You may get help from an expert in the field. Many quilt shops have owners or workers knowledgeable about quilt dating and patterns who might be able to tell you roughly when your quilt was made. To see if there is a quilt store in your area, look up Quilts in the yellow pages.

Major quilt shows, held around the country, sometimes offer appraisal booths, where for a fee, quilt experts look at your quilt and tell you approximate date and will identify the pattern. It's like "Antique Roadshows," but just for quilts. Or, if you live near a museum with a textile department, call them and ask whether they offer appraisal days.

You can do some detective work on your own thanks to the book Clues in the Calico, by quilt historian Barbara Brackman. If you can't find the books mentioned here, ask your local library to borrow them through inter-library loan. Brackman's book shows how to date heirloom quilts by checking five characteristics--fabric, style, color, technique and pattern.

Another helpful resource for quilt dates is the book Dating Fabrics: A Color Guide 1800-1960, by Eileen Trestain. Trestain's book illustrates over 1,000 color fabric swatches. You can match the fabrics in the quilt to those in the book to get an idea of the time period in which your quilt was made.

If the quilt is made with mostly straight lines, it's likely a pieced quilt. You can identify the block pattern (and find possible names for the block) by using

Prepared by Penny McMorris, quilt historian and author, 8/00.

Quilt dating is a learned skill. Although quilts follow a time line based on their styles, patterns, and fabrics, a quilt historian needs to study hundreds of quilts before she/he is proficient and adept at placing a quilt in a particular time period. Most quilt historians aim for a quarter century, and some feel more confident assigning one date to the fabrics and another to the quilt itself. Seek out a trained quilt historian through local quilt guilds, appraiser organizations, and American Quilt Study Group. Watch for antique appraisal events, quilt sharings, or quilt dating workshops.

If you are curious and eager to know more about quilt dating, look for resources on the Internet or in your public library. Since the early 1980s, state quilt surveys have been conducted and their findings published. Look for state survey books; find a photograph of a quilt that is similar to yours in style and fabrics. This is the first step. Look for similar quilts in other books. Finally, contact a quilt historian to confirm your estimate.

Here are some easy quilt dating clues and a gallery showing examples of these types of quilts:

• Red, White, Blue Quilts with the Bicentennial Symbol (c. 1976)
• Feedsack quilts in simple block patterns (1940s-50s)
• Dutch Girl, Overall Sam, or Butterfly patterns (1930s-40s)
• Flower Garden, Double Wedding Ring, Dresden Plate patterns (1930-1950s)
• Pastel-colored Floral Applique Quilts (1920s-1930s)
• Red embroidered quilts (1890-1920)
• Crazy Quilts in silks, velvets, or even wool (1880-1910)
• Red-Green-Pink Floral Applique Quilts (1850s and Revived in 1880s)
• Silk quilts made with hexagons and diamonds (1840s-1850s)
• Large Central Star with chintz floral cut-outs in the white background (pre-1860)
• Chintz quilts in whole cloth, Tree of Life and center medallion (1800s-1840s)

Caution: These "easy" quilt dating tips represent the eras when the particular style or pattern was popular. Quiltmakers enjoy reviving antique quilt styles with today's reproduction fabrics. Be careful. Don't jump to conclusions.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history, 8/00.

Without seeing and examining your quilt, it is impossible to answer this question. There are so many variables that affect the value of a quilt: age, condition, colors, style, workmanship, history, rarity, and artistry, among other considerations. For example, a 1930s Double Wedding Ring in pastels typical of the period is generally not going to be worth near as much as a pre-1940s Amish quilt or a 19th century Baltimore Album quilt or even an 1880's indigo and white quilt. One of the reasons is that there were so many thousands of almost identical Double Wedding Ring quilts made in the 1930s, which was a major renaissance of quilting. That does not mean that the Double Wedding Ring would have no value, however. Not at all. People love the pretty, crisp Depression-era quilts, partly because of that very familiarity.

Almost everyone has a well-loved Double Wedding Ring or a Sunbonnet Sue or a Grandmother's Flower Garden somewhere in their family, carefully handed down because a grandmother or great-grandmother made it when times were hard. Once, in the mid-1980s, at a Quilt Day in a little town in East Texas, an older gentleman who had brought a quilt to be identified listened with growing impatience to the ongoing discussion surmising why so many quilts were made in the 1930s. Finally he jumped to his feet and declared to the audience:

"You don't understand! The reason we made a lot of quilts back then is because there wasn't anything else to do. We didn't have any money. NOBODY had any money. So we had to make do and make quilts!"

Another reason people love, and therefore value, these quilts is because they are comfortable with them. They know these quilts were originally made as bedcovers and so they feel at ease using them folded carefully at the foot of a bed, or as a colorful spread on the bed. They are usually treasured family heirlooms, loved as much for the person who made them as for the quality of the quilt itself.

