Sun, 21 Feb 1999 11:56:07 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: humility

Message-ID: <36D03AA6.24462DC5@mail.jax.bellsouth.net>

Content-Type: text/plain; charset=us-ascii

Content-Transfer-Encoding: 7bit

Someone may need to help me here - memory must be going. Watched

television the other night and my interest was piqued when the narrator

was talking about how these (3rd world men) would not make their (item)

perfect, as only Mohammed was perfect. This was on Discovery/TLC, and I

meant to remember everything, but ............

Wait, just remembered - It was PBS, "Antiques Roadshow", and whichever

middle-eastern tribe had woven the rug they were appraising (the rug was

HUGE). The man appraising stated that they wouldn't use matching dye

lots of yarn to create the piece, because only Mohammed was perfect and

capable of making perfection. And as the years went on, the dye lots

would fade differently, making the differences even more noticeable (the

rug in question had blue sections that were two different shades of the

same color). Of course, the flags went up in my brain because of the

connection to humility blocks in American quilts. I still think that the

original humility myths were to cover mistakes, but I also believe that

the romanticism of the legend led people to do this on purpose.

Now if I could remember the name of the woman I ran into last week. Used

to work with her, can remember the day she came in beaming because her

bosom looked bigger (new Wonder Bra), but it's been a week and I'll be

damned if I can remember her name! Must be a guy thing to remember her

chest and not her name (LOL) !

Alan

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

Date: Sun, 21 Feb 1999 13:27:36 EST

From: QuiltEvals@aol.com

To: QHL@cuenet.com

Subject: QHL: Re: Question about Quilter's Heritage and more.

Message-ID: <6c465c1a.36d05018@aol.com>

Content-type: text/plain; charset=US-ASCII

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In a message dated 2/20/99 6:51:25 PM Pacific Standard Time, QHL-Digest-

request@cuenet.com writes:

<<

Please tell us who is the Quilt Heritage Foundation. How does one become a

member. Who will be doing quilt appraisals. The lecture titles sound great!

Who

is giving which lecture?

Thank you.

Bobbie A. Aug

>>

Yes, Nancy, I am curious about this as well?

Thanks,

Deborah Roberts

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

Date: Sun, 21 Feb 1999 11:27:40 -0700

From: "Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>

To: "Eileen Trestain" <ejtrestain@earthlink.net>, <QHL@cuenet.com>

Subject: QHL: Re: underground RR book

Message-ID: <01b101be5dca$6741e020$36e399d0@jeanne.fetzer>

Content-Type: text/plain;

charset="iso-8859-1"

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Thank you for taking the time to point out where you question the

authenticity of the Dobard book. All I want to say is, "Amen." I don't say

that to disprove anything, but to echo the need to look at information and

then ask questions. If we want quilt history to be taken seriously, we must

carefully research and support our findings based on fact.

Thank you, thank you!

Jeanne Fetzer

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

Date: Sun, 21 Feb 1999 13:36:17 EST

From: QuiltEvals@aol.com

To: QHL@cuenet.com

Subject: QHL: More on Reproductions

Message-ID: <3ad0c564.36d05221@aol.com>

Content-type: text/plain; charset=US-ASCII

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Yesterday, I had the privilege of seeing the strike offs for a new "1840's"

line by Pat Nickols....Pat, I hope it was okay to tell, I just had to share

the news. The line is exciting....very accurate in detail and color. Of

course, there are the original colors and added color ways as well, but they

are all WONDERFUL! We were able to compare a few of the original fabrics

to the repros. Pat, like Sharon Newman has taken actual prints from quilts

and fabrics in her collection. This seems to be the way to do it - at least

for these two. The line is being produced by P&B and should be available in

late Spring, Pat will be introducing it at Quilt Market this May.

Sorry, I don't usually do this, and I don't mean to sound like a commercial,

but when you see them you will understand my excitement.

Deborah Roberts

Costa Mesa, CA

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

Date: Sun, 21 Feb 99 16:22:48 EST

From: "Bob Mills" <decision@tigger.jvnc.net>

To: "Quilter's Heritage List" <QHL@cuenet.com>

Subject: QHL: Orvus

Message-ID: <decision.1270019808E@tigger.jvnc.net>

To Jennifer and others:

In the East, Agway which is a retail store and nursery catering to area

farmers and yuppies, sells Orvus and it is not special order.

I just bought a container of 7 1/2 pounds for $19.95 and my quilt store

orvis is 8 oz. for $4.99. You need to find something like a feedstore or

farmers co-op. I live in a very suburban area of NJ but am lucky we still

have these stores. And my quilts are getting very clean.

About a year or so ago I went into Agway and was told they were sold out.

Mrs. G. is washing all her sheep this week!

Jan Drechsler (not Bob)

http://ourworld.compuserve.com/homepages/bobmills/jan.html

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

Date: Sun, 21 Feb 99 16:22:47 EST

From: "Bob Mills" <decision@tigger.jvnc.net>

To: "Quilter's Heritage List" <QHL@cuenet.com>

Subject: QHL: Repro fabrics

Message-ID: <decision.1270019807D@tigger.jvnc.net>

Just a word of thanks on the repro fabric information. Already I have

learned a lot!

