Archive for the ‘Quilts’ Category

More Words on Quilts and Other Textiles

Wednesday, August 25th, 2010

Here are some more examples of textiles with words on them.

embroidered Iowa hanky

This hanky from Iowa is delicately embroidered with the names of the major cities there. At the time I was collecting hankies for an article that was published in The Quilter magazine, I also found a similar hanky, no doubt manufactured by the same source, that was a map of New Jersey. Since then, I have given away both of these items to friends.

overtowel from Germany

Seeing this photo makes me smile. Jim made the wooden hanger for this German overtowel. Recently, a friend came into my kitchen and said, “What does the saying on the towel mean?” I replied, “Cook well.” Indignantly, she said, “Why do you have that hanging there? You know that Jim cooks well!” Indeed, I can attest to that as the smell of pot roast is winding its way up the stairs, at the moment! I am lucky, indeed, to have a man who loves to cook! By the way, if you haven’t checked it out yet, please visit his cooking blog. He works really hard at making additions to it, frequently!

Many more European textiles, including Redwork splashers with words, are featured in my book, Redwork Embroidery and Needlework Traditions of Europe and America. The expressions have all been translated for you, courtesy of friends at the European Commission.

Honest Abe block

The honesty of Abraham Lincoln is celebrated in this quilt block, part of a larger tribute quilt that I made.

political cartoon by Don Beld

Politics and Redwork come together in this block created by Don Beld, one of four political cartoons that he stitched in Redwork embroidery. Published here with his permission.

On Windy Whispers, an original design by P. Cummings

“On Windy Whispers,” based on the words of a song “Redbird’s Wing” by folksinger / composer Bill Staines, one of New Hampshire’s own!

I often add (my own) lines of poetry to quilts but do not have any photos of those, at the moment. The wall quilt above is one that I thoroughly enjoyed designing to capture some of the imagery as described in one of Bill Staines’ original songs. With his permission, I used my computer to print the words of the entire song on fabric and I attached it to the back of the quilt so that those going to the quilt show might be able to begin to understand my choices of fabric and embellishments.

I hope you have enjoyed these additional files. Be sure to visit the wonderful art quilts on our website. The links are listed on the home page.

Patricia Cummings, photos by James Cummings
Quilter’s Muse Publications

There is Something about a Crazy Quilt

Thursday, August 12th, 2010

Late 19th century Crazy Quilt

19th century Crazy Quilt from the Lewis Collection

The image you see above constitutes a quilt top only, not a finished quilt. The 16 blocks were assembled by an ancestor in the Lewis family, a group that encompasses four generations of needleworkers / and quilters. I have photo edited the edges so that they are straight. If I were going to finish this quilt, which I have no intention of doing, I would trim the edges so that they would be straight. I prefer not to tamper with antique artifacts. I have enough of my own quilts to worry about whether or not they will be completed in my lifetime, let alone all the unfinished needlework I started in good faith but have not found the time to complete.

I like Crazy Quilts. The height of popularity for Victorian Crazy Quilts with fancy fabrics and fibers was from 1880-1900. A few people, late to the trend made some of these beauties after that time. Of course, I have seen a woolen Crazy Quilt carriage cover in Maine, and quite a few all-cotton Crazy Quilts from the 1930s, some of them sans the fancy embroidery that usually accompanies asymmetrical piecing, the two main characteristics of Crazy Quilts.

In the quilt above, I like the balance of color. It seems that the quilter had a good sense of placement for light and dark fabrics, and the repetition of certain fabrics and colors yields some unity to the overall design. I hope that you enjoy seeing this quilt. It has another special feature, a unique silk ribbon that may have come from the lining of a man’s hat.

Patricia Cummings
Quilter’s Muse Publications and Virtual Museum … on the Internet since 2002

“Aunt Jemima’s Quilt”

Wednesday, July 21st, 2010

From the book, Rhymes and Roses, copyright 1895, Frederick A. Stokes Company.

section from an old Crazy Quilt

This is a photo of a portion of an old Crazy Quilt for those of you who are not familiar with this Victorian style quilt.

“Aunt Jemima’s Quilt”

by Anonymous

A miracle of gleaming dyes
Blue, scarlet, buff and green;
O ne’er before my mortal eyes
Such gorgeous hues were seen!
So grandly was the plan designed,
So cunningly ’twas built,
The whole proclaimed a master mind –
My Aunt Jemima’s quilt.