But fine 19th century quilts, often with exquisite needlework and perhaps dated or signed, or dark, dramatic Amish quilts with their elegant simplicity, or an original, one-of-a-kind folk art quilt...these are not common quilts at all. It is a lucky family who happens to inherit one of these, because the really good examples are quite rare and quite collectible. And like anything else in the marketplace, the scarcer and more collectible an item is, the higher its commercial value.

Prepared by Karey Bresenhan, President and CEO of Quilts, Inc. and author, 8/00.

Some of the factors experts consider when valuing a quilt include: workmanship, condition, age, history, rarity and design. There are also different aspects of value. Monetary value may be the first to come to mind. A well made, visually appealing quilt in good condition will have monetary value whatever the economic times. There is also historical value such as a quilt, with the documentation intact, made to commemorate a significant event. There is the sentimental value of a quilt constructed by a beloved individual making the quilt priceless in the eyes of a group or family unit.

One aspect of value experts agree upon is the importance of having the story and history of the quilt intact. Knowing who made the quilt, under what circumstances, who has owned the quilt and the travels of the quilt is very significant when determining value of all kinds. Hence the emphasis of quilt experts to quiltmakers to sign their work and label with date, place and some information as to the inspiration of the quilt design. Adding labels with new information as to transfer of ownership and movement of the quilt is also encouraged.

A certified quilt appraiser may be able to help you determine some of the history and value of a quilt.

See "Where can I get my quilt appraised?" and "What is my quilt worth?" for additional information.

Prepared by Margaret Wood, quilt artist and author, 9/00.

Contact a local museum, quilt guild, or historical society. Ask for recommendations of certified appraisers in your region. You also might look for quilt shows and antique fairs where appraisals are offered. For written appraisals of quilts, especially for insurance purposes, find a certified appraiser with experience evaluating quilts.

The Professional Association of Appraisers: Quilted Textiles (PAAQT.) www.quiltappraisers.org, although a separate entity from the American Quilters Society PAAQT is a non-profit organization whose membership is comprised only of appraisers that have been comprehensively tested and certified by AQS, and have proven expertise in the area of quilts and related textiles.

Other appraiser organizations are:

• The Appraisers Association of America
• The International Society of Appraisers
• The American Society of Appraisers

Shelly Zegart has written two comprehensive articles entitled Appraising Your Quilts Part 1 http://www.shellyquilts.com/Appraisingquilt1.html and Appraising Your Quilts Part 2

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history, 8/00.

If you have what you believe to be a valuable vintage quilt and are concerned about preserving it, you may want to contact a certified textile conservator. The American Institute for Conservation of Historic and Artistic Works maintains a web site at http://aic.stanford.edu. The web site provides information on textile care and finding a qualified conservator in your area.

If you want to display your vintage quilt be sure the temperature and humidity are relatively constant in the room. Do not let direct sunlight shine on any part of the quilt.

A very gentle way to display quilts is on an unused bed. Keep cats and dogs away. Cover the quilt with clean unbleached muslin or a clean white sheet when not being viewed. Rotate your displayed quilts so no quilt is on display all of the time.

You may want to fold a quilt and lay it over a quilt rack or on the back of an unused chair. It is advisable to pad the folds with acid free tissue or rolls of unbleached muslin. Every month or so, refold on different lines and also rotate those on display.

To hang a quilt, hand sew a 4" tube casing made of muslin to the top of the quilt just below the binding. Run a dowel through the casing. You can use a decorative dowel that is visible beyond the edges of the quilt or you might use a wooden dowel cut shorter than the quilt width. Wooden dowels should be sealed using two coats of polyurethane finish to prevent resins and oils from discoloring the quilt. Predrill small holes at both ends of the dowel. Hang using nails. Never use nails, pins or staples to hang a quilt. It's a good idea to rotate hanging quilts rather than hang one for years on end.

Prepared by Margaret Wood, quilt artist and author, 9/00.

It may be sufficient to just vacuum the quilt using a low suction setting. Vacuum small sections at a time through a clean, fine mesh fiberglass screen. The screen will prevent any part of the quilt from being drawn into the hose. Vacuum both sides. Most experts warn strongly against dry cleaning quilts. The chemicals are harsh and the agitation process vigorous.

If you have what you believe to be a valuable vintage quilt and are concerned about preserving it, you may want to contact a certified textile conservator. The conservator can advise on current recommended procedures on cleaning quilts and be hired to clean the quilt. The American Institute for Conservation of Historic and Artistic Works maintains a web site at http://aic.stanford.edu. The web site will give information on textile care and finding a conservator in your area.

It is possible to wet clean or wash some quilts by hand. Generally, silk and wool quilts should not be washed. Cotton and linen quilts, if in good condition can be washed with caution. Be aware that there are many kinds of permanent damage that can occur when you wash a quilt. Dyes can run, change color or fade. Shrinkage of the fabric can occur. Sometimes the whole quilt shrinks but worse, sometimes only certain fabrics shrink leaving you with a puckered quilt which will never again lay flat.

