Archive for the ‘Fabrics’ Category

Help Requested in Identifying Fabric

Tuesday, July 20th, 2010

We just received a note from a reader. Not having a ready answer, we turn to “other” experts! The fabric in question appears to be an “original” fabric, not a reproduction fabric.

Black girl with umbrella fabric - to i.d.

Our reader is looking for more information about the fabric described below.

Hi Pat,

My name is Patti Schneider and I live in Tulsa, Oklahoma. I’m a Texan by birth (and heart) and my family has lived in Texas from the beginning of time. Anyway, I love your blog “Quilter’s Muse” and I am an admirer of reproduction fabrics. I am writing to you to see if you can help me to identify a piece of fabric from a quilt that my Grannie and her mother pieced by hand back in the 30’s/40’s that my 86 year old aunt just gave me. I have tried doing searches for it on the internet under “girl w/umbrella, negro girl w/umbrella in the rain,” etc… with no luck. I’m hoping with your extensive knowledge in quilts and fabric’s you might have an idea. I’d love to find the history of all the pieces in this quilt. I adore it! It is just the quilt top and I plan to hand quilt when I find the right backing for it. Anyway, any help you may give will be much appreciated.

Thanks, Patti

Dear Patti,

It must be a thrill to receive a handmade quilt top that was pieced by your grandmother. Good luck with tracking down all of the fabrics. That can be an ambitious task when looking at a scrap quilt!

Patricia Cummings
Quilter’s Muse Publications

Treasure Trove of Family Textiles Continues to Delight

Thursday, December 31st, 2009

Within the last two years, we have been documenting, cleaning, photographing, writing about, and publishing items from the Lewis family collection that represents at least four generations of needleworker/quilters who also worked in other media such as rug hooking, filet crochet, and the latest techniques of their day. Represented are the three most recent quilt revivals: the 1880s, the 1930s, and the 1970s.

I recently re-discovered a number of cartons/baskets/containers that contain textiles that I had not yet documented. I am not finished cleaning all of them yet but I found some interesting discoveries. At the moment, I have no way to share photos as we had to order a newer, compatible version of Photoshop, but at least I can tell you about some of the special “finds.”

1) A rayon, fringed square, probably a souvenir of World War II, with a U.S. Marines insignia on one corner. The father of the man who presented this collection to me was a Marine, as was he, himself.

2) A quilted potholder square, (4 patch), bound with a separate, muslin-color binding. I wondered if this was meant to be a potholder, as the batting is thin or non-existent, or if the item was the start of a potholder quilt.

3) A calico pocket, similar to those that drape over an armchair to hold sewing utensils. There is a “pocket” on each end. Inside the pocket is a card that says in old-fashioned Victorian print: “Merry, merry Christmas and a happy New Year too.” – (written as printed). The reverse side of the card has a hand-written message: “Eleanor – To add to your hopeless chest. – Mother” Somebody had a good sense of humor! A “hope chest” is the name given to collected textiles and household goods that would help a young lady set up housekeeping after marriage. We don’t hear the term very often, these days.

4) There is a 3-D Dahlia pillow made of a “fancy fiber” in a light orange color.

5) Pillowcases, woven in the round, are present in sets of two, each set embroidered with one of the family names, monogrammed, or embroidered. Round pillowcases are no longer sold. The bottom edges often sport crocheted edges, often in variegated thread colors.

6) There are bureau scarves, bridge sets, and piles of handkerchiefs. One that has yellow, scalloped edges was never used and had a small tag that said, “35 cents, Woolworth’s.”

I am left to wonder about some of the other items. I don’t know their potential use. One is a long, rectangular unit, folded in half, that has silk ribbon work on the top edge when it is folded in half, and ribbon ties. It is well-used, but for what purpose?

We have published aprons, potholders, (other) handkerchiefs, and quilts from this collection. It might have all gone to the dump had a family member not been so kind enough as to pass it all on to us, where it has found a broad audience of interested people.

Have a wonderful New Year’s Eve! We will leave the roads to the drunks and instead, we’ll be happily at home with our books, our projects, and our own company.

Happy New Year!

Patricia and James Cummings
Quilter’s Muse Publications

Textiles: Pattern, Ornament, and Culture

Thursday, December 3rd, 2009

Textile design by Amin Kalaf

Textile design by Amin Kalaf, viewed at Plymouth State University’s Silver Center for the Arts

Jim and I were in Plymouth, NH today and stumbled upon two exhibits of interest at Plymouth State University: a faculty exhibit of art, including a quilt; and an exhibition that traces American textile history though time, and with the help of textile examples provided by Amin Kalaf. The exhibit began on October 7 and ends on December 5, 2009, so we just caught it in the nick of time.

