Archive for February, 2008

Small Needlework Project Holds History

Thursday, February 14th, 2008

Last Christmas, I was given a very special little project, a cross stitch kit that my son picked up at the Tower of London when he was in London to present an academic paper at an invitational seminar. So nice of him to think of me, at that time!

Tudor Rose

The size of the finished item is probably about as large as the image on this screen. The name of the project is “Tudor Rose,” and the design is the “flower emblem of England,” according to the instruction sheet, and commemorates events in British history. The kit was prepared by Textile Heritage, a company in Scotland: http://www.textileheritage.com

The finished product looks as though the project was easy. Actually, though it was not difficult to do, it was extremely time-consuming. I am very pleased with the final result. The piece has enough contrasts in color to be very striking. I had not done any counted cross stitch in a long time, and it was fun to work on this one. I especially liked learning about the history of the rose symbolism which became an official symbol of the Tudor dynasty under King Henry VIII.

Patricia Cummings, http://www.quiltersmuse.com

When a Hankie is Not Just a Hankie

Wednesday, February 13th, 2008

When I was very young, say about seven years old, I received mail. Now, first of all, you have to realize how important mail is to little kids. Even without opening the envelope, I was pleased at seeing my name (only) as the addressee. At the time, I was very ill, running a high fever. The doctor came to the house, in an age when doctors still made house calls, and he reported that I had “Scarlet Fever.” The envelope contained a get well card … and more!

Inside the card was tucked a soft, thin, pink handkerchief, with blue and white flowers in configurations that formed squares, three of them, in fact.

Hankie from Alice

I’ve kept the handkerchief with me about fifty years and it is hardly the worse for wear, even though it was well used in earlier days. At the time I received it, I believed that it was a hopeful sign that I would get better because the sender told me that she would see me when my health improved.

Although I did not know it at the time, the lady who gave me that hankie, my brother-in-law’s mother, was dying herself, and shortly thereafter passed away from leukemia. She was one of the sweetest, most gentle souls I’ve ever known, and when I think of her, I envision her as a kind of protective, spiritual force in the universe.

I don’t believe I’ll ever be able to throw away this textile, even though the handkerchief has not seen active use for some years now. There is one tiny, three corner tear on its surface. It is just one of those textiles that I will keep and cherish because of the memory associated with it.

I can bet that you have things that you hang onto for sentimental reasons, be it a “poodle skirt” from the fifties, a team pennant, or a high school yearbook. Even though our memories would still be there without the physical presence of objects, is proof that certain events affected us profoundly.

I was very young, when this kind lady passed away, and even what she looked like is very vague. Children don’t pay attention to such things, but they do remember how someone makes them feel. She made me worthy of attention. It is rare to meet someone who will go out of their way for a mere child. She did. The hankie that I still treasure is a tangible reminder of her sweet nature.

Don’t ever let anyone belittle the value of textiles. To a little girl, that handkerchief was the world.
Patricia Cummings, http://www.quiltersmuse.com

Flowers from France – A Bit of Sunshine during World War I

Monday, February 11th, 2008

In my collection, I have a postcard. It is one I bought; not a family heirloom. I wanted to acquire it because I thought it was quite unusual and I wanted to be able to study it more closely. Well, thinking back to my blog post of yesterday, you may recall that I told you I was in the mood to get organized? One of the first items I picked up in the room where I keep fabrics, was a box of old Piecework magazines. Leafing through one of them today, I found a wonderful article by Deborah Dwyer called “Patriotism and Best Wishes From World War I.”

postcard from WWI

According to the article, which shows many of these postcards, they came in all colors and reached their height of popularity from 1914-1918. They were made almost exclusively in France, although Spain, Switzerland, and England also manufactured the cards to sell to Allied soldiers.

The light weight fabric and the silk embroidery are very delicate on the postcard I have, and very feminine-looking. The top of the simulated envelope actually opens and that is where the little mini-bouquet of flowers that you see above, usually resides.

The card is dirty enough that it could have been sent through the mail. However, there is no visible postmark date on the back, only a part of a circle that suggests an attempt to stamp the card. The message, written in pencil, says:

From a soldier boy under the stars & stripes. Wishing you a Merry Xmas and a happy New Years. Rusty.

The card was addressed to someone in Columbus, Kansas.

I’m so happy to learn that these cards are associated with World War I and not with World War II, as I’d previously thought. Piecework is a fine magazine and I can’t say that I’ve ever thrown even one away. Each contains valuable information. I’ve gotten a bit sidetracked from my original sorting project, but I figure it’s kind of like taking a trip and deciding to go down a few side roads.

Until later,

Patricia Cummings, http://www.quiltersmuse.com

“A Place for Everything and … “

Sunday, February 10th, 2008

One of my brother Steve’s favorite sayings was, “A Place for Everything, and Everything in its Place.” Of course, he was referring to the farm tool shop. He’d sometimes get exasperated when he found that a tool had wandered, either left “out of place” or removed entirely … to the house.