Each friendly household far and wide
Contributed its share;
It chronicled the country side
In colors quaint and rare
From belles and brides came rich brocade
Enwrought with threads of gilt;
E’en buxom widows lent their aid
To Aunt Jemima’s quilt.

No tapestry from days of yore,
No web from Orient loom,
But paled in beauteous tints before
This strange expanse of bloom.
Here glittering stars and comet shone
O’er flowers that never wilt;
Here fluttered birds from worlds unknown
On Aunt Jemima’s quilt.

O, merry was the quilting bee,
When this great quilt was done;
The rafters rang with maiden glee,
And hearts were lost and won.
Ne’er did a throng of braver men
In war clash hilt to hilt,
Than sought the smiles of beauty then
Round Aunt Jemima’s quilt.

This work of art my aunt esteemed
The glory of the age;
No poet’s eyes have ever beamed
More proudly o’er his page.
Were other quilt to this compared,
Her nose would upward tilt;
Such impudence was seldom dared
O’er Aunt Jemima’s quilt.

Her dear old hands have gone to dust,
That once were lithe and light;
Her needles keen are thick with rust
That flashed so nimbly bright.
And here it lies by her behest,
Stained with the tears we spilt,
Safe folded in this cedar chest –
My Aunt Jemima’s quilt.

This poem refers, no doubt, to a Crazy Quilt of the late 19th century. While I enjoyed most of the poem, I just about shrieked at the ending. The thought of a Crazy Quilt folded in a cedar chest was so alarming! To read tips about properly storing quilts and fabrics, please read my book, Straight Talk About Quilt Care II, available on CD as an e-book, and sold on my website or at amazon.com

Patricia Cummings
Quilter’s Muse Publications

Colonial Williamsburg Opens Quilt Exhibit

Monday, June 28th, 2010

Colonial Williamsburg has set up a display of fifteen historic quilts at their Abby Aldrich Rockefeller Folk Art Museum. One of the quilts is an unfinished Crazy Quilt made in 1886 for Reverend Oliver W. Winchester, a departing Presbyterian minister of Reedsburg, Wisconsin. All of the twenty makers of the quilt are known, so the quilt was chosen not only for its fine workmanship, but also for its provenance.

Also shown in the exhibit are a fund raising quilt for a school in New York; a crib quilt made in Virginia, and twentieth-century quilts made in Alabama. “All tell stories about people and events of the past.”

This sounds like a wonderful exhibit. If anyone is in the area this summer, I urge you to visit this exhibit!

Information extracted from Colonial Williamsburg: The Journal of the Colonial Williamsburg Foundation, Spring 2010.

This announcement brought to you courtesy of Quilter’s Muse Publications

A Brief History of Women’s Underwear

Thursday, June 24th, 2010

H. Kristina Haugland, Associate Curator of Costume and Textiles at the Philadelphia Museum of Art has made an illustrated lecture available online: “Revealing Garments: A Brief History of Women’s Underwear.” I hope you enjoy this presentation as much as I did.

For more information on this delightful topic:

A New Hampshire Friendship Quilt

Saturday, June 19th, 2010

Undocumented friendship quilts are always a challenge. Sometimes, it is difficult to track down the signers, and sometimes, it seems next to hopeless. However, I like a mystery. Here is a small glimpse of a new (old) Friendship quilt I collected this summer. Okay, it is not too old. It is dated 1989. The condition of it makes it seem much older, but the newer fabrics present also tell the story. Yes, every quilt DOES have a story!

NH friendship quilt

Quilt acquired in New Hampshire

The names of the signers of this quilt are embroidered. There is a wide range of blocks that include a Hmong block, a block with 19th century shirting fabrics, one with Guatemalan woven fabrics, one with ribbons, one that is crayoned and has an embroidered dinosaur, and others.

The overwhelming tribute these blocks have in common is that they are absolutely filthy. Due to the fact that there are so many different kinds of fabrics and fibers in this quilt, I have shipped it off to the University of Rhode Island as a learning project for students in the department of Textiles and Fashion Design. It is beyond a home-cleaning situation, and they should have everything at their fingertips to remove dirt and stains.