Before you wash, test each fabric in the quilt for colorfastness by placing a drop of warm distilled water on each piece to be tested, then blot with a white cloth or paper towel. If any leave color on the blotting cloth, stop immediately. Be warned that even if no colors run during the test, you may find that they may bleed when thoroughly soaked during the washing process.

Any quilt that you want to last awhile should be washed by hand, not machine. Line a bathtub or child's wading pool with a clean white sheet with the edges hanging out of the tub. A wet quilt is very heavy and can be damaged by lifting it directly. Hence the sheet "sling." Start by soaking the quilt in tepid water for up to 12 hours with several water changed. Whenever draining water, do not let the suction pull or stretch the quilt.

If soaking in clear water does not clean your quilt, you may want to proceed with adding Orvus, a neutral detergent, Ivory Soap Flakes or Fells Naptha. Rinse thoroughly as least 10 times with tepid water. Conservators suggest distilled water for the whole process though you should at least use it for the final rinse.

Stain removal is a whole other topic. Working too vigorously on a stain can strain or otherwise damage that area. Often, a stain, using whatever method, seems to be gone only to reappear several months later. You may find that you will have to accept and live with stains.

Let the quilt lay in the tub several hours after draining the last rinse water. Do not squeeze or ring. Using the sheet sling, carry the quilt outdoors and place on a prepared bed of mattress pads or thick towels. Gently spread the quilt, squaring the corners, cover with more towels and press down to remove excess water. Remove top towels, move off the wet bed and still on the sling, cover with another clean white sheet and let it dry thoroughly, turning over once.

You may want to read other articles such as the "Quilt Care" and "Cleaning Antique Quilts" articles on the Quilt Heritage Listserv web site at www.quilthistory.com. Many books discuss and illustrate the hand washing process. First Aid for Family Quilts by Nancy O'Bryant Puentes covers this subject.

Prepared by Margaret Wood, quilt artist and author, 9/00.

I guess my first questions are how do you know those are urine stains? Are they recent? And how do you know it is 50 years old? Is it a family quilt?

Secondly, I'd need to have a description of the quilt. Normally, IF it is cotton and made of colorful printed fabrics (as many mid 20th century quilts are), I'd suggest you wash it in cold water in your bathtub with Clorox 2 powder soap. It should brighten the colors and get rid of the dirt, etc. Repeat the process if necessary. Rinse several times until the water is clear. Then drain out the water, squeeze out the excess water (don't wring the quilt), and lift it up carefully. It will be heavy when it's water laden. You might put the quilt in your washing machine on spin onlythis will get most of the water out. Then spread it out on cotton sheets on the flooror outside on a sunny day. Be sure it is face-down to avoid sun exposure. It should dry quickly.

Remember these instructions are for COTTON quilts. Wool quilts are a different story.

IF the quilt top has a lot of white areas (for example, an applique floral quilt) and the stains are clearly evident in the white areas, then you have a tougher decision. I'd probably recommend the same procedure (above), but these kinds of quilts (floral applique) are usually fine quilts. And if something happens in the process, for example, colors bleeding or the stains are not coming out, you would not be happy and the quilt's value would be decreased.

IF it is a fine quilt, consult a local museum curator for help. Do NOT take a quilt to a dry cleaner. If you'd like to discuss the problem further, please email me. I cannot be held responsible for these suggestions, but I hope I've helped you move toward a decision. Again, thank you for contacting us.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

From your email query, it sounds like you are looking at the possibility of investing time and resources into a new career. If that is true, I'd strongly recommend discussing the career possibilities with professional textile restorers. Contact the curators at Colonial Williamsburg, Winterthur, Metropolitan Museum of Art, and the Smithsonian/Museum of American History. They all have strong educational backgrounds in the field of restoration.

Beth McLaughlin works free lance in textile restoration and with an auction company in Asheville, NC. She worked for the Biltmore on their textile restoration staff. She'd probably give you some seasoned advice.

If you are pursuing workshops in quilt dating and restoration for your own personal interests, I recommend taking advantage of as many different instructors, exhibits, workshops, etc as possible. You may get some conflicting information re: dating, etc but you will learn something from everyone. Each instructor has his/her own area of expertise. As you study widely, you will eventually want to delve into primary sources. Go for it! It's a great adventure.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

IF this quilt was actually made in the 1940s, what you have is a "string" quilt. Especially during the wartime 1940s (when fabric was scarce), quiltmakers salvaged fabric from all sorts of places. They were often tiny, long pieces. Where I live in Tennessee, the quiltmakers talked of their "bags of string" -- meaning "bags of scraps."