Of course, the same is true of any home studio. Quilters often collect fabric and gadgets and old quilts and old fabrics and sewing machines and magazines and handkerchiefs and old ties and threads and heaven knows what else … faster than they realize. Suddenly, a one room studio has “expanded” to include every spare closet in the house, every under bed space, every guest room bed, and any other nook and cranny.

I say, “Hoarders, unite!” We have to develop a plan, and so saying, I am mainly speaking of myself. I heard one quilter describe herself as a SABLE quilter. She explains that SABLE, to her, means “Stash Acquired Beyond Life Expectancy.” Scary thought, but I could include myself in that category.

Where to start? Well, I think it will be with organizing fabrics. Trouble is, do I organize them by color or type? For example, I could stack up plain colors, print colors, batiks, and florals, etc., trying to keep like-colors together. A dear friend suggested that the individual pieces of fabric be rolled, using a 6″ wide Omnigrid ruler, and that is what I’m trying. Of course, we all have scraps, too. At the moment, those are stored in a large canvas bag, yet I know I need to do something different with them. I’m thinking of net bags that would allow the air in.

Once I get a handle on the fabric situation, I think I’ll look at all the unfinished embroidery and quilt projects and make some decisions. The magazines will be next. I can cull out the articles I really want to keep, and store them logically, marked with a tab, in a notebook. Make that more than one notebook.

I want to write down what I remember about each of the quilts in my collection. In some cases, I know precious little, other than I liked it when I bought it. Of course, ones that I made but have not yet marked, I can add labels with quite a lot of details, and I should do that because no one knows more about my collection than I do, and I really don’t want orphans floating around about whom no one knows a thing, when I’m not here to tell them.

In the meantime, it sure would be nice to feel more organized. Then, I can more easily make decisions about what to downsize so that my life will feel more sane, and less cramped. If you’re like me, it must seem that fabrics, pens and pencils, papers, magazines, etc. reproduce while you’re sleeping. Suddenly, you have an overwhelming mess of “all good stuff” – too good to throw away, and too much to keep.

Our days are limited, a thought only truly realized the older we become. Therefore, we have to pick our projects and the way we spend our time, carefully. I just know that I will feel like being more creative, once I get feel like I’m managing the material goods I own. When it gets to the point when finding even a simple tool is difficult, you know you’re in trouble. Some words are timeless – “A place for everything and everything in its place.” They still ring true, whether you are cooking in the kitchen, or woodworking in the basement. All I can do is to start this organizing project.

Wish me luck!

Patricia Cummings in snowy NH
http://www.quiltersmuse.com

Margie Hammett’s Quilt – Additional Information

Saturday, February 9th, 2008

This morning, I photo-edited some additional images sent to me by Margie Hammett of Ridgecrest, CA, who made an award-winning Redwork quilt based on “a ragged, tattered” book that belonged to her mother since she was a child in the 1920s.

The file is now filled with both images from the original source, and Margie’s needled interpretations, plus some additional remarks by her that I’m sure you will enjoy.

Best,

Patricia Cummings, http://www.quiltersmuse.com/redwork_quilt_by_margie_hammett.htm

A Good Day!

Saturday, February 9th, 2008

Today was one of those extraordinary days when surprising and happy things occurred. I was busily working away this morning, and was pleased at all that I was getting done, when the mail arrived. I received three lovely notes from readers of The Quilter magazine, thanking me for my articles. Another package yielded an extraordinary catalog of a long-ago exhibit that a research associate thought I would enjoy. Yet another package brought a book that is inaccessible to the public, at any price, and a valuable source of information for me.

The largest package was one I had to find my seam ripper to open inasmuch as it was a handmade, fabric “container” within which was a tightly wrapped plastic bag, inside of which had been placed a wedding Chimildik that once hung in a yurt in Uzbekistan.

The piece is very large and quite colorful. The embroidery work on the edges  was probably done by tambour hook, as is a lot of the chain stitch embroidery done in Central Asia. I will carefully vacuum it, and trim some loose threads on this piece. I am in love with the colors and design of the embroidered flowers on the black velveteen background.

I received a call from a friend, and a call from a family member, and I got to go out to lunch with my favorite guy. All in all, I could not have asked for a more wonderful day with these expressions of affection and gifts from so many people. Days like today make me feel special and as if all is right with the world. Even the snow stopped!

Wishing you happiness wherever God’s plan has taken you, at the moment. I continue to think of our troops overseas and their safety and safe return to their homeland. We would not be enjoying the life we have, were it not for our brave young men and women who are willingly serving our country.

Have a wonderful weekend!

Patricia Cummings

Letter from a Reader re: Amish and Mennonite Quilts

Friday, February 8th, 2008

example of southern Indiana Amish quilt

Above is yet another example of a southern Indiana Amish quilt. Photo provided by the quilt’s owner, Judy Morton.

Regarding my recently-posted file of Amish and Mennonite quilts from southern Indiana, Betsy Golden of Bethlehem, PA writes:

Dear Pat,

Here in eastern PA, in PA Dutch country, these quilts look quite ordinary to me. The fabric store I visit most often is owned by a Mennonite family, on their dairy farm near Kutztown, PA. My impression is that for many, making quilts to sell is a way for the Mennonites, and possibly the Amish, as well, to cash in on the average American’s romanticized notion of a quilt “made by the Amish.” They are really producing quantities of quilts in the patterns and colors which seem to sell best. Certainly there is a tendency toward more traditional quilt patterns and designs, but otherwise these quilts are a lot like those being made by other experienced traditional quilters in the area.