One statement on a wall placard caught my attention. It is a quote from “Seven Lamps of Architecture” by John Ruskin (1849) in which he states that “forms not taken from nature are ugly and that nature has few straight lines.” Are we to surmise that Mr. Ruskin would think all contrived, geometric forms (like quilt blocks) to be “ugly?”

The exhibit includes a few key dates and explanations such as how a loom utilizes warp and weft threads, a mention of the Jacquard loom, when the flying shuttle was invented, as well as the spinning jenny, the first use of block printing in Europe, the first screen printing there, and the first rotary screen printing.

I only wish this exhibit were going to be offered for a longer time so that those of you, in the area, could visit. The textiles are very interesting and well worth viewing.

Patricia Cummings
Quilter’s Muse Publications

The Mills – Additional Thoughts and Input on the Subject

Tuesday, September 22nd, 2009

Imagine yourself as a girl in the early 1800s. You would have household chores to do, and you might also work for the lady down the road, helping with the children, doing laundry or other household chores. Occupations for women were much more limited than today. In certain months of the year, you would be allowed to teach. Educational opportunities for women were very limited.

Then along comes the chance to travel to another state or country to earn your own money and have enough left over to send home to help your brother get an education, or to help your aging parents on the farm in Quebec who are struggling to make ends meet.

Once you’ve gathered your clothes, whatever will fit into a bandbox and into the stagecoach, you’re on your way to Lowell or Manchester where you begin work in the mills, a dangerous place to be. In places like the Slater Mill in Pawtucket, Rhode Island, the mill’s windows are sealed to keep humidity high so the threads being spun won’t break. As a result, workers, including children, come down with pulmonary diseases like chronic bronchitis, tuberculosis and cancer.

The working conditions are abusive including long hours, short breaks, and food as doled out by the mistress of the house in which you find lodging.

Later on, when the flying shuttle was created, it prevented the need to pass the weft threads back and forth, by hand. However, the mechanized shuttle could get going at such an unregulated speed, it could break loose, flying into someone’s head or eye. Fingers and hands often got caught in machinery. Children were used to re-tie broken threads because they could run quickly to the thread, do the work, and retreat quickly to get out of the way. Long hair of girls and women, if not tied back, also caused accidents, some of them fatal.

As is often the case, throughout history, the rich get rich by exploiting the poor and needy. It was not until the mill workers began speaking out for themselves that situations began to change. At the same time, new regulations like shorter work days and more pay cut into profits; and union activities such as picketing and strikes, in the long run, seem to have helped to shut down many of the mills that were prosperous in the 19th century.

Change is afoot, even today, regarding mills and the preservation of them and their history. The American Textile History Museum has sold mill equipment, formerly used in New England, pieces of New England history, to a repository in the South.

The Cranston Printworks, a long term producer of print textiles, in Webster, Massachusetts is now having their printed cottons produced overseas, joining a number of other companies who have done the same. This is one of the reasons that consumers must buy desired fabric, when it is first seen in a shop or online. Overall “runs” of any given printed cloth is very limited.

People in the quilt industry, from designers to editors, to quilt shop owners who prepare kits, as mentioned in publications, must wait months and months for some of these new overseas shipments of fabrics.

I totally agree with Sandra LeBeau, the speaker whom I mentioned in my last blog. She divides Mill time into three sections: pre-Industrial, Industrial, and post-Industrial. Considering all the outsourcing of manufactured goods, the United States fits best into the last category.

Cotton has been a mainstay of textile making for centuries. I am reading a book titled, Big Cotton: How A Humble Fiber Created Fortunes, Wrecked Civilizations, and Put America on the Map. Please see the link below. I have been intrigued in reading about the theft of inventions and patented items related to textile equipment.

Patricia Cummings
Quilter’s Muse Publications

Question from Reader re: Thread

Friday, September 18th, 2009

The question – “Can you tell me where to buy turkey red embroidery thread?”

At first, I was floored by this question because I wondered where the reader found the term and why she was asking me. Mystified, and short on time, when I read the one-line message, I wrote back, “Why do you want to know?”

The subsequent reply was that she had seen a (19th century) pillow, worked in turkey red thread, in an article I wrote for the current issue of The Quilter magazine.

If someone were to go into a general store that carries hobby supplies, like JoAnn Fabrics or Michael’s, and were to ask for “turkey red” thread, the look on the face of the customer service representative would be priceless. Most likely, the person would not have a clue as to what the customer meant.