They cut out paper foundation pieces (all the same size). Then sewed the "strings" to the paper. When all the blocks were finished, they sewed them together with the newspaper still attached. Before the quilting began, they tore off the paper backing. Often these tops were left un-quilted. And it's fun to "read" the newspaper backing--and find the dates when the quiltmaking was taking place.

Yours might have plain brown paper or even a magazine page. Now to the question--to quilt or not?

Remember it IS your quilt. You get to decide. It's not rare--there are many other examples in museums, etc. But to you, it IS important and precious. By taking off the backing and finishing the quilt by quilting it, you will probably lengthen the life of the quilt.

However, you also might simply want to leave it as it is--with the newspaper stories giving a glimpse of her daily life at that time. Of course, IF you decide to quilt it, you can keep a file folder of the newspaper pieces, too.

Please try to describe the quilt--is it, indeed, a string (scrap) quilt? Or is it more complex? Is it pieced or applique? What are the colors? You mention that you worry that there might be some damage to the fabric--is the fabric cotton (or is it silk)? Cotton should not be damaged. Silk would deteriorate if folded a long time. I'm wondering if this quilt might be much older?

If you have photos and want to send them to me, please do. If you can attach a photo to an email message, I'd be happy to take a peek at the fabrics.

Again, thank you for contacting us. I hope we've provided you with information that will help you make a decision about the quilt.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Do you know how we could commission a quilt? Our daughter just had her first birthday. We would like to have some of her clothing made into a crib-sized quilt. Do you have any suggestions/recommendations of reputable companies that would custom make this quilt for us?

What a lovely idea. It's so very personal, that I think you might also like a personal solution, rather than a company.

I don't know where you are located, but if you want to write back I might be able to find a quilt guild in your area. There are marvelously talented quiltmakers all over now, and I'm sure getting in touch with a store in your area or a quilt guild would locate the perfect quiltmaker for you.

Prepared by Penny McMorris, quilt historian and author

Much depends on where you are hanging the quilt and for how long a period of time. For a short term exhibition: sew a 4" wide casing at the top book edge of the quilt just under the edge of the binding. Allow a slight amount of ease in the casing and sew the bottom edge to the quilt. This casing will be used to support the quilt for temporary handing on an exhibition rod.

For longer exhibitions you may wish to add a second narrower width casing at the bottom edge of the quilt and place a lightweight flat rod into this casing to allow the quilt to hang flat and avoid bowing of the fabric which will occur if the quilt is a long length or large size.

Another hanging method is to sew Velcro to the top edge of the quilt, using the loop (fuzzy) side. For ease of stitching, sew the Velcro to a strip of white fabric and sew the fabric to the quilt. Glue the matching length teeth side of the Velcro to a flat narrow wooden rod. You can attach eye hooks to the ends of the wooden rod or drill holes 1/4" in from each end of the rod. Secure the rod to the wall with nails through the eye hooks or the predrilled holes. Press the two pieces of Velcro together to hang the quilt.

For permanent mounting use a professional framer and ask them to cover an archival foam core board with fabric. The quilt is then stitched to the board across the surface which will support the weight of the quilt. The stitches are not noticed on the surface of the quilt. The board will then be attached to wooden frame boards and fitted with appropriate hanging wire.

For a touring exhibition baste a washed piece of cotton muslin to cover the whole back of the quilt. Attach the casing to this muslin. This covering protects the back of the quilt.

repared by Yvonne Porcella, fiber artist and author, 8/00.

Before you store quilts, they should be clean. At least gently vacuum the quilt using low suction setting. Vacuum the quilt through a clean fine fiberglass screen which will prevent any part of the quilt from being drawn into the hose. Vacuum both sides. If you decide to clean the quilt by washing it, see "How do I clean my soiled quilt?"

Storage areas used for quilts should be clean, cool, dry and dark with minimal temperature or humidity changes. Ideally, a quilt would be stored laying flat in a safe, dark place but if that is not possible, pad folds using acid free tissue paper or rolls of washed unbleached muslin or old sheets. Wrap the folded quilt in washed unbleached muslin or a clean white sheet. Some people store quilts flat on an unused bed, several deep, separated by clean sheets and covered with a clean sheet.

Most sources recommend storage in large size acid free textile boxes. Pack loosely, placing 1 or 2 quilts into a box rather than as many as you can squeeze in the box. Do not wrap in plastic and do not use airtight containers. Air the quilt at least yearly by laying it flat on a bed for a few hours or days. Refold in a different configuration than previously to prevent deep creases. You might tape a note to the box to document when the quilts were last aired.

For additional information on quilt care, check the Quilt Heritage Listserv web site at www.quilthistory.com. Also the Smithsonian Institution web site at www.si.edu/resource/faq/nmah/textiles.htmgives lots of detailed information on quilt care.