Why try to save a dirty old quilt that no one else seems to value? Well, whoever the recipient, she was apparently well-loved in her time, and equally apparent is the fact that she is no longer among the living. If she were, I can bet that the quilt would not be in this condition.

I sincerely hope that this quilt can be restored to the point that I feel I want to add it permanently to my collection. As a matter of course, I try to avoid collecting soiled or contaminated textiles. I would love to find out more about what prompted the making of this quilt and who was involved with it, and most certainly, more about the life of its former owner. If the quilt looks familiar to you, I’d love to hear from you. I purchased it in Rumney, New Hampshire.

Patricia Cummings
Quilter’s Muse Publications

Pieces of the Past – Who Truly “Owns” Them?

Wednesday, June 16th, 2010

If a quilter mentions to anyone else that she/he makes quilts, no doubt, the other party will say that their grandmother or aunt or mother also used to make quilts. Many of these items are no longer within families. People die and let’s face it, material goods often “live” far beyond our lifetimes, and eventually find a new home.

What happens when family members think of old quilts as something just to get out of their hair? Well, usually, the family, unknowingly or not, calls in a “picker” or an antiques dealer who buys a job lot of whatever. and proceeds to disburse household goods.

Most often, dealers are unaware of the history of every item that passes their hands, and do not know, or take the time to find out the monetary value of them. Keep in mind that values fluctuate a great deal based on workmanship, condition, and desirability.

Collectors are drawn to certain items for very different reasons. They may like to collect pieces from a certain time period, or may like certain colors, or place value on an item that seems to be unique to them.

Twice within a short time, I have been contacted by family members who are related to some of the people who made quilts that are now in my collection. They wish to reclaim items that they got rid of without another thought, that I bought from a dealer, and that I have taken the time to research and/or publish. Keep in mind that these same items were of NO value and of NO consequence to the family before now. But since I have bothered to elevate their status by paying attention to them in a meaningful way, suddenly, these items are demanded back, free of charge, to boot! I am mystified by this attitude.

Truly, I believe that a dedicated collector oftentimes values family material goods far more than the family itself. Collectors know how to care for items in their collection to preserve them in the best way possible and not allow antiques to be used, or in the case of special textiles, be ruined by the unknowing who do not have any information about care, display, or storage of textiles.

I feel no obligation to “return” items that I have acquired legally. After I have spent so much time with them, a part of myself has gone into their study and I feel a real connection to the quilter and her work. Some day, with any luck, these items will find another “good home.” Any thoughts?

Patricia Cummings

Appraisals, Values, and Finding Customers for Old Textiles

Monday, May 24th, 2010

If you haven’t noticed, there is currently a downturn in economic trading in the United States. This is not “NEWS.” It is the daily reality of those who are out of work or struggling to pay bills. Often, there isn’t enough money for that CD one has been wanting, or new fabric for that special quilt that one has been wishing to make. We have all had to trim our budgets to make way for the necessary, while leaving the “someday” buys on a shelf, for now.

When people think of downsizing, they often turn to old textiles that some ancestor made. Sure the item is nice, but they no longer wish to own whatever it may be: a quilt, an embroidered pillowcase, a paisley shawl. They simply do not wish to continue to give houseroom to this piece and they wonder how much it might be worth. Usually, it is worth a whole lot less than any sentimental assignment of worth might reflect.

On a daily basis, I receive notes from people in the United States and abroad. They want my “assistance” in telling them what their item is worth and where they can sell it. It seems obvious and flip to mention “eBay,” but in reality, if you don’t want to wait, that is your most expedient choice. If the price is too high, you will get no bidders. Right now, keep in mind that less people are accessing the Internet, in lieu of attending graduations, mowing the lawn, or engaging in other warm weather activities. People seem to spend less time on the computer than in winter months.

Even if I am interested in an item, myself, it would be unethical for me to suggest a price. The price-setting has to come from another source, preferably a certified appraiser. If your item is not worth at least $200., then it probably not worth having it appraised, as appraisers generally charge $50.-55. to look over your textile and write up a report that documents the item.

We are all in the same boat, and probably all own items that we don’t even look at, and have no intention of using again. Yard sales can be a good venue, especially if advertised as a particular kind of yard sale – say, for quilts, and word gets out to the “right” people. Just be sure to have enough helpers on hand so that the mauling hands of people or kids who have just eaten a sticky ice cream cone will not ruin your great grandmother’s Crazy Quilt that can’t be cleaned.