“Turkey Red” is a process, not a specific color, that was effected by the use of root madder dye and many processing steps, in other centuries. Today, companies such as DMC and Anchor make red embroidery thread, some colors of which can sometimes approximate the color of 19th century dyes.

The main quality that accounted for the popularity of so-called “Turkey Red” thread, in the 19th century, is that it is colorfast and lightfast. Yet, not all thread that was used for embroidery, at that time, had those endearing properties.

“Turkey Red,” madder-based fabrics were printed, as well. To see and/or purchase simulated fabrics of that kind, visit Margo Kramer’s Reproduction Fabrics website.

As far as thread goes, none of it is now commercially called “Turkey Red,” a relatively archaic term. At least, not at this writing. I may give someone an idea. However, embroidery threads are sold by number, not color name.

In the recent past (early 1990s), some thread manufacturers had “issues” due to changes in environmental laws. Some reds were unstable. However, the problem seems to be resolved.

My best advice for choosing threads for outline stitch embroidery (Redwork, Bluework, etc.) is to choose a cotton embroidery floss that you like, in whatever color you choose, even perhaps a variegated color for a more avant garde look. For more information, you may want to consider purchasing my CD e-book: Redwork Renaissance Revisited that does provide more specific information. It is listed on my Products Available Page on our website.

Best wishes,

Patricia Cummings

President Obama’s Mother Collected Batiks

Monday, August 17th, 2009

President Obama and his sister, Maya, have inherited their mother’s collection of Batik fabrics that she bought while living in Indonesia. Ann Dunham was an anthropologist. She died of ovarian cancer in 1995, at the age of 52.

Meanwhile, clothes were made for her using the beautiful Batik fabrics she collected. She had lived in Indonesia, marrying there in 1967. A current news story broke last week and has been featured in an audio version on National Public Radio, as well:

NPR Story

An exhibit of her Batik textiles and dresses can be seen until August 23, 2009 at the Textile Museum at 2320 S. St., NW, Washington, D.C., (202) 667-0441

You can enjoy seeing a collection of 35 antique Indonesian batik swatches, in my collection, in a permanent file on my website.

Batik fabrics are made via a wax resist method of dyeing. The areas that are to remain free of dye have hot wax applied to them. After dyeing the fabric, the wax is melted by application of heat. Even a hand-held, hair dryer could work! Here are a couple of African batiks from my own collection, as well as a small quilt in which I used a modern batik fabric as one of the borders.

African batik #1

African batik #2

my mini quilt with a batik border - by Patricia Cummings

Miniature quilt designed by Patricia Cummings

I hope that you enjoy these additional examples, and if you are in the Washington, D.C. area, perhaps you’ll have a chance to stop by the Textile Museum, a fun place to visit at any time!

Stay cool!

Patricia Cummings
Quilter’s Muse Publications – our main website

An Explanation, Photos, and A Poem

Friday, July 17th, 2009

For the benefit on non-historians, I thought that I would take a moment to explain some terminology. When I say that my specialty and area of interest is the 19th century, I mean the 1800s. People always think that 19th century means 1900s, but the 1900s are actually the 20th century. Likewise, the 18th century is the 1700s. That is confusing, I know.

In the seventeenth century (1692), they hung “witches” in Salem, Massachusetts, and crushed one man to death, who was presumed to be a witch. All were innocent, but were killed because of little girls who told lies. In the 21st century, the Taliban executed women in Arabic countries. It is a wonderful thing to live in the 21st century in America, where we are supposedly free from oppression. I say “supposedly” with a candid view that oppression does still exist for women in America, and sometimes the oppressors are other women, believe it or not!

Well, on the subject of time frames, let me get back on track here. I was in an antiques shop the other day and spotted a table with items of great interest to me. While I hate the idea of a “cutter” quilt, a dealer had taken apart a 19th century quilt that had a few turn of the century fabrics, (early 20th century fabrics, that is). She stated that the items for sale came from a 1930s quilt. That does not seem likely, unless the quilt had been made in the 1930s from an older scrap bag, and if she had clear provenance (knowledge of the background of an object). A quilt is always dated by the LATEST fabric included in it.

She has made two sided pincushions and was also selling detached squares (Hmmm … “detached squares” could be a good name for some of the people I unfortunately know, but that is another story altogether, ha, ha, ha!).

I couldn’t resist buying some pincushions, large and small, and a package of quilt squares. I had a little time tonight to edit a few of the photos that Jim took for me earlier today. I wanted to show you some fabrics and how distinctive authentic 19th century fabrics are. A trained eye can spot them right away.