Sources for purchasing acid free storage products include:

• University Products, Inc.
  P. O. Box 101, Holyoke MA 01041
  (800)628-1912
  web site: www.universityproducts.com

• Light Impressions
  P. O. Box 11708, Rochester NY 14692-2708
  (800) 828-6216
  FAX(800)828-5539
  web site: www.lightimpressionsdirect.com

• TALAS
  568 Broadway, NY NY 10012
  (212)219-0770
  web site: www.talas-nyc.com

Prepared by Margaret Wood, quilt artist and author, 9/00.

Here are some ideas suggested by members of the Quilt History list:

• Mississippi Cultural Crossroads has a traveling quilt exhibit for children available:

  http://www.win.net/~kudzu/Exhibit.html

• The Greater Ann Arbor Quilt Guild in Ann Arbor, Michigan has a Storybook and Quilt collections of books with quilts that go with them as well as educational materials. These are divided into 4 groups: History, Multicultural, Early Elementary, and Later Elementary. We loan the collections out for 2 weeks at a time but during some months you may borrow them for a longer period. We just ask that you pick them up and return them to me in Ann Arbor. Most of the quilts are listed (some with photos) at the guild web site: GAAQG.org. The collections each contain at least 7-12 quilts and books. We have had nothing but positive response to them and I am sure you would enjoy using them.

• The Quilt Guild of Metro Detroit has made small quilts to match quilts in storybooks and they are available for local schools to borrow and display in conjunction with units for each story. There are four collections with 20-30 quilts in each collection. Some examples of titles with 'quilts to match' include The Keeping Quilt by Patricia Polacco and The Tortilla Quilt by Jane Tenorio-Cascarelli.

Prepared by Karen Musgrave, quiltmaker, teacher, author and folklorist

There are no set rules for starting a quilt guild - in fact, you make up your own rules. But here are some things to consider, if you'd like to join together with other quiltmakers and start a quilt guild.

1. How formal or informal do you want to be? Your guild can be as informal as to simply be a group that decides to get together regularly to quilt together. Or you can formally form a non-profit organization, draw up by-laws, elect officers, and plan activities that might include getting outside teachers and speakers to visit, planning a show, making a raffle quilt to raise money for charity or any other activities your group would like to plan.

2. Will you collect dues?

3. Will you have regular meeting times, and if so, where?

4. Are you interested in raising money for a cause? If so, what types of activities might you want to plan for - a raffle quilt? A quilt show charging admission? Or would you like to just get together to have fun, learn more and enjoy quilts?

These are a few things to consider. Here is an online article that will suggest other topics to think about as you and your guild members plan.

http://www.quiltguilds.com/establish.htm

I would urge you to start small and just have fun without worrying a great deal about bylaws, and lots of rules and regulations. After all, you are probably starting a guild to promote fun, fellowship and quilting rather than rules and regulations and long meetings about bylaws. There will be plenty of time to get into rules down the line if you want to. (And then, perhaps you can let someone else take charge of that, and you can sit in the back during discussions and quilt!)

Prepared by Penny McMorris, quilt historian and author

I was not able to find a book on quilt judging. You can visit the National Quilting Association Inc (NQA) has had a Quilt Judge Certification program since 1979 http://www.nqaquilts.org/judges.html.  They also have a an online Judging FAQ

I want to make an authentic quilt from about 1840 – 1865. How common was tacking; what patterns were common, and which should be avoided; and what were typical borders?

Thank you for your concern about authentic quiltmaking in the mid-19th century. To answer your questions, tacked quilts were not common in 1840-1865. The tacking/knotting/tying techniques were much more common from the 1880s onward.

Patterns to avoid--Crazy Quilt, Double Wedding Ring, Dresden Plate, etc. Patterns that were popular at the time (1840-1865)--Nine Patch, Bar or Strip Quilt, -- and Applique floral quilts in red and green. Chintz applique patterns were very popular, too.

The period prior to the Civil War was a time of prosperity. There were even silk quilts made in the paper template mosaic technique. The problem is that the quilts made for soldiers had to be made of serviceable fabrics (warm and easy to launder and dry).

When people ask me what pattern is the most authentic--one that might have been taken to the Civil War battlefront, I suggest the Nine Patch in cotton prints. The batting was probably cotton and the backing was cotton, too. Weaving linen into sheeting (backing) just wasn't that common. Borders were not required. If they were there, the borders would probably be 2-3 inches wide. The corners might have been square or rounded off. These were quilts that had to be made quickly. Binding might have been made by bringing the backing fabric to the front, folding it under, and sewing it down. Or it might have been folding the top to the back and folding it under and sewing it down.

I've co-written a book Southern Quilts: Surviving Relics of the Civil War. Look for it in your public library--lots of stories, photos of quilts, etc. I also wrote an article about Civil War quilts for the Civil War Artifacts Forum 2002.

Prepared by Merikay Waldvogel, The Alliance for American Quilts board member, researcher, writer and curator of quilt related history,8/03.