Jan Drechsler (not Bob)

http://ourworld.compuserve.com/homepages/bobmills/jan.html

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

Date: Sun, 21 Feb 1999 16:34:18 EST

From: Kathi2174@aol.com

To: quiltfix@mail.jax.bellsouth.net

Cc: qhl@cuenet.com

Subject: Re: QHL: humility

Message-ID: <5aef56f6.36d07bda@aol.com>

Content-type: text/plain; charset=US-ASCII

Content-transfer-encoding: 7bit

Alan,

I did get to see wool yarn being dyed in the bazaar in Herat, Afghanistan in

1971. I'm sure the methods had not changed in centuries. The term for the

streakiness in the color is "abrash." It is a word of Turkish origin, that

originally meant the dappled or speckled colors on horses. It has long been

used to refer to the variation in saturation/hue in yarns used to weave rugs.

It's caused in two ways: 1. By crude (not bad, just primitive) technology

used by dyers doing up a single batch. The second is by reusing the dye-bath.

The second and third uses have less pigment, therefore give varying shades.

Not much to do with quilts, is it? Unless we relate the "use what you have "

concept to explain variations in techniques in stead of the romantic lack of

perfection notion.

Off the soap box!

Kathi in Calif.

Date: Sun, 21 Feb 1999 15:21:09 -0800

From: "Christine Thresh" <christine@winnowing.com>

To: <QHL@cuenet.com>

Subject: QHL: I read Hidden in Plain View

Message-Id: <199902212322.PAA00834@server.cctrap.com>

Content-Type: text/plain; charset=ISO-8859-1

Content-Transfer-Encoding: 7bit

Tilde's post asked for input from those who read the book, Hidden in Plain

View.

I read the book and was disappointed. The story told by the old African

American woman was interesting, but the book did nothing to really back it

up. There were lots of references to African textiles and Masonic symbols,

but they did not seem to tie in with the story told by the quilter. The

books I own about quilting patterns led me to believe many of the patterns

she said were in the quilt "map" were not in usage at the time of the

Underground Railroad. The author of Hidden stated that she obtained the

information

from the quilter in one three hour session.

Christine Thresh

http://www.winnowing.com

Christine Thresh

http://www.winnowing.com/

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

Date: Sun, 21 Feb 1999 20:00:30 -0500 (EST)

From: JOCELYNM@delphi.com

To: QHL@cuenet.com, QHL-Digest@cuenet.com

Subject: QHL-Digest Digest V99 #50

Message-id: <01J80NAUQJ3C9C87GT@delphi.com>

Content-type: TEXT/PLAIN; CHARSET=US-ASCII

On 20-FEB-1999 21:53:29.5 QHL said to JOCELYNM

> Well, for my two cents, I supported the decision of the (A)IQA to

>have only quilts that had not been exhibited elsewhere. There are so

>many wonderful quilts out there that it is good to see different

>quilts at the different shows instead of quilts "making the rounds".

Jean Ann,

It was my understanding, however, that this rule applied to things like

entering our quilts in our local quilt shows, the county fair, etc. The talk

here was how it was going to 'dumb down' local shows, if the very best

quilters held out their work for the big shows...plus, if a quilt could only

be shown once, that seems like a shame!

OTOH, I really hate to go to a show and see things I've seen before. So

I don't know what the happy balance is...

>seen on samplers where the maker cross-stitches the letter Z backwards

>so as not to offend God by making a perfect piece and have thought the

>practice might carry over to quilting.

Jill,

I once spoke with a 'plain' quilter who said that it would be an

affront to God to deliberately put in a mistake, because that would mean you

thought you HAD achieved perfection up to that point! <G> I don't know if

that were the teachings of her sect, or her personal opinion, though.

>Anyway, the quilt has what I would call a humility block in the lower

>right hand side of the quilt. The "mistake on purpose" is that the

>flowers are a totally different color than the rest of the quilt. It

This may be that the quilter ran out of fabric, and used a scrap of

another fabric that, at the time, matched, but over the years the dyes have

aged differently. I have a turn of the century Carolina Lily where the

majority of the red flowers are now brown (fading of turkey red dyes,

presumably). Among the blocks that are still red, are several different

shades of red, leading me to believe the quilter was making do with whatever

red scraps she could find.

Jocelyn

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

Hello,

I am Sharon Newman, and all of the fabrics I have reproduced for Moda

have been taken from real fabrics. Some are in Eileen's book. My Vintage

Garden swag is shown there. The whole line of Vintage Garden was taken

from one quilt that had multiple color ways of the prints and two prints

not in the quilt. My Cherished Pieces fabrics were done with fabrics in

my dating fabrics box. My Twenties Treasures were taken from a 1923 Iowa

Irish Chain and a hexagon oddfellow top. My Turn of the Century fabrics

are from some of my grandmothers quilts. I have seen my fabrics in Nancy

Martin's Two Color Quilts book. Eleanor Burns used my fabrics in her

Stockings book. You will see my fabrics used in several books.

Sharon Newman

--=====================_6871721==_.ALT

Content-Type: text/html; charset="us-ascii"

