“Little Dutch Girls” Vintage Project

24 03 2017

My friend, Jenn, procured 30 “Little Dutch Girls” blocks hand stitched by her paternal grandmother, Leoma. We estimate that the blocks were made in the 40s or 50s. Look closely and you will see several distinctive design elements. Note that the blanket stitches are a long stitch alternating with a short stitch. Also note that the girls have two arms (or an arm and a hand); most Dutch Girl patterns that I’ve seen show only one arm. In addition, Grandma Leoma positioned the arm shoulder height toward the edge of the dress rather than in the center of the dress as most patterns of the era do.

 

Jenn gently washed the blocks by hand using “Retro Clean” whose motto is “safely brings age-stained textiles back to life!”  The dolls were appliqued onto thin muslin rectangles that had been ripped rather than cut with scissors. The “fraying” resulting from ripping the blocks actually helped preserve their shape through the years. After pressing and measuring them all, I trimmed them the size of the smallest block, 7″ x 9.”

To “share the wealth” among family members, Jenn decided to split the blocks into three projects. Her mother sewed pillows of one Dutch Girl each for Jenn’s siblings, I made a wall quilt with four of the blocks for Jenn’s mother and father, and Jenn designed a quilt using the remaining 20 blocks. Although Jenn likes to decorate with muted, earthy tones, we had to choose sashing fabric that would coordinate with the primary tones of the Dutch Girl bonnets and dresses. Most Dutch Girl quilts of the 40s and 50s were sashed with solid colored fabrics; we followed suit with a turquoise/teal and rich brown. Here’s a photo showing the steps used to make the sashing pieces.

For the outer border and star centers, we found a dainty print in Edita Sytar’s “Color Daze” line that paired the turquoise with the brown.

Since hubby set up my long arm machine last weekend, I’ll soon be quilting “Little Dutch Girls.”  I plan to use tan thread and an edge to edge clamshell design. Jenn is excited to see the project begun so many years ago completed. The quilt is doubly precious because Grandma Leoma passed away at the age of thirty when Jenn’s father was eight. I feel blessed to have a hand in making an heirloom quilt for Jenn’s family.





Common Threads Quilting

14 12 2016

Hubby and I drove to Texas for a pre-Christmas visit with our daughter and family. Following a hunch, I googled “quilt shops in Texas” to see if there was one along our route. Common Threads Quilting in Waxahachie looked the most promising, and it did not disappoint.

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If you like Civil War and/or 1930s repro fabric, you will feel right at home in this shop. They have it all – from cheddar to shirtings to the latest repro releases. The tall ceilings facilitate the hanging of many samples for kits the shop assembles. The Cottontail Meadow block of the month caught my eye. Isn’t it precious?

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The staff is knowledgeable and friendly. And all the colors, fabrics, and samples combine to inspire!

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I was happy to hear that most of their merchandise is also offered online!

Should you stop by Common Threads Quilting, you might plan an additional hour in your shopping trip for browsing in the nearby antique malls as I did. Besides admiring vintage furniture, glassware, jewelry, and memorabilia, I spotted a pile of quilts. The string pieced tulip quilt is my favorite!

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Thanks, Waxahachie, for an enjoyable afternoon!





Vintage “Jacks on Six”

19 09 2016

img_0115Cindy, a friend of a friend, asked if I would finish a “Jacks on Six” quilt top her mother pieced years ago. She found the top while looking through some dresser drawers and thought it would be a wonderful gift for her soon expected granddaughter. I agreed to finish this family treasure for the next generation’s use and enjoyment.

As with most vintage quilt tops, this one did not lie flat when spread out on the floor. My usual solution is to use a high loft batting manufactured by Fairfield. But I wanted to give the quilt weight as well as pouf, so I used Hobbs 80% cotton/20% polyester AND Fairfield low loft polyester batting. The poly batting and simple meandering quilting in the quilt’s interior helped to ease in fullness. I used off-white thread because most quilts made in the 70s were quilted with white thread. A curling vine adds interest in the narrow white border.

Working with this quilt caused me to compare the “rules” we quiltmakers follow today with the quiltmaking conventions of the 70s.

Rule #1 – Thou shalt make quilts with 100% quilting cotton. Haven’t you heard this rule preached ad infinitum? The reason behind the rule is that using the same fibers throughout the quilt will ensure that it goes together without puckers resulting from uneven stretching and that the quilt will wear evenly over time. In contrast, besides quilt-weight cottons, Cindy’s quilt contains kettle cloth, seersucker, cotton/poly blends, and light weight canvas for home decorating.