Here are some things that may help:

First, if you're in a University community, you might be able to get Elly Sienkiewicz’s book, Baltimore Album Quilts: Historic Notes and Antique Patterns, through an inter-library loan. If not, here are a few books that Elly refers to in her book:

    Cirlot, Juan Eduardo. A Dictionary of Symbols. 1962 Ferguson, George. Signs & Symbols in Christian Art Peroni, Laura. The Language of Flowers. 1982

Also look for any book on Masonic symbolism.

Elly has reproduced many patterns from her earliest books, including comments about the symbolism, in two currently available books:

    The Best of Baltimore Beauties
    The Best of Baltimore Beauties Part II

These books should be much easier to find than her out of print books.

For examples of Baltimore Album quilts, visit the Quilt Index: http://www.quiltindex.org/ and in the Quick Search in the upper right, type “Baltimore Album”  (using quotation marks).

Prepared by Penny McMorris, quilt historian and author

Thank you for contacting us about quilt frames. My first question is what era are you trying to re-create?

If it is pre-1900, then a quilt frame would simply be four flat, straight pieces of wood 5 to 6 feet long. Use C-clamps at the four corners to hold the pieces together so they form a square. Basically, you are going to attach the basted quilt to this square frame. I usually cover each piece of wood with clean cotton canvas. Then I pin the edges of the quilt to the cloth. In old days, they would either hang the quilt frame from pulleys on the ceiling or position the quilt frame on the backs of four chairs.

If you want a more compact working area, you might first pin the basted quilt (top and bottom only) to the wood pieces. And then roll it evenly over the top wood piece. As the quilt is quilted, the quiltmakers unroll more quilt space from that top wood pieceand roll up the quilted section onto the bottom wood piece. The side wood pieces don't have to be so long then.

There are quiltmakers in your area who I am sure will be glad to help you. I know there's a quilt shop on the Iowa/Nebraska border at Omaha. I was there, but can't remember the name of the shop. You also might contact Carolyn Ducey at the International Quilt Study Center at University of Nebraska - Lincoln to ask for a referral to someone in Omaha who could help with quilt frame plans.

Modern quilt frames are floor models usually made of nice wood. And then, of course, quiltmakers working alone used hoops back in the early days and they do today, too.

I look forward to hearing from you. I hope this has helped. Thank you for contacting us.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Do you want to do the search yourself or would you like to have someone do the search for you? You might be able to do a lot of the research on the computer and with your family.

In any case, let's start with a description. I suspect with a college name and date of 1888 on the quilt that your quilt is what we call a crazy quilt. Am I correct? Often there are ribbons with college names/dates included in crazy quilts which become commemorative pieces/memory pieces that are handed down from generation to generation.

Could you take a digital photo and send it to me via email? If not, try to describe its colors, pattern (geometric or floral), or as I suspect "crazy" style. Crazy style quilts were the epitome of fine needlework and quilting in their heyday 1880-1910. Many were made of silks, velvets, etc. and exhibit all sorts of embroidery stitches.

To research the college name, go to google.com and type it in. You might even try Google images and if you are lucky a photo of the school will pop up.

Also you need to ask your own family members what they know about the quilt and who might have been associated with the college in Manhattan, KS.

Keep records, look for photos, and consult quilt history books. Penny McMorris's book, Crazy Quilts, is out of print, but is probably available in a library in Milwaukee.

I look forward to hearing more from you. Thank you for contacting the Center for the Quilt. This might be the beginning of a great adventure for you!

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Here are some ideas for pre-1840 quilt styles from Barbara Brackman's excellent book, Clues in the Calico:

During the period of 1800 - 1840 these quilt styles were popular:

• Irish chain
• Star of Bethlehem
• Mariner's Compass

Borders could be plain and wide, often made of a flowered chintz.

Sawtooth borders, as Brackman describes: "in which a strip of fabric is cut into jagged peaks and appliquéd to the edge of the quilt" were common before 1850.

Quilting could be extremely fancy, or very simple, as in diagonal lines criss-crossing the quilt.

There are now reproduction fabric lines which try to reproduce early fabrics. I don't specifically know of a pre-1840 fabric line.

Also, for pattern ideas, you can search quilts on the Quilt Index and the International Quilt Study Center site, typing in the dates you want to search for.

Prepared by Penny McMorris, quilt historian and author

The swastika is an old design. In quilts it appears in a block traditionally known as Good Luck which was probably named that in the 1930s. I think you may well be right in guessing that as a pattern this block would not be popular after WWII, and that your friend's quilt therefore probably pre-dates that war.

Prepared by Penny McMorris, quilt historian and author

Your query re: Ena Club was forwarded to me. I'm a quilt historian (1930s research especially). I had never heard of the Ena Club, but I searched for it on Google.com and came up with an obituary for Pauline E. Adams, a Ponca City, Oklahoma resident who was president of an "Ena Club." I'd suggest emailing the local library in Ponca City or the County Historical Society and ask them to look for the group in a city directory of the decade the quilt was made. There ought to be a description of the group's activities, etc. It MIGHT still be meeting. One never knows. Please keep me apprised. Wouldn't it be interesting if Pauline Adams's name was on the quilt?!?