This is the Quilt History mailing list. For information on
members services, including subscription changes, visit our
website at http://www.QuiltHistory.com.
------------------------------
Date: Sat, 20 Feb 1999 23:07:13 EST
From: EllynLK@aol.com
To: QHL@cuenet.com
Subject: QHL: Looking For Ideas...
Message-ID: <b25a6bce.36cf8671@aol.com>
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
I have been pulling out all of the antique "orphan" blocks that I've inherited
or found... just wondering what others of you have done to display these.
I'm going to be doing some redecorating in the spring and want to use these in
my decor. Just want to know what good ideas are out there to use these little
treasures in new and different ways.
Found one I forgot I had... found it a few years ago at a flea market. I
have no idea what pattern it is but I bought it because it has three paper
template pieces pinned to it. They were cut from an envelope and as fortune
would have it, there is a postmark! November 26, 1928 at 4:30 p.m. I would
like to somehow display this block along with the templates.
Ideas welcome!
Lauri Klobas
Pacific PaKarendes, California
------------------------------
Date: Sat, 20 Feb 1999 22:16:46 -0700
From: Eileen Trestain <ejtrestain@earthlink.net>
To: QHL@cuenet.com
Subject: QHL: underground RR book
Message-ID: <36CF96BE.DDC84A5E@earthlink.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
OKAY folks. I just can't bite my tongue any more.
I bought the underground RR book, Hidden in Plain View. First, I have to
say up front that I believe in the likelihood that an Underground RR may
have used quilts in some manner to give directions, or memorize the way,
similar to a map. I bought the book believing this to be a possibility.
I believe the African American culture is/was wise in many more ways
that anyone ever gave them credit for at the time, and that their
resiliency of spirit is what helped them to survive in the most
appalling of conditions.
Now to the book itself. The original author of the book, Jaqueline
Tobin, met an African American woman selling quilts in a flea market in
South Carolina, and the woman hinted at the Underground RR legend, which
has been with us for years. Leaving aside the possibility that this
could have been a most delightful ploy for an elderly woman to sell her
quilts to a tourist, we assume she has told them an oral legend handed
down that nobody so far has been able to prove.
For the first 63 pages, we get to read the forward by not one, but three
people who I presume are well known for their knowledge of African
American history and African tribal history, as well as introductions by
both authors. One of these people is Cuesta Benberry, a highly respected
quilt historian.
Much of the first portion of the book itself is about African tribal
arts and history. The book makes a point that the African American
community has a long history of oral traditions. I understand that,
too. But every time I felt that approached the subject the book was
supposed to be about in the first half of the book, I felt like they
dodged, and danced, and never quite reached the subject I was interested
in.. the quilts.
the authors give a grouping of quilt blocks which the woman named as the
blocks that were used. Then they take us on a convoluted journey of how
they decided what the blocks may have meant in use. One of the ideas
which they have put forward was the Dresden plate pattern symbolizing a
town of Dresden Ohio. Does anyone know of any recorded history of the
pattern named as Dresden Plate in the 1800's? Yes, the pattern existed
in c.1800 medallion quilts, where it is now named in England as a
Dahlia, but can anyone tell me how old the Dresden Plate name is? Yes,
Wagon Wheel patterns were in use. Why would the Wheel pattern lead them
to Dresden, Ohio?
Next, we come to how old spiritual songs relate to underground railroad
themes. And about the representational pictorial quilts of Harriet
Powers. But, so far, I fail to see a great relation to proving the
underground RR theme.
Now, to a more telling part, in my estimation. The photographs. Many of
the photographs are recently made quilts, made by the second author,
Raymond Dobard. Staged in scenic positions in old slave quarters, but
in bright modern colors, the quilts do stand out. However, it is the
quilts which are supposedly slave quilts, one which was "a exceptional
example of an early log cabin quilt that was made by a fugitive slave in
the 1840's...." Though a terrible photo supplied by the museum, it
appears to be a classic C.1880 black silk quilt with considerable
damage. On the next page is another log cabin quilt which "is said to be
slave made. The date is given as 1830's by it's owner." Here we have a
c.1830 quilt, complete with a nice strip of mourning print right up the
middle, at the front of the picture? It looks to me like a classic
c.1900 log cabin utility quilt, with a baptist fan quilt pattern
overall, and possibly a moderately thick to very thick batting, common
at that time. Even relative novices I have asked, out of curiosity, and
without leading the witness, as it were, have responded when asked "When
was this quilt made?" have said without hesitation "Turn of the
Century."
A few pages later, we have a quilt, admittedly made in 1980, from the
MEMORY of a quilt owned by the maker in her childhood, but which was
destroyed by a fire. It features stars in a random pattern, and an
unusual quilting design, with some colored threads as some of the
quilting. This is supposed to be the topographical map of an unnamed
plantation, where the maker, who is still living, quite obviously never
lived during the years of slave incarceration.
On the following page, we have a quilt made by the Daughters Of Dorcas,
an African American Quilters Guild. This quilt was made in 1987-88, and
features several of the patterns listed by the elderly woman. (but who
DIDN't use those same patterns in the 1980's for their sampler quilts?)
It is convenient for the authors that the African American quilt maker,
Ozella Williams, passed away last fall, as there is no one left to
further question by any other person who might be interested, or who may
have been more through in their research. If I, at first glance, can
shoot holes in the dates of the quilts they tell us are very early
examples of Log cabin quilts, and this is what kind of knowledge and
research they have built their story around, it makes the rest of the
book look pretty shoddy.
I personally had hoped for some definite proof, or at least a decent
jumping off place. The best part of the book, in my opinion, is the
extensive bibliography on underground RR articles and books which we
find at the back of their book. If you want to know more about the
Underground RR, use that list. If you want to know about quilts from
the underground RR, this isn't going to help you much.
Just my very personal opinion of this much discussed book.
Eileen
------------------------------
Date: Sat, 20 Feb 1999 22:29:23 -0700
From: Eileen Trestain <ejtrestain@earthlink.net>
To: QHL@cuenet.com
Subject: QHL: battings
Message-ID: <36CF99B3.6AC85FFE@earthlink.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
I guess I am on a soap box tonight.
There are a couple things to consider other than ease of quilting in
choosing battings.
Cotton and wool battings have a long history of survival. Polyester
doesn't.
Cotton and Wool are very breathable, and are not so likely to trap
moisture under the quilt, so they feel cooler in the summer and warmer
in teh winter.
Wool and cotton are somewhat fire resistant, wool more than cotton. If
you see a burned quilt with a poly batting, you will never forget the
sight of how it burned , and melted. There is nothig quite like the
feel and sound of a smoked poly batting, which melts between the layers
of cotton top and lining, and crinkles and crackles as you handle it.
Rather eerie whan you think somebody might have been sleeping under it
as it melted.
I like Mountain Mist Blue Ribbon, probably because grandma would never
use anything else, and I like that traditional feel, and Hobbs Organic
if I want a bit more loft. I like way Hobbs wool feels, but I am afraid
to handle it too long, as I am allergic to wool, and don't want to take
teh chance. I don't quilt with it.
Eileen
Date: Sun, 21 Feb 1999 11:33:32 -0500
From: Nancy Roberts <robertsn@norwich.net>
To: QHL@cuenet.com
Subject: QHL: Story of reproduction fabric
Message-ID: <36D0355C.355D@norwich.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
For those interested in how reproduction fabric lines are designed, you might
check out Chiori Santiago's article on the topic in The Fabric Special