Rule #2 – Thou shalt buy thy fabric at quilt shops for they shall surely offer quality merchandise. We love all the cotton manufactured especially for us quilters! And we patronize local quilt shops to purchase the solids, tone-on-tones, geometric prints, florals, stripes, and plaids. Contrast our current practice with the idea of making quilts with scraps left over from garment and home decorating projects. I don’t know about you, but I rarely make clothing; it’s less expensive nowadays to buy readymade clothing. And it’s generally less expensive to buy readymade curtains and pillows. But 40 years ago this was not the case. Many homemakers made clothing for themselves and their families as well as curtains and pillows for decorating. And thrifty ladies used the scraps to make quilts.

Rule #2a – Thou shalt surely not re-purpose bed sheets for thy quilt. Many bed sheets are woven with a higher thread count than quilting cotton, offering resistance to the needle which might translate into skipped stitches when machine quilting. Contrast this rule with a current trend among some quilters to use vintage sheets, softened with years of use, as quilt backings. You can appreciate the available source of white fabric found on the edges of a sheet too worn in the center for bed use. Cindy’s mother used white sheeting as a narrow border around the quilt.

Rule #3 – Thy scrap quilts shall look color coordinated. Nowadays fabric companies require designers to design 10-20 prints and tone-on-tones that would coordinate well in a “planned scrappy” quilt. Compare this marketing trend with the earlier practice of “everything goes” in a scrap quilt. Orange, red, and pink set side by side; large scale prints, ginghams, stripes; no matter the style, all can go in the same quilt.

Rule #4 – Thou shalt cut thy pieces accurately. Rotary cutters and rulers help us with this task. Consider the simple tools quiltmakers used prior to the invention of the rotary cutter:  scissors, light weight cardboard for templates, and marking pencils for tracing around the templates. Most quiltmakers today aim for precision in cutting whereas many quilters in past generations, who did the best they could with what they had, counted on copious hand quilting to compensate for piecing anomalies.

Rule #5 – Thou shalt piece efficiently. Today’s quilt designers study quilt block designs, asking, “Could this block be made a simpler way?” Take a close look at this “Jacks on Six” block. Notice that the block is made entirely of half square triangles. I would have substituted squares for 3 of the HST units. However, using triangles allows for an interesting mitered effect when using stripes as you can see in the photo below.

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Rule #6 – Thou shalt sew consistent scant ¼” seam allowances. This is the biggie, the most important rule most quilt instructors harp on! Upon inspecting the back of this quilt, I discovered that the seam allowances varied from 1/16” to 3/8” in width. This inconsistency caused the blocks and the quilt to bubble (not lie flat).

Rule #7 – Thou shalt use neutral thread. Most quiltmakers these days piece with off-white, tan, light gray or pale yellow, feeling these neutral colors will blend with most of the fabrics in their quilts. Contrast this with quiltmakers in the past who sewed with whatever thread was currently on the machine or on the bobbin, leftover from a home sewing project.

Rule #8 – Thou shalt measure and trim block units prior to constructing the blocks. It’s always a great idea to compare the actual measurement of the sewn block units with the measurement given in the instructions. If your units aren’t the correct size, either adjust the seam allowance by re-sewing or trim the units to the correct size. The “Jacks on Six” blocks would have gone together more accurately if all the HSTs had been trimmed to the same measurement prior to assembling the blocks.

Rule #9 – Thou shalt measure and trim thy blocks prior to sewing them into the rows of thy quilt. Despite our best efforts, quilt blocks don’t always turn out to be the correct size. Because fabrics are a bit stretchy and we aren’t robot seamstresses, we need to measure and trim all the blocks to the same size prior to assembling the quilt top. This is particularly important when making a sampler quilt. Following this rule is your quilt’s best chance of lying flat.

Rule #10 – Thou shalt measure thy quilt through the center to obtain the correct measurement for thy border strips. Following this rule avoids the wavy border syndrome.

Although Cindy’s mother did not follow all the current “rules” 21st century quilters espouse, her quilt has one benefit ours generally don’t. Memories.

Cindy said she took a trip down Memory Lane when she lifted the quilt top from the dresser drawer and unfolded it. The fabrics in the quilt recalled images of kitchen curtains, new school dresses, and her mother’s aprons. The memories prompted by fabric are certainly a benefit of an “everything goes” scrap quilt. These types of memories can’t be emulated by purchasing coordinated fabric from one line. No matter the broken rules for cutting and piecing, this is a quilt of enduring memories, truly a treasure for Cindy’s family.

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Grandma Flora’s “Bowties”

10 05 2016

IMG_20160507_113040_352When Sharon, a new friend at chapel, learned that I finish quilts for customers, her eyes brightened. “I’ve got three quilt tops pieced by my grandmother that were inherited by my mother. My mom passed 20 years ago without having them finished. Could you take a look at them?”