I keep files and photos of friendship and fundraising quilts of that era. It's always interesting to find out why the quilt was made.

I hope this helps just a little.

Reply from Questioner
Pauline Adams was my aunt! My mother's sister. The quilt that I saw had my grandmother's name and the name of a sister Violet (Pauline and my mother's sister) who died in childbirth.

Thank you for this - I had no idea where to look. It looks like it was a local organization - I will check out the P.C. library. And I'll send you what I find. It is truly fascinating.

    Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Full Question

I am the youngest of four daughters and we still have the magazine, stuff, patterns, columns, etc,etc,etc. My sisters and I have thought about doing a "come-back" only upgraded somewhat due to now having computers, etc. I can still remember my mother doing the whole magazine late at night after her other job she held. I still see her cranking out the pages one by one on the mimeograph with those blue stencils and ink everywhere and then we would walk around the kitchen table and assemble the magazines and then staple them to be ready for mailing. I just wanted to share some memories with you. I am so proud that her magazine is in the world of quilts still as precious memories. Mom is still with us and although her health has failed and she requires nursing home care, she is still fun to be around and talk a "little" of quilts when she feels like it. Thank you for having her mentioned in the Alliance for American Quilts.......

Answer

I'm so glad you found us! Your query was forwarded to me because I'm the one who put the newsletters, etc online--they are from my collection.

And your mother is VERY well known to me even though I never met her. I acquired a huge collection of quilt patterns, tracings, newsletters, etc. from Mildred Dickerson of Birmingham, AL about 10 years ago. She had died and her husband gave it all to a church rummage sale. I just happened to be in the town giving a quilt lecture. It WAS providence.

Mildred worked with your mother--supply pattern designs, etc. I just checked my AKQB issues--and I think I have all of them from 1962 (Fort Worth) to 1988 The Big Annual (Vinita, OK).

Not many people in the quilt history world have these AKQB--and when I found them, I was fascinated by the diligence of these round robin pattern collectors. There's a lot of history in those newsletters.

You asked about the possibility of reprinting or reissuing some of her publications. I think the Aunt Kate's Folios of Original Quilt Designs (Book #1 and #2) published in 1963 and 1965--WOULD be of interest to today's quiltmakers. And, of course, the other issues are filled with interesting information and history.

Ask your mother sometime if she remembers Mildred Dickerson. or Cuesta Benberry. or any other round robin pattern collectors? Cuesta lives in St. Louis. She'll think it's wonderful!!!

Keep in touch. And thank you for contacting us. And don't throw out your mother's papers, etc. There ARE institutions that would accept these kinds of materials.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Can you help me find a "Chicken Quilt" pattern? Recently, I saw a quilt, which I fell in love with. The lady who made the quilt said she got the pattern about 20 years ago from a newsletter sent out by Leman Publishing. The quilt had a group of chickens eyeing a worm on the lower corner. Do you have any idea where I could look to find the pattern?

The newsletter you mention is Quilter's Newsletter Magazine. Some of their first employees still work for the magazine, and I'm sure they would remember the Chicken Quilt pattern and know whether a back issue of the magazine was still available.

You can find them on the Web, and contact them from their website.

Prepared by Penny McMorris, quilt historian and author

What quilt type represented family history? I am trying to find the name of the type of quilts made in the late 1800's / 1900 ( although I may be wrong about the dates) where families/ friends met to create quilts that were meant to represent their family history through the materials used.

I'm wondering if you are referring to "Album or Pictorial Quilts." Think of a scrapbook with each page being a pictorial block on a quilt or an inscribed/embroidered block on a quilt. Various quiltmakers might make a block pertaining to a person's life and then someone would put the whole quilt together, but just one person might have made such a quilt, too. Album quilts became popular in the 1840s, but they are still very popularespecially for weddings, anniversaries, going-away presents, etc.

Another possibility might be "Crazy Quilts" in which quiltmakers often included scraps of fabric from dresses, ribbons, etc. with sentimental, family, or historic value. Crazy Quilts were popularly made in the late 1800s.

I hope this helps. If you have some more specifics, please let me know.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

What pattern is my quilt with small, rounded pieces, gathered and connected? I was given a quilt that my friend had his mother, who lives in Brazil, make for me. It is truly lovely but I'm not sure of the name, or type of quilt.

It consists of small, round pieces of lovely fabrics that have been gathered, flattened, and connected to each other. It has a kind of delicate lacy look. The fabrics appear to have been remnants, and very refined. Could you tell me what this is?