Showcase, a special issue of Traditional Quiltworks magazine from Chitra
Publications. The article covers P&B Textile's collection based on quilts
from the Oakland Museum. This issue is no longer on the newsstands, but back
issues can be purchased from the publisher if you missed it. The website is
http://www.QuiltTownUSA.com/ or you can call a credit card order at
800-628-8244. Nancy
------------------------------
Date: Sun, 21 Feb 1999 11:43:21 -0500
From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>
To: qhl@cuenet.com
Subject: QHL: should I buy?
Message-ID: <36D037A8.1BB803FD@mail.jax.bellsouth.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Liz, I have only one suggestion about your quilt - if it is something
that you dearly love, cannot stand the thought of not owning, you feel
the price is reasonable and you can afford it, then run (not walk) back
to the store and get the silly thing before someone else falls in
love!!!! I missed out on one (at that point too chicken to bid on ebay)
that I wish I had bought. Can't get it out of my mind. But OTOH, if
it's not screaming to come home, I won't buy it. So I buy very few any
more. Would rather buy something that wants to come home with me. And
this does not mean that they are fancy and expensive. That is not
requisite. My most favorite one is a utilitarian piece that is worn (it
was filler for another, very ugly top). As for date, it's not fair to
ask online (whimper-chinquiver). We have to see it. I will stick my neck
out far enough to guess at depression era, but that is not definite.
My suggestion is to buy and take it home. Love it as is, folded over a
chair that is infrequently used, so you can look at it. And never on
the couch - someone will inevitably snuggle under it. One of my first
jobs came from such an incident. The ladies daughter got under it and
was re-arranging the portion over her legs with her foot (don't we all
before we sit up and use our hands?). Anyhow, the quilt was a fragile
pieceand, sure enough, her foot went straight through the center! It was
easily repaired, and (brag, brag) I couldn't find the repair easily
myself (someone caught me photographing the wrong place - oops).
------------------------------
Date: Sun, 21 Feb 1999 11:56:07 -0500
From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>
To: qhl@cuenet.com
Subject: QHL: humility
Message-ID: <36D03AA6.24462DC5@mail.jax.bellsouth.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Someone may need to help me here - memory must be going. Watched
television the other night and my interest was piqued when the narrator
was talking about how these (3rd world men) would not make their (item)
perfect, as only Mohammed was perfect. This was on Discovery/TLC, and I
meant to remember everything, but ............
Wait, just remembered - It was PBS, "Antiques Roadshow", and whichever
middle-eastern tribe had woven the rug they were appraising (the rug was
HUGE). The man appraising stated that they wouldn't use matching dye
lots of yarn to create the piece, because only Mohammed was perfect and
capable of making perfection. And as the years went on, the dye lots
would fade differently, making the differences even more noticeable (the
rug in question had blue sections that were two different shades of the
same color). Of course, the flags went up in my brain because of the
connection to humility blocks in American quilts. I still think that the
original humility myths were to cover mistakes, but I also believe that
the romanticism of the legend led people to do this on purpose.
Now if I could remember the name of the woman I ran into last week. Used
to work with her, can remember the day she came in beaming because her
bosom looked bigger (new Wonder Bra), but it's been a week and I'll be
damned if I can remember her name! Must be a guy thing to remember her
chest and not her name (LOL) !
Alan
------------------------------
Date: Sun, 21 Feb 1999 13:27:36 EST
From: QuiltEvals@aol.com
To: QHL@cuenet.com
Subject: QHL: Re: Question about Quilter's Heritage and more.
Message-ID: <6c465c1a.36d05018@aol.com>
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
In a message dated 2/20/99 6:51:25 PM Pacific Standard Time, QHL-Digest-
request@cuenet.com writes:
<<
Please tell us who is the Quilt Heritage Foundation. How does one become a
member. Who will be doing quilt appraisals. The lecture titles sound great!
Who
is giving which lecture?
Thank you.
Bobbie A. Aug
>>
Yes, Nancy, I am curious about this as well?
Thanks,
Deborah Roberts
------------------------------
Date: Sun, 21 Feb 1999 11:27:40 -0700
From: "Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>
To: "Eileen Trestain" <ejtrestain@earthlink.net>, <QHL@cuenet.com>
Subject: QHL: Re: underground RR book
Message-ID: <01b101be5dca$6741e020$36e399d0@jeanne.fetzer>
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
Thank you for taking the time to point out where you question the
authenticity of the Dobard book. All I want to say is, "Amen." I don't say
that to disprove anything, but to echo the need to look at information and
then ask questions. If we want quilt history to be taken seriously, we must
carefully research and support our findings based on fact.
Thank you, thank you!
Jeanne Fetzer
------------------------------
Date: Sun, 21 Feb 1999 13:36:17 EST
From: QuiltEvals@aol.com
To: QHL@cuenet.com
Subject: QHL: More on Reproductions
Message-ID: <3ad0c564.36d05221@aol.com>
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
Yesterday, I had the privilege of seeing the strike offs for a new "1840's"
line by Pat Nickols....Pat, I hope it was okay to tell, I just had to share
the news. The line is exciting....very accurate in detail and color. Of
course, there are the original colors and added color ways as well, but they
are all WONDERFUL! We were able to compare a few of the original fabrics
to the repros. Pat, like Sharon Newman has taken actual prints from quilts
and fabrics in her collection. This seems to be the way to do it - at least
for these two. The line is being produced by P&B and should be available in
late Spring, Pat will be introducing it at Quilt Market this May.
Sorry, I don't usually do this, and I don't mean to sound like a commercial,
but when you see them you will understand my excitement.
Deborah Roberts
Costa Mesa, CA
------------------------------
Date: Sun, 21 Feb 99 16:22:48 EST
From: "Bob Mills" <decision@tigger.jvnc.net>
To: "Quilter's Heritage List" <QHL@cuenet.com>
Subject: QHL: Orvus
Message-ID: <decision.1270019808E@tigger.jvnc.net>
To Jennifer and others:
In the East, Agway which is a retail store and nursery catering to area
farmers and yuppies, sells Orvus and it is not special order.
I just bought a container of 7 1/2 pounds for $19.95 and my quilt store
orvis is 8 oz. for $4.99. You need to find something like a feedstore or
farmers co-op. I live in a very suburban area of NJ but am lucky we still
have these stores. And my quilts are getting very clean.
About a year or so ago I went into Agway and was told they were sold out.
Mrs. G. is washing all her sheep this week!
Jan Drechsler (not Bob)
http://ourworld.compuserve.com/homepages/bobmills/jan.html
------------------------------
Date: Sun, 21 Feb 99 16:22:47 EST
From: "Bob Mills" <decision@tigger.jvnc.net>
To: "Quilter's Heritage List" <QHL@cuenet.com>
Subject: QHL: Repro fabrics
Message-ID: <decision.1270019807D@tigger.jvnc.net>
Just a word of thanks on the repro fabric information. Already I have
learned a lot!
Jan Drechsler (not Bob)
http://ourworld.compuserve.com/homepages/bobmills/jan.html
------------------------------
Date: Sun, 21 Feb 1999 16:34:18 EST
From: Kathi2174@aol.com
To: quiltfix@mail.jax.bellsouth.net
Cc: qhl@cuenet.com
Subject: Re: QHL: humility
Message-ID: <5aef56f6.36d07bda@aol.com>
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
Alan,
I did get to see wool yarn being dyed in the bazaar in Herat, Afghanistan in
1971. I'm sure the methods had not changed in centuries. The term for the
streakiness in the color is "abrash." It is a word of Turkish origin, that
originally meant the dappled or speckled colors on horses. It has long been
used to refer to the variation in saturation/hue in yarns used to weave rugs.
It's caused in two ways: 1. By crude (not bad, just primitive) technology
used by dyers doing up a single batch. The second is by reusing the dye-bath.
The second and third uses have less pigment, therefore give varying shades.
Not much to do with quilts, is it? Unless we relate the "use what you have "
concept to explain variations in techniques in stead of the romantic lack of
perfection notion.
Off the soap box!
Kathi in Calif.