19th c. fabrics

In this square, you can see two Black and White prints. One is an all-over, geometric repeat; the other is a striped shirting print. Brown cotton fabrics were popular although many that we see in old quilts have disintegrated due to the iron mordants used in the dyeing process. In this square, we see a color of blue not made until shortly after 1870, called “Cadet Blue.” Stripes and plaid fabrics, and lots of geometric prints were popular in the late nineteenth century. Often floral designs are superimposed over lines and other there are background designs like pindots, etc. There is a “lot going on,” usually.

19th century fabrics

This half-square triangle unit is comprised of a fabric that features the Crescent Moon, a very popular motif and an ancient one, with specific meanings. The red and white calico is indicative of the red and white craze, seen also in Redwork embroidery within the last quarter of the nineteenth century. “Quarter” means 25 years, so if I say “last quarter, nineteenth century, I mean from 1875-1900. Redwork was most popular from 1890 on, and followed the Crazy Quilt trend of the 1880s.

19th century fabrics

This particular pincushion features Navy blue, a perennial and ancient color derived originally from dye from the Indigo plant. There is also a very distinctive gray color called “mourning gray.” The mourning and half-mourning fabrics were made so that women could denote their status as widows and the period of grief they were enduring. Victorian women followed the trend of Queen Victorian who mourned her dear Prince Albert forever after. In this pincushion, the pastel pink color stands out as a 20th century print. Pastel colors were not made until after the turn of the century and became most popular in the 1930s.

Now, all this talk about centuries brings to mind a poem by Emily Dickinson that is one of my favorites. I will provide the first and last verse of the poem, and if you are interested, you can hunt down the rest. There are six stanzas in all. The poem is numbered “712.”

Because I could not stop for Death -
He kindly stopped for me -
The Carriage held but just Ourselves –
And Immortality.

Since then – ’tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses’ Heads
Were toward Eternity -

circa 1863 (“circa” generally means 10 years on either side of a specific date)

Have a great weekend!

Patricia Cummings
Quilter’s Muse Publications

Toile

Friday, November 7th, 2008

A recently discovered blog features some of my words from an article I wrote about toile and its origins. Included are some wonderful examples of toile fabric being used in all manner of home decoration in the blogger’s home. Although, at first, this blog ended up in my spam mail box, I am so glad that I retrieved it. Some wonderful pieces of this classic kind of cloth are shown.

http://bargainhuntingwithlaurie.blogspot.com/2008/11/in-love-with-toile.html

To see my website article on the subject, click on:

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

Enjoy!

Patricia Cummings

New Idea for Cheater Cloth

Friday, May 23rd, 2008

Mola Cheater Cloth

This photo of Mola cheater cloth was taken by Linda Lane Thornton in Colon (with an accent on the second “o”), Panama. She reports having enjoyed my article in The Quilter, about the topic of cheater cloth, in the March edition. We always love to receive updates from readers, and thought this one to be particularly interesting. As Linda says … this kind of cloth could save time!

Patricia L. Cummings

1870s Cheater Cloth

Friday, March 14th, 2008

Gleefully, I purchased a very small piece of 1870s cheater cloth, recently. It was stuffed into a too small plastic baggie, and it was full of wrinkles. Being that old, the cloth also felt very dessicated. I wanted to press out the wrinkles, but thought it might be helpful to add some plain water to the cloth first, by spritzing it on with a house plant sprayer.

1870s Cheater Cloth

All was well, or so I thought, until I moved the fabric to reposition it on the ironing board. It was then that I noticed red color all over my new ironing board cover. I’d splurged last summer and bought a wide ironing board that is more square and a lot better for pressing backings for quilts.

I realized what had happened. The red in the print was not the “Turkey Red” colorfast color that we love in nineteenth century quilts. Instead, it was some other cheap dye. I should have known better. In fact, I do know better. I just wasn’t thinking. I wish that I’d at least put paper towels under the cloth, to help protect the ironing board cover.

I still love this piece of cloth because it represents a certain time period. The dyes were cheap in the 1870s, partly because the country was experiencing an economic downturn. I think the color combination is cheerful and the design is interesting. What you see above represents only a portion of the piece I have. Ever since my article about Cheater Cloth came out in The Quilter magazine, I am beginning to see it mentioned in lots of places. Before now, it has been like a step child, often overlooked. I’m happy that I could help to raise awareness because I think that this kind of imitation patchwork has its place.

Have a good Friday!

Patricia Cummings