MY RESPONSE:

Thanks for the letter, Betsy. It’s always great to hear another viewpoint. There’s no surprise that the Amish and/or Mennonites cater to the tastes of the marketplace, especially if they are dependent on the sale of quilts for their livelihood.

In today’s world, “change” is always the catch word, and “change” is mentioned as though it is inherently better than the status quo. Just listen to politicians. This is the way it has been, traditionally, in the quilt world. Whatever technique is newest is what is considered best.

Now, art quilts are on the “cutting edge” of change, and touted by some, as better. I guess it is all in how we define the word “better,” and specifically, which quilt to which we are referring.
Our aesthetic tastes may be dictated by others, if we allow that to happen, or we can stick to what we know we prefer, one way or another. In any event, no one is right or wrong. We each make our choices as to what we like and what we make, as quilters ourselves.

Thanks for your thought-provoking note, Betsy.

Patricia Cummings

Charter Oak Quilt Block

Thursday, February 7th, 2008

A Bit of Quilt History: The Charter Oak Quilt Block

by Patricia Cummings

Every now and then, a quilt block’s name brings home a certain point of history that is both charming and poignant. For the people of Connecticut, “Charter Oak,” an appliquéd quilt block, is very meaningful. The name of the block calls to mind a significant historical event of which residents are still quite proud. In 1662, King Charles issued a Royal Charter that proclaimed self-governance for the state. Having a change of mind in 1687, he sought to revoke the charter, and sent his troops to seize the decree.

The room in which officials were meeting suddenly went black. After candles were lit, the charter was nowhere in sight. Under cover of darkness, someone had whisked the important paper away, in order to store it safely within the recesses of an aged White Oak tree. The only photo I have seen of an antique quilt that features appliqués of Charter Oak blocks is one in which the quilt has Rose Wreaths and both Eagles and Charter Oaks in the borders. This quilt is pictured in the out of print book, Woman’s Day Book of American Needlework by Rose Wilder Lane.

This appliqué looks like an upright tree, and is less obscure or abstract a depiction as several others I have seen that have been called, “Charter Oak” blocks.

If I can find the Charter Oak block example I once made, I’ll post a photo. In the meantime, I hope that I’ve been helpful in providing some background information about the block to answer a reader’s question today. If anyone has a photo that I could add to illustrate a quilt made with this block (or one version of the block, that is), I’d be happy to add it to this file.

You can contact me at: pat@quiltersmuse.com

Patricia Cummings

Can Anyone Help to Identify This Quilt Design?

Wednesday, February 6th, 2008

I received a request for help in identifying a quilt design. The quilt’s owner believes that the quilt has a date of “1840″ on the side and is signed “Elizabeth Springer.” No other details about that were provided. The appraiser thinks that the binding is wider than usual for an 1840 quilt, or an 1890 quilt, for that matter. She thinks that it may be a variation of the typical quilt pattern “Burgoyne Surrounded,” often done in blue and white.

This is a portion of the 94″ x 81″ quilt.

Close-up.

Here is a little background about the quilt known as “Burgoyne Surrounded.”

I found an interesting entry in Yvonne Khin’s book. She states that British General John Burgoyne tried to take the city of Albany, NY but was surrounded by Americans at Saratoga on October 17, 1777. The pattern, Burgoyne Surrounded, was renamed about 1850 and called Wheel of Fortune. Taken west, it came to be known as “Road to California.”

If anyone has any further information on the quilt pattern shown here, please write to me at: pat@quiltersmuse.com Thanks!

An Addendum: The initial inquirer about this quilt pattern, has found an example exactly like the quilt shown above, only in red and white. It is located on the Nebraska state site. Their quilt belongs to the International Quilt Study Center, and is simply called “Burgoyne Surrounded.” To see the quilt, visit:

http://www.nebraskahistory.org/sites/mnh/patchwork_lives/community_involvement.htm

and then, click on the picture, for a larger view. The red and white quilt is smaller, at 86″ x 69″ and the estimated date of its making is circa 1900-1920 which would coincide time-wise with the colonial revival period in American history. The quilt is part of the donated “James collection.”

The appraiser was most likely right about questioning the date of 1840. Sometimes, it is hard to decipher numbers on old quilts, whether they are written or “quilted in.” She wonders if Burgoyne Surrounded quilts are made today and if someone has a book. Yes, Eleanor Burns published a how-to book, and right after her book came out, I made a queen size quilt of this kind, using a wool batting.

Patricia Cummings

Miniature Quilts Photo Essay

Tuesday, February 5th, 2008

Today, I uploaded a file with photos of a few of the miniature quilts I have designed. To see them and to learn more about them, please click on the following link:

http://www.quiltersmuse.com/miniature_quilts_photo_essay.htm

Patricia Cummings