Date: Sun, 21 Feb 1999 15:21:09 -0800
From: "Christine Thresh" <christine@winnowing.com>
To: <QHL@cuenet.com>
Subject: QHL: I read Hidden in Plain View
Message-Id: <199902212322.PAA00834@server.cctrap.com>
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit
Tilde's post asked for input from those who read the book, Hidden in Plain
View.

I read the book and was disappointed. The story told by the old African
American woman was interesting, but the book did nothing to really back it
up. There were lots of references to African textiles and Masonic symbols,
but they did not seem to tie in with the story told by the quilter. The
books I own about quilting patterns led me to believe many of the patterns
she said were in the quilt "map" were not in usage at the time of the
Underground Railroad. The author of Hidden stated that she obtained the
information
from the quilter in one three hour session.
Christine Thresh
http://www.winnowing.com





Christine Thresh
http://www.winnowing.com/
------------------------------
Date: Sun, 21 Feb 1999 20:00:30 -0500 (EST)
From: JOCELYNM@delphi.com
To: QHL@cuenet.com, QHL-Digest@cuenet.com
Subject: QHL-Digest Digest V99 #50
Message-id: <01J80NAUQJ3C9C87GT@delphi.com>
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
On 20-FEB-1999 21:53:29.5 QHL said to JOCELYNM
> Well, for my two cents, I supported the decision of the (A)IQA to
>have only quilts that had not been exhibited elsewhere. There are so
>many wonderful quilts out there that it is good to see different
>quilts at the different shows instead of quilts "making the rounds".
Jean Ann,
It was my understanding, however, that this rule applied to things like
entering our quilts in our local quilt shows, the county fair, etc. The talk
here was how it was going to 'dumb down' local shows, if the very best
quilters held out their work for the big shows...plus, if a quilt could only
be shown once, that seems like a shame!
OTOH, I really hate to go to a show and see things I've seen before. So
I don't know what the happy balance is...
>seen on samplers where the maker cross-stitches the letter Z backwards
>so as not to offend God by making a perfect piece and have thought the
>practice might carry over to quilting.
Jill,
I once spoke with a 'plain' quilter who said that it would be an
affront to God to deliberately put in a mistake, because that would mean you
thought you HAD achieved perfection up to that point! <G> I don't know if
that were the teachings of her sect, or her personal opinion, though.
>Anyway, the quilt has what I would call a humility block in the lower
>right hand side of the quilt. The "mistake on purpose" is that the
>flowers are a totally different color than the rest of the quilt. It
This may be that the quilter ran out of fabric, and used a scrap of
another fabric that, at the time, matched, but over the years the dyes have
aged differently. I have a turn of the century Carolina Lily where the
majority of the red flowers are now brown (fading of turkey red dyes,
presumably). Among the blocks that are still red, are several different
shades of red, leading me to believe the quilter was making do with whatever
red scraps she could find.
Jocelyn
------------------------------