As a non-appraiser and non-dealer, believe me, I am the last person to ask regarding the pricing of your antique items. Appraising has never interested me. It is based on supposition, and subjectivity to a degree that is too high to suit me. It seems absurd to pay someone a fee to be told how much money an item might “fetch” in the marketplace. Anything is worth ONLY what a buyer is willing to pay, surely an unpopular opinion among those who make a lot of money doing appraisals. I am useless when asked to assign dollar figures to textiles!

Until next time, amigos y amigas,

Pat

New Crossword Puzzle Tests Your Knowledge of Quilt Care

Thursday, April 29th, 2010

I have just created a short (but I hope, fun) crossword puzzle for you to test your knowledge of quilt care.

Here is a link to a pdf that you can print out. I’d love to hear from you! Enjoy!

Quilt Care Crossword Puzzle

The July issue of The Quilter magazine, available in May, provides excerpts from my book, Straight Talk About Quilt Care II. This title is sold as an e-book on our website for $19.95.

Patricia Cummings, pat@quiltersmuse.com
Quilter’s Muse Publications

Salem Witchcraft Trials Still Prove Fascinating Today

Tuesday, April 6th, 2010

Imagine yourself living in 1688. In the small community of Salem, Massachusetts, a 13 year old girl accuses the family laundress, Goody Glover, as being a witch. Glover is hanged. The result of that action leads other young girls in the community to begin accusing others of bewitching. The ring leaders are Abigail Williams, 11, and Elizabeth Parris, 9. Other girls follow suit, claiming to see the “specter” of certain people committing atrocious crimes. Eventually, even a man, Giles Corey, is accused of being a “wizard” and is crushed to death with stones. The year 1692 was not a good one for Salem. In all, nineteen women were executed by hanging, and others imprisoned and when the madness was over, released. Still more of the accused died in prison.

One of the first accused and sentenced was Sarah Good. Written accounts portray her as unpleasant, disheveled, idle and lazy. The truth of the matter is that she had lost her father to suicide by drowning and her first husband, Daniel Poole, an indentured servant, died in 1686, leaving debts that fell to her second husband, William Good, to pay. The family had resorted to begging door-to-door. Reportedly, when they received no alms, Mrs. Good would mutter under her breath, words that the townspeople took for curses.

Although she looked much older, Sarah Good was only 39 years old (note: accounts of her birth year vary from either 1653 or 1655). She was the mother of a small child (some accounts say her daughter was four years old, while others say that Dorcas was six). Hauled off to prison after being denounced by her own daughter, the court received additional damning testimony from her own husband that she was not “good.” She was pregnant, but sent to prison anyhow, and her infant child died there. Dorcas was also put in prison and wasn’t quite “right” the rest of her life.

Sarah was arrested on February 29, 1692 and thrown into prison. The first day of trials in 1692 was scheduled for June 29, and Sarah, along with four other women were sentenced to die. On July 19, 1692, this sentence was carried out. Later, William Good would receive one of the highest amounts granted, in payment for his wife being unjustly taken from him.

Old Witch House block

“Old Witch House” quilt block, as re-interpreted by Patricia Cummings (in needleturn appliqué)

Fast forward to the early 1930s. While visiting Salem, Massachusetts, Ellen Webster enters the Corwin House, the former home of Magistrate Jonathan Corwin who sentenced Sarah Good to die. During the Great Depression, the upper floors were rented out to dealers of antiques. One of the antique quilts that Mrs. Webster saw there had a tag on it that said that the quilt had been found in the “Old Witch House” – “The witch was Sarah Good and the house was Jonathan Corwins’, corner of Essex and North Streets.”

Read more about this block in my e-book and see the design that Mrs. Webster re-created! (I’ve added borders to mine). Is this block believable as one made in 1692? I have my own opinions. What is yours?

To read more fascinating stories, please consider acquiring a copy of my e-book, Ellen Emeline (Hardy) Webster (1867-1950): Her Amazing Quilt “Charts,” Her Writings, and Her Life by Patricia Lynne Grace Cummings and James Cummings. See our home page for details. Comments? Questions? Please write to us at: pat@quiltersmuse.com