Before accepting the commission, I talked with Sharon about the options of preserving older textiles for posterity’s sake. Many quilt historians advise leaving some antique or intricate quilt tops as they are – unquilted – because “the quilt is only as old as the newest piece of fabric it contains.” We determined together that her quilt tops are not museum quality, but they are important pieces of family history. In a real sense they are Grandma’s heirlooms passed down to Sharon. They will be most useful if they are finished and their coziness is enjoyed as Grandma originally intended. (In researching the origin of this quilt, Sharon learned from an aunt that her grandmother Flora often pieced quilts with her friends Ms. Georgia and Ms. Della Mae all of Dawson, Georgia. This top may have been completed in the sixties or early seventies.)

IMG_20160506_214058_071All three quilts were pieced by hand and included home decorator fabrics, cotton/poly blends, and twill as well as 100% cotton. When I asked Sharon to select the quilt she most wanted finished, she chose the “Bowtie” twin size quilt because she remembered her mother mentioning it.

Most of the white and all of the solid fabrics are twill (like khaki pants or school uniforms are made of). Many of the squares were pieced together prior to constructing the “Bowties.” Grandma Flora used what she had!

The print sashing fabric is charming; notice that two colorways of the print are used. There’s a farmer and his wife holding a baby, a cat on the roof, a goose girl, chickens, and a woman hanging laundry on the line while a dog looks on. The bright colors of the sashing influenced my selection of the bright print backing fabric.

Although I generally use a predominantly cotton batting, in this case I chose a high loft polyester batting manufactured by Fairfield because I observed that the quilt was irregular and did not press flat. Polyester (and wool) allow the uneven places of a quilt top to puff up, making the fullness less noticeable. A pale yellow thread blends well with the bold colors and is nearly invisible on the white background. By using a simple meandering quilt design, I was able to work in most of the fullness.

Interesting Construction Technique:  Sharon’s grandmother constructed the “Bowties” with a technique I have not seen before. Normally when we observe bowties like this, we assume the small center square has been set in, stitched to the 4 larger pentagons.

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Take a look at the back of the block. Instead of cutting out 4 pentagons (2 blue and 2 white), Grandma Flora simply cut out 4 (large) squares.

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I replicated Grandma’s method for you, and snapped pictures as I went along. Beginning with two white 3 1/2″ squares and two blue print 3 1/2″ squares, I marked the white squares 1 1/4″ from the corners that will end up being in the center of the “bowtie.” I machine stitched from the edges of the squares toward the center of the “bowtie” and back-stitched at the marks. The four 3 1/2″ large squares form a “Four Patch” with a hole in the center. I folded and pressed the unsewn triangular flaps toward the back of the block.

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The next step is securing a 2 1/4″ square of blue fabric on top of the triangular flaps on the back of the block so that the right side of the blue fabric shows on the front of the block. Since pins proved difficult to use, I applied washable school glue on the folded flaps. Then the flaps could be easily lifted upward as I hand stitched on the pressed fold line all around the small square.

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When I came to a seam, I back-tacked and slid my needle through the seam allowance to the adjacent flap. Grandma Flora did not trim away the triangle flaps. They don’t show through to the front of her quilt because the twill fabric is thick. However, I recommend trimming the seam allowance to 1/4.”

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I share this technique, similar to “reverse applique,” with the thought that in the future we may see an application for using this idea in quilts we are working on. It’s always nice to know several construction methods for patchwork designs. If this method intrigues you, I recommend “Piec-lique:  Curves the New Way” by Sharon Schamber.

Do you own a vintage quilt top that needs completing? What is its approximate age? What “problems” do you need to overcome in order to finish it?

 

 





The Pioneer Women’s Quilt Club 2015 Show

15 10 2015

IMG_20151010_135523_052Have you been to Nashville . . . Indiana? It is a weekend destination for Indianapolis area citizens who love gift shops packed with both country crafts and upscale merchandise. Additionally, there’s homemade ice cream, pioneer history and crafts, and nice eateries in rustic buildings.

On Saturday my friend, Julia, drove me to Nashville to join the throngs enjoying fall foliage and shops AND the Brown County Historical Society’s 36th Annual Quilt Show. I snapped several photos of antique quilts which are always an inspiration.

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Over 100 quilts were in the judged portion of the show – some simple, and some complex. We both enjoyed the colorful display and variety of designs. The Bargello, “Michael’s Gift” by Kenneth Ramsey was awarded Judge’s Choice. “El’s Kitchen” by Donna McElwain took Best of Show and Best Machine Quilting and Best in the Mixed Technique category.

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IMG_20151010_130947_161 (1)As at most quilt shows, we could vote for our favorite. I chose a star with four mini “Nine Patches” in its center. The quilting with golden tan thread perfectly complements the patchwork. Since I have some spare “Nine Patches” from a guild exchange, I just may have to try this design! At quilt shows it’s fun to marvel at the super intricate and ultra time consuming quilts, but it’s also inspiring to find a design that prompts me to say, “I want to make a quilt like that!”