Hello,
I am Sharon Newman, and all of the fabrics I have reproduced for Moda
have been taken from real fabrics. Some are in Eileen's book. My Vintage
Garden swag is shown there. The whole line of Vintage Garden was taken
from one quilt that had multiple color ways of the prints and two prints
not in the quilt. My Cherished Pieces fabrics were done with fabrics in
my dating fabrics box. My Twenties Treasures were taken from a 1923 Iowa
Irish Chain and a hexagon oddfellow top. My Turn of the Century fabrics
are from some of my grandmothers quilts. I have seen my fabrics in Nancy
Martin's Two Color Quilts book. Eleanor Burns used my fabrics in her
Stockings book. You will see my fabrics used in several books.
Sharon Newman

Date: Sat, 20 Feb 1999 23:07:13 EST

From: EllynLK@aol.com

To: QHL@cuenet.com

Subject: QHL: Looking For Ideas...

Message-ID: <b25a6bce.36cf8671@aol.com>

Content-type: text/plain; charset=US-ASCII

Content-transfer-encoding: 7bit

I have been pulling out all of the antique "orphan" blocks that I've

inherited

or found... just wondering what others of you have done to display these.

I'm going to be doing some redecorating in the spring and want to use these

in

my decor. Just want to know what good ideas are out there to use these little

treasures in new and different ways.

Found one I forgot I had... found it a few years ago at a flea market. I

have no idea what pattern it is but I bought it because it has three paper

template pieces pinned to it. They were cut from an envelope and as fortune

would have it, there is a postmark! November 26, 1928 at 4:30 p.m. I would

like to somehow display this block along with the templates.

Ideas welcome!

Lauri Klobas

Pacific PaKarendes, California

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

Date: Sat, 20 Feb 1999 22:16:46 -0700

From: Eileen Trestain <ejtrestain@earthlink.net>

To: QHL@cuenet.com

Subject: QHL: underground RR book

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OKAY folks. I just can't bite my tongue any more.

I bought the underground RR book, Hidden in Plain View. First, I have to

say up front that I believe in the likelihood that an Underground RR may

have used quilts in some manner to give directions, or memorize the way,

similar to a map. I bought the book believing this to be a possibility.

I believe the African American culture is/was wise in many more ways

that anyone ever gave them credit for at the time, and that their

resiliency of spirit is what helped them to survive in the most

appalling of conditions.

Now to the book itself. The original author of the book, Jaqueline

Tobin, met an African American woman selling quilts in a flea market in

South Carolina, and the woman hinted at the Underground RR legend, which

has been with us for years. Leaving aside the possibility that this

could have been a most delightful ploy for an elderly woman to sell her

quilts to a tourist, we assume she has told them an oral legend handed

down that nobody so far has been able to prove.

For the first 63 pages, we get to read the forward by not one, but three

people who I presume are well known for their knowledge of African

American history and African tribal history, as well as introductions by

both authors. One of these people is Cuesta Benberry, a highly respected

quilt historian.

Much of the first portion of the book itself is about African tribal

arts and history. The book makes a point that the African American

community has a long history of oral traditions. I understand that,

too. But every time I felt that approached the subject the book was

supposed to be about in the first half of the book, I felt like they

dodged, and danced, and never quite reached the subject I was interested

in.. the quilts.

the authors give a grouping of quilt blocks which the woman named as the

blocks that were used. Then they take us on a convoluted journey of how

they decided what the blocks may have meant in use. One of the ideas

which they have put forward was the Dresden plate pattern symbolizing a

town of Dresden Ohio. Does anyone know of any recorded history of the

pattern named as Dresden Plate in the 1800's? Yes, the pattern existed

in c.1800 medallion quilts, where it is now named in England as a

Dahlia, but can anyone tell me how old the Dresden Plate name is? Yes,

Wagon Wheel patterns were in use. Why would the Wheel pattern lead them

to Dresden, Ohio?

Next, we come to how old spiritual songs relate to underground railroad

themes. And about the representational pictorial quilts of Harriet

Powers. But, so far, I fail to see a great relation to proving the

underground RR theme.

Now, to a more telling part, in my estimation. The photographs. Many of

the photographs are recently made quilts, made by the second author,

Raymond Dobard. Staged in scenic positions in old slave quarters, but

in bright modern colors, the quilts do stand out. However, it is the

quilts which are supposedly slave quilts, one which was "a exceptional

example of an early log cabin quilt that was made by a fugitive slave in

the 1840's...." Though a terrible photo supplied by the museum, it

appears to be a classic C.1880 black silk quilt with considerable

damage. On the next page is another log cabin quilt which "is said to be

slave made. The date is given as 1830's by it's owner." Here we have a

c.1830 quilt, complete with a nice strip of mourning print right up the

middle, at the front of the picture? It looks to me like a classic

c.1900 log cabin utility quilt, with a baptist fan quilt pattern

overall, and possibly a moderately thick to very thick batting, common

at that time. Even relative novices I have asked, out of curiosity, and

without leading the witness, as it were, have responded when asked "When

was this quilt made?" have said without hesitation "Turn of the

Century."

