First Prize Quilt

This surely is a "collector's dream" quilt.

It pretty certainly dates to the 1930s.  The peach and soft green were both new and popular colors at the time. I think the cream background is fairly close to the original color, i.e. not a yellowing of a truer white.

Trip Around the World

This Trip Around the World quilt is a comfy cozy sort of quilt, don't you think?

Here's a cross-section close-up view of all the fabrics.

There were two squares with torn fabrics.  For both of them, I used the trick of flipping the patch fabric to the reverse side.  Sometimes this works really well to mimic the faded look of the older fabrics.  It totally depends on how the fabric was printed.  The reverse needs to have just the right amount of bleed through color from the front.

These photos compare swatches right sides up (at the bottom of the photos) to the reverse side completed patches.

And in this photo, I marked where the patches are.  I had lots of trouble finding them, and I'm pretty happy about that.  Goal achieved.

Embroidered Initials

This quilt dates to c. 1900.  This 4-patch 9-patch combination block would be a nice pattern for beginning quilters.

There are initials embroidered with a tiny stem stitch in most of the blocks.

This block has a previous repair - I can tell because I can see the appliqué stitches and the pieces don't always match up to the old seams.  The initials were covered over.

Here's a tiny patch that I did - I'm excited about successfully manufacturing a two-color patch across a seam!

Happy Summer Sailboats

Isn't this just the happiest quilt!  This is part of what makes repairing quilts so much fun - I get to have quilts like this come and visit for a while.

The combination of block designs and colors make this quilt a delightful rendition of being out on the water on a sunshiny day. (And yes, it does look like it was cut down at some point in its life.)

And isn't this interesting - an appliquéd Mariner's Compass.  Has anyone else seen one before?  I love that it's multicolored.  But these days I'm finding myself drawn to any design that uses the full spectrum, so that's not too surprising.

Art Deco Second Addendum

Well, here's another addition to my increasing knowledge Cleopatra's Fan, the Art Deco-style pattern on this quilt.  Here's what's gone before:
Original post
First addendum

A very astute and friendly reader of this blog scouted out and is sharing a couple of websites with us.

Art Deco Addendum

I posted about a week ago about the quilt I repaired with an Art Deco pattern that I couldn't name.

Yesterday morning, over breakfast, I was leafing through the current catalog from Keepsake Quilting, and came across a kit for this quilt.

Keepsake Quilting kit #6253

Embroidery and Prairie Points

Next up in the quilt repair queue:  The stitching on this one, both the embroidery and the quilting, is really expert.  And then it has the prairie points giving a nice sparkle to the edge.  Try imagining the quilt without them; it really would lose a lot of spirit.

Sadly, this lovely embroidered quilt had an unfortunate interaction with the family dog.

Here's the repair step-by-step.

Art Deco Flowers ... or Fans

When this quilt arrived for repair, it just plain made me smile.  Such a nice pattern!  I was certain I'd seen the block many times and would quickly look it up and be reminded of its name.

Well, nope.  I haven't found it in the pattern compilation books.  I asked an appraiser that I know, and she didn't have a name for it either.  She said it could be a fans variation.  The owner had been thinking they were flowers, possibly tulips.

All I can say for sure is that it is firmly Art Deco, be it a rendition of a fan or a flower.  The fabrics are firmly in this era too, probably towards the end of it, c1940.

It must look familiar to me because I find the Art Deco style so intriguing, and have looked at so many photos of Art Deco everything.  I can easily imagine this design as a wide tiled or relief border up either side of a fancy doorway, for example.  Bottom line: I really like it.

More of this story at Art Deco Addendum and Art Deco Second Addendum.

..... But Wait, There's More

Yep.  One week later, the next estate sale.  Another button collection......

I pawed around in a little basket of little ribbon bows, so ancient and decrepit, destined for the garbage bin.  Underneath, there was this nice-looking button collection rattling around.  They'd only sell it as a "set", so I bought the whole thing.  You understand, I'm sure.

Well, in amongst the buttons was this packet, mailed in 1957 for 3 cents, to Miss Mae Awe.

And inside the packet, Mae's thank you gift for filling out a customer survey.  Uh-huh!

I do so love estate sales!

.... and More Buttons

Yep, another estate sale, another button jar.  I just can't pass 'em up.  All these for one dollar, folks.  Score!  (Thanks to my friend Gloria who spotted these while I was reveling in a box of sewing room odds and ends.)

I have now reached the point of no return.  I must DO something with all these buttons!  Jewelry?  Quilt embellishment?  (I've already done a bit of that, see links below.)  A quilt design executed entirely in buttons?

Vintage Music

At an estate sale, I found some wonderful old music magazines.  I bought a few and gave them to a musician friend for her birthday.  A couple are from 1910, and a couple from 1933.  I photographed some interesting bits to share with you here.

Covers went from black and white to color at some point during the intervening years.

  

   

Pennsylvania Tulips

The pattern on this cheerful quilt looks so familiar to me.  While I was mending it, I realized that it reminds me of Pennsylvania Dutch hex signs.  I looked online, and saw more than a few hex signs that have the same style of tulips, elongated diamonds with the two pointy leaves.  And then I learned from the owner that the quilt had been purchased in Pennsylvania.  

The block combines two design elements that have been favored by quilters for many, many, many years - stars and flowers.  It is entirely pieced, the circles being squared with 4 white corner quadrants.  I especially like this block in a softer, rosy red.

I found names for the block in Jinny Beyer's book, The Quilter's Album of Patchwork Patterns.  It was published as Cottage Tulips in 1931 in the Kansas City Star, and as Olive's Yellow Tulip in 1958 in Mrs. Danner's Fourth Quilt Book.  