20151012_202402And speaking of being inspired at quilt shows, if you live near Sanford, NC consider attending the Heart and Hands Show at the Dennis A. Wicker Civic Center. Dates and times: Friday, Oct. 16, 10 a.m. to 5 p.m. Saturday, Oct. 17, 10 a.m. to 4 p.m. Will you be there? I hope to attend Friday morning.

Pictured: R. Andrea Barber’s “The Amana Block” – inspired by an antique block found in an antique store in Amana Iowa, Lu Brunnemer’s “Nine Patch Irish Chain” – wonderfully hand quilted, R. Andrea Barber’s “Autograph Quilt” – an international block exchange, Connie Pockevich’s “More Morris.”





Coryell Museum in Gatesville, Texas

22 08 2015

Gatesville, in Coryell County Texas, has at least one claim to fame; it is home to the Coryell Museum and Hostorical Center. We bribed the grandkids with the promise of a pizza lunch if they would first accompany us to the museum. Click here to read about the museum and see pictures of some of the exhibits.

There was something to interest everyone: the spur collection of Lloyd Mitchell, a double walled log jail, a school room, hair salon with “scary” multi-wired electric curler contraption, soda shop, wicker funeral casket for home viewing, chuck wagon box and prairie schooner. Of course I was most interested in the quilts. Many were signature quilts made between 1900 and 1930.

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Names were embroidered in the centers of the stars in the upper quilt . Click on the picture for an enlargement; you will see embroidered cowgirls as alternate blocks for the appliqued cowboys.

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This scrappy quilt is an old pattern of muslin shaped bowties and quarter circle prints, constructed with careful curved piecing. The muslin area of each 6″ block gives ample space for embroidering names. If I made this quilt today, I would applique quarter circles of print fabrics in opposite corners of a muslin foundation.

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The Dresden Plate quilt was a planned scrappy quilt. I imagine that the plan was for each person to make a Dresden Plate with just two fabrics, a solid and a print. The setting is unusal – in rows with orange sashing. Next in line, the patriotic quilt is simple yet striking.

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This quilt was most interesting to me because I have never seen this design. Have you? Do you know the name of the design? The shapes look a little bit like photo corners in old scrapbooks. Maybe the quilt planner thought the design would be appropriate for an album quilt of signatures.

We all enjoyed our nostalgic walk through yesteryear at the Coryell Museum, and Studebakers Pizza afterwards was the best!





Re-Quilting

1 07 2015

DSCN7461“Can you quilt on your longarm machine a quilt that has already been quilted?” was my male cousin’s question.

“It depends.” In my estimation, it depends on the condition of the quilt and its fabrics, the style of the previous quilting, and how the quilt will be used.

In my cousin’s case, the quilt of 8″ squares was basically intact; a few split seams were easily repaired. The quiltmaker, an elderly lady, used polyester batting, and she tied the quilt. Many of the ties have come untied during the 20 plus years my cousin has used the quilt.  G.C. felt that a simple, all-over quilting design would extend the life of the quilt and render it more wash-able. He plans to use the quilt in his home and on road/camping trips; it is not a display-only heirloom.

I accepted the challenge of re-quilting and discovered the multitude of fabrics used by the quiltmaker:  quilting cotton, poly-cotton sheeting, nylon jersey, double knit, and the backing is drapery fabric as are many of the 8″ squares. In case you are wondering how the fabrics you use today will withstand the test of time, I’ll testify that all these types of fabrics are sturdy, polyester double knit will never dry rot, and the drapery backing has only a few worn places on the very edges of the back-to-front binding. (Not that I am planning to switch to drapery and home dec fabric for my own quilt backings any time soon!)

G.C.’s quilt is not perfect; it’s not even pretty. But it has been a comfortable and comforting companion, well-used and well-appreciated. I believe the all-over meandering in gray thread will extend the life of the quilt as he wished.

Another example of the re-quilting question was my aunt’s desire for me to cover two old patchwork quilts made by her grandmother and great-aunts. Although the patchwork designs were interesting and well-executed, the fabric is worn in many places. Unbonded cotton batting resulted lumpy areas and thin areas (unbonded cotton batting shifts within the quilt when washed). Auntie wanted the quilts covered front and back with new fabric and quilted through all layers so she could use them on beds for warmth in wintertime. While I am willing to make large pillow-case type covers for the quilts, I do not advise using them as fillers for new bedcoverings because the quilts have more family value as they are. In the future, a granddaughter might like to decorate her home with antique textiles. In addition, the older batting and tattered edges of the quilts would have been difficult to work with on my longarm. In truth, I would rather make my aunt a new, warm quilt than to cover her family quilts with new fabric.

Would you re-quilt a quilt? “It depends,” doesn’t it?