A few pages later, we have a quilt, admittedly made in 1980, from the

MEMORY of a quilt owned by the maker in her childhood, but which was

destroyed by a fire. It features stars in a random pattern, and an

unusual quilting design, with some colored threads as some of the

quilting. This is supposed to be the topographical map of an unnamed

plantation, where the maker, who is still living, quite obviously never

lived during the years of slave incarceration.

On the following page, we have a quilt made by the Daughters Of Dorcas,

an African American Quilters Guild. This quilt was made in 1987-88, and

features several of the patterns listed by the elderly woman. (but who

DIDN't use those same patterns in the 1980's for their sampler quilts?)

It is convenient for the authors that the African American quilt maker,

Ozella Williams, passed away last fall, as there is no one left to

further question by any other person who might be interested, or who may

have been more through in their research. If I, at first glance, can

shoot holes in the dates of the quilts they tell us are very early

examples of Log cabin quilts, and this is what kind of knowledge and

research they have built their story around, it makes the rest of the

book look pretty shoddy.

I personally had hoped for some definite proof, or at least a decent

jumping off place. The best part of the book, in my opinion, is the

extensive bibliography on underground RR articles and books which we

find at the back of their book. If you want to know more about the

Underground RR, use that list. If you want to know about quilts from

the underground RR, this isn't going to help you much.

Just my very personal opinion of this much discussed book.

Eileen

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Date: Sat, 20 Feb 1999 22:29:23 -0700

From: Eileen Trestain <ejtrestain@earthlink.net>

To: QHL@cuenet.com

Subject: QHL: battings

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I guess I am on a soap box tonight.

There are a couple things to consider other than ease of quilting in

choosing battings.

Cotton and wool battings have a long history of survival. Polyester

doesn't.

Cotton and Wool are very breathable, and are not so likely to trap

moisture under the quilt, so they feel cooler in the summer and warmer

in teh winter.

Wool and cotton are somewhat fire resistant, wool more than cotton. If

you see a burned quilt with a poly batting, you will never forget the

sight of how it burned , and melted. There is nothig quite like the

feel and sound of a smoked poly batting, which melts between the layers

of cotton top and lining, and crinkles and crackles as you handle it.

Rather eerie whan you think somebody might have been sleeping under it

as it melted.

I like Mountain Mist Blue Ribbon, probably because grandma would never

use anything else, and I like that traditional feel, and Hobbs Organic

if I want a bit more loft. I like way Hobbs wool feels, but I am afraid

to handle it too long, as I am allergic to wool, and don't want to take

teh chance. I don't quilt with it.

Eileen

Date: Sun, 21 Feb 1999 11:33:32 -0500

From: Nancy Roberts <robertsn@norwich.net>

To: QHL@cuenet.com

Subject: QHL: Story of reproduction fabric

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For those interested in how reproduction fabric lines are designed, you might

check out Chiori Santiago's article on the topic in The Fabric Special

Showcase, a special issue of Traditional Quiltworks magazine from Chitra

Publications. The article covers P&B Textile's collection based on quilts

from the Oakland Museum. This issue is no longer on the newsstands, but back

issues can be purchased from the publisher if you missed it. The website is

http://www.QuiltTownUSA.com/ or you can call a credit card order at

800-628-8244. Nancy

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Date: Sun, 21 Feb 1999 11:43:21 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: should I buy?

Message-ID: <36D037A8.1BB803FD@mail.jax.bellsouth.net>

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Liz, I have only one suggestion about your quilt - if it is something

that you dearly love, cannot stand the thought of not owning, you feel

the price is reasonable and you can afford it, then run (not walk) back

to the store and get the silly thing before someone else falls in

love!!!! I missed out on one (at that point too chicken to bid on ebay)

that I wish I had bought. Can't get it out of my mind. But OTOH, if

it's not screaming to come home, I won't buy it. So I buy very few any

more. Would rather buy something that wants to come home with me. And

this does not mean that they are fancy and expensive. That is not

requisite. My most favorite one is a utilitarian piece that is worn (it

was filler for another, very ugly top). As for date, it's not fair to

ask online (whimper-chinquiver). We have to see it. I will stick my neck

out far enough to guess at depression era, but that is not definite.

My suggestion is to buy and take it home. Love it as is, folded over a

chair that is infrequently used, so you can look at it. And never on

the couch - someone will inevitably snuggle under it. One of my first

jobs came from such an incident. The ladies daughter got under it and

was re-arranging the portion over her legs with her foot (don't we all

before we sit up and use our hands?). Anyhow, the quilt was a fragile

pieceand, sure enough, her foot went straight through the center! It was

easily repaired, and (brag, brag) I couldn't find the repair easily

myself (someone caught me photographing the wrong place - oops).

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Date: Sun, 21 Feb 1999 11:56:07 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: humility

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Someone may need to help me here - memory must be going. Watched

television the other night and my interest was piqued when the narrator

was talking about how these (3rd world men) would not make their (item)

perfect, as only Mohammed was perfect. This was on Discovery/TLC, and I

meant to remember everything, but ............

Wait, just remembered - It was PBS, "Antiques Roadshow", and whichever

middle-eastern tribe had woven the rug they were appraising (the rug was

HUGE). The man appraising stated that they wouldn't use matching dye

lots of yarn to create the piece, because only Mohammed was perfect and

capable of making perfection. And as the years went on, the dye lots

would fade differently, making the differences even more noticeable (the

rug in question had blue sections that were two different shades of the

same color). Of course, the flags went up in my brain because of the

connection to humility blocks in American quilts. I still think that the

original humility myths were to cover mistakes, but I also believe that

the romanticism of the legend led people to do this on purpose.