When I Really Fell in Love With Quilts

After I graduated from college in 1977, I stayed on campus, working on the data base of one of the profs.  I spent most of my days on the computer, editing transcribed field notes on monkey social organization.  

At that time, the state-of-the-art was the big mainframe computer to which we submitted jobs and waited, and waited, and waited, for output.  I really needed some color and handwork in my life.  My mom was always saving sewing scraps and talking about making a quilt.  We never did do it, but that's what gave me the idea to try quilting with a little, 6-week, just-for-fun class at the student union.  

After a few years of pillows and placemats and my first big quilt, I was in San Francisco visiting some friends, and decided to hop over to Oakland and see the quilt exhibit there.  The exhibit was curated by Pat Ferrero, Linda Reuther, and Julie Silber.  It was life-changing for me!  And I guess it was life-changing for lots of folks, since it became a landmark exhibit.  

I recently discovered the out-of-print catalog on a used book website.  I was so excited!

This exhibit came 10 years after the famous Whitney Museum exhibit in 1971 that first hung quilts on the wall and discussed them as art.  The curators in Oakland had an additional theme, and gathered period photos and artifacts and family stories and arranged them alongside the quilts.  They presented the quilts as windows into women's lives.

One story that always has stayed with me is this:  There was a set of beautifully made and unusually colored quilts, interesting dark purple-ish and maroon colors.  Turns out, these pieces had all been dyed black, by the quilter, while she was going through a deep depression.  I was struck both by the incredible sadness that she expressed so eloquently, and by the thoughtfulness of her descendants, who kept the quilts and her story to honor her.  

The catalog has wonderful essays by several historians about quilts as objects that express everyday history and the lives of everyday people.  This concept has become a big part of my love of quilts.  It's one of the reasons I feel so good about repairing and preserving quilts.  I wrote about this in two of my previous posts: Thoughts About Repairing Antique Quilts and Textile Stories.  And I like the idea that today's quilters are creating this same kind of history for future historians to enjoy.

The three curators also produced some of my favorite books and videos - and I am deeee-lighted to add this one to my collection.  (I have no connection with their business, just spreading the word, especially for newer quilters who may not be familiar with their work.)

Schoolhouse Quilt

This Schoolhouse quilt has the kind of lovely and graphic look that for many people simply means "American quilt."

This poor old thing was is pretty bad shape, especially the lower row and edge.  I did both repair patching on the worst places, and a goodly amount of conservation backing and stitching where rips and tears were less dense.  You can see both in this photo:

Glowing Pineapple Quilt

This is a lovely silk Pineapple quilt.  There are lots of wonderful colors, still bright and clear.  This quilt definitely puts to rest the view of antique fabrics as drab and basically brown!  In the 1700s and 1800s, the pineapple was often used as a symbol of hospitality.  I've also sometimes heard this pattern called Windmill.

It's super large - about 81" x 92".  Older quilts, meaning earlier on in the 19th century, are sometimes quite large because they were made for very high bedframe with trundle beds stored underneath.

Most of the fabrics are silk, with a few velvets in the mix.  They are in pretty good condition.  All I did for the quilt was to vacuum it to clear out old dust and freshen it up.  Visit this post for instructions for vacuuming quilts.

Scrappy Bow Tie Quilt

Here's a 1950s era Bow Tie quilt.  I'm getting in a lot of quilts from the 50s and 60s now.  I guess that's a data point on the longevity of cotton fabrics.  The colors are still quite bright and happy.

There were a couple of fabrics that had really fallen apart, like this solid brown.  

Ancient Roman Mosaics

My friend Shauna recently spent several weeks in France.  Amongst her wonderful travelogue of photos, this one really caught my eye.

Crazy Quilt Saga - Repairs

This crazy quilt provides a good example of the different techniques that I use to help maintain aging silks.  It also had a special problem - a silk ruffle on the edge, some of which was in really bad shape.

I used three different techniques, depending on the type of damage in each patch:

Prize-winning Quilts of 1947

While poking around on the "interwebs", I found a fun vintage photo.  It made me smile, and I hope you'll enjoy it, too.

It is captioned:
"Two women examine the award winning quilts on display at the 1947 Illinois State Fair."

The four prizewinning quilts are:
Double Wedding Ring, Cathedral Windows, Grandmother's Flower Garden, Irish Chain

These are not at all unexpected as favorite 1947 quilts.  Wouldn't it be fun to be able to see them in  color?!  The photo also provides a fun little glimpse of ladies' dresses, hats, and bags of the time.

The photo is in the extensive collection of the Illinois Digital Archives.

Crazy Quilt Saga - History

This quilt is a family heirloom, made by the great-grandmother of the current owner.  My thanks to the family for sharing their ancestor's story, and thereby the story of this quilt.

  

The quilt was made by Angela MacGregor Coutts Lewis.  Angela lived from November 20, 1871, to April 29, 1947.

Crazy Quilt Embroidery and Family History

Here are some lovely embroidery details from a crazy quilt c. 1890-1900.  Family history has it that this quilt was made by a group of "church ladies", possibly a church sewing circle.  There are certainly some areas of stitching that are done with much more finesse than others, which supports the oral history.  The quilt belonged to the current owner's ancestor, Mabel Connelly, who was a farm wife in central Indiana.  The quilt has had a hard life, very mistreated for many decades.  So there is little left of many of the fabrics. The embroidery still has lots of life left in it though, and the artistry of the makers still shines out.

Lovely embellished initials, probably representing Mabel's husband.

Another set of initials, the person not known to the quilt's current owner.