Now if I could remember the name of the woman I ran into last week. Used

to work with her, can remember the day she came in beaming because her

bosom looked bigger (new Wonder Bra), but it's been a week and I'll be

damned if I can remember her name! Must be a guy thing to remember her

chest and not her name (LOL) !

Alan

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Date: Sun, 21 Feb 1999 13:27:36 EST

From: QuiltEvals@aol.com

To: QHL@cuenet.com

Subject: QHL: Re: Question about Quilter's Heritage and more.

Message-ID: <6c465c1a.36d05018@aol.com>

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In a message dated 2/20/99 6:51:25 PM Pacific Standard Time, QHL-Digest-

request@cuenet.com writes:

<<

Please tell us who is the Quilt Heritage Foundation. How does one become a

member. Who will be doing quilt appraisals. The lecture titles sound great!

Who

is giving which lecture?

Thank you.

Bobbie A. Aug

>>

Yes, Nancy, I am curious about this as well?

Thanks,

Deborah Roberts

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Date: Sun, 21 Feb 1999 11:27:40 -0700

From: "Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>

To: "Eileen Trestain" <ejtrestain@earthlink.net>, <QHL@cuenet.com>

Subject: QHL: Re: underground RR book

Message-ID: <01b101be5dca$6741e020$36e399d0@jeanne.fetzer>

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Thank you for taking the time to point out where you question the

authenticity of the Dobard book. All I want to say is, "Amen." I don't say

that to disprove anything, but to echo the need to look at information and

then ask questions. If we want quilt history to be taken seriously, we must

carefully research and support our findings based on fact.

Thank you, thank you!

Jeanne Fetzer

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Date: Sun, 21 Feb 1999 13:36:17 EST

From: QuiltEvals@aol.com

To: QHL@cuenet.com

Subject: QHL: More on Reproductions

Message-ID: <3ad0c564.36d05221@aol.com>

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Yesterday, I had the privilege of seeing the strike offs for a new "1840's"

line by Pat Nickols....Pat, I hope it was okay to tell, I just had to share

the news. The line is exciting....very accurate in detail and color. Of

course, there are the original colors and added color ways as well, but they

are all WONDERFUL! We were able to compare a few of the original fabrics

to the repros. Pat, like Sharon Newman has taken actual prints from quilts

and fabrics in her collection. This seems to be the way to do it - at least

for these two. The line is being produced by P&B and should be available in

late Spring, Pat will be introducing it at Quilt Market this May.

Sorry, I don't usually do this, and I don't mean to sound like a commercial,

but when you see them you will understand my excitement.

Deborah Roberts

Costa Mesa, CA

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Date: Sun, 21 Feb 99 16:22:48 EST

From: "Bob Mills" <decision@tigger.jvnc.net>

To: "Quilter's Heritage List" <QHL@cuenet.com>

Subject: QHL: Orvus

Message-ID: <decision.1270019808E@tigger.jvnc.net>

To Jennifer and others:

In the East, Agway which is a retail store and nursery catering to area

farmers and yuppies, sells Orvus and it is not special order.

I just bought a container of 7 1/2 pounds for $19.95 and my quilt store

orvis is 8 oz. for $4.99. You need to find something like a feedstore or

farmers co-op. I live in a very suburban area of NJ but am lucky we still

have these stores. And my quilts are getting very clean.

About a year or so ago I went into Agway and was told they were sold out.

Mrs. G. is washing all her sheep this week!

Jan Drechsler (not Bob)

http://ourworld.compuserve.com/homepages/bobmills/jan.html

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Date: Sun, 21 Feb 99 16:22:47 EST

From: "Bob Mills" <decision@tigger.jvnc.net>

To: "Quilter's Heritage List" <QHL@cuenet.com>

Subject: QHL: Repro fabrics

Message-ID: <decision.1270019807D@tigger.jvnc.net>

Just a word of thanks on the repro fabric information. Already I have

learned a lot!

Jan Drechsler (not Bob)

http://ourworld.compuserve.com/homepages/bobmills/jan.html

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Date: Sun, 21 Feb 1999 16:34:18 EST

From: Kathi2174@aol.com

To: quiltfix@mail.jax.bellsouth.net

Cc: qhl@cuenet.com

Subject: Re: QHL: humility

Message-ID: <5aef56f6.36d07bda@aol.com>

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Alan,

I did get to see wool yarn being dyed in the bazaar in Herat, Afghanistan in

1971. I'm sure the methods had not changed in centuries. The term for the

streakiness in the color is "abrash." It is a word of Turkish origin, that

originally meant the dappled or speckled colors on horses. It has long been

used to refer to the variation in saturation/hue in yarns used to weave rugs.

It's caused in two ways: 1. By crude (not bad, just primitive) technology

used by dyers doing up a single batch. The second is by reusing the dye-bath.

The second and third uses have less pigment, therefore give varying shades.

Not much to do with quilts, is it? Unless we relate the "use what you have "

concept to explain variations in techniques in stead of the romantic lack of

perfection notion.

Off the soap box!

Kathi in Calif.

Date: Sun, 21 Feb 1999 15:21:09 -0800

From: "Christine Thresh" <christine@winnowing.com>

To: <QHL@cuenet.com>

Subject: QHL: I read Hidden in Plain View

Message-Id: <199902212322.PAA00834@server.cctrap.com&