From your description it sounds like a very special pattern called the Yo-Yo quilt. Here are some examples from the Quilt Index:

http://www.quiltindex.org/search_results.php?keywords=yo-yo&search=Search

Here is a PDF document that gives you more history about this style. I think it's interesting that they suggest that the style may have come from someone importing a yoyo toy into the U.S. during the 1920s.

http://www.museums.state.ak.us/QuiltExhibit/quiltspdf/YoYo.pdf

Enjoy your beautiful quilt.

Prepared by Penny McMorris, quilt historian and author

African Americans and other people of color (Latinas and Native American women) are very much a part of U.S. quiltmaking history. See specifically the following resources for more information:

Barkley Brown, Elsa. 1988. “African-American Women’s Quilting:
     A Framework for Conceptualizing and Teaching African-American
    Women’s History.” Pages 9-18 in Black Women in America: Social
     Sciences Perspectives. Edited by Micheline R. Malson, Elisabeth
     Medimbe-Boyi, Jean F. O’Barr, and Mary Wyer. Chicago, IL:
    University of Chicago Press.
Beardsley, John, William Arnett, Pauljane Arnett, and Jane Livingston.
     2002. The Quilts of Gee’s Bend. Atlanta, GA: Tinwood Books.
Benberry, Cuesta. 1993. “The Threads of African-American Quilters are
     Woven Into History.” American Visions October/November: 14-18.
Callahan, Nancy. 1987. The Freedom Quilting Bee. Tuscaloosa, AL:
     The University of Alabama Press.
Freeman, Roland L. 1996. A Communion of Spirits: African-American
     Quilters, Preservers, and their Stories. Nashville, TN: Rutledge Hill Press.
Fry, Gladys-Marie. 1990. Stitched from the Soul: Slave Quilts from the
     Ante-Bellum South. New York: Dutton Studio Books.

Prepared by Marybeth C. Stalp, Associate Professor of Sociology, and author of the book, Quilting: The Fabric of Everyday Life.

You described the quilt as having 1" colored squares with muslin folded (rolled) and stitched on each side to frame the color. It sounds like a style known as Cathedral Window. The muslin could be thought of as the "window frame" and the colored square inside, as the stained window glass.

You can view some examples of Cathedral Window quilts on the Quilt Index (http://www.quiltindex.org).  In the “Quick Search” in the upper right corner, type in “Cathedral Window”  (with the quotation marks).

Do these resemble your Great-Grandmother's quilt?

Prepared by Penny McMorris, quilt historian and author

Full Question

I would love to complete this kit. It was given to me by my 85-year-old aunt. It is in its original (tattered) envelope and has a Gimbels price tag ($6.49?). The front of the envelope has a drawing of the finished quilt entitled "Wedding Day" Quilt No. 7278, Decorator Spread Size 90" x 104". The kit appears to be complete containing a white top that has pre-printed applique and quilting designs, nine bright, solid colored fabrics for applique (also preprinted) and even green bias fabric for all the flower stems. One section of the top is discolored from being folded inside the manila envelope forever. If I carefully wash the white top will the placement printing on the top vanish? I am so thrilled by this recent gift and hope you be able to help me with these questions.

Answer

Thank you for contacting our Quilt Query site. I do a lot of research on 20th century quilt patterns and kits. I'm currently compiling a database of all published/manufactured kit quilts. I've discovered it is really tricky. Most kits are undated (so we depend on advertising in magazines or oral histories regarding where or when the kit was purchased/made). The kit numbering seems to be in chronological order, but many gaps exist (so we have to depend on sightings of kit quilts), etc. etc.

As I said, the envelopes ARE undated, but advertisements for the kits often appeared in the 1930s. Some of the companies and their inventories were absorbed by larger manufacturers. The same pattern may have been re-issued under a different name a few years later.

The kit your great aunt gave you is new to me! And I don't think anyone else has documented one. So . . . could you please photocopy the cover that has the quilt kit number, name and illustration. If you have to reduce it to 78%, that would be okay, but the Homeneedlecraft labels usually easy to photocopy at actual size.

IF you have a digital camera (or really any camera), could you take some photos of the preprinted backing fabric, the preprinted solid colors for the applique, and the bias tape for stems. You can group them together, if need be, to make an interesting collage

Please send/email them to me and I'll add them to the database. I will credit you as the owner. See my address below.

Now . . . to YOUR question, normally I would say go ahead and make the quilt--especially since you are a quiltmaker--and this would become an inter-generational project. I still think that's a very good idea. But . . . this kit is also an historical artifact. That's why I'm asking you to document it. When it's finished, I'd love a photo, too. You also might write the pattern, etc. and the kit connection on a label and sew it to the back of the quilt.

YOU might have the best source for dating the quilt kit. Ask your great aunt where/when she might have acquired the kit. The Gimbel's price tag might be another clue. She might remember when she lived near a Gimbel's.

Isn't this fun?

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

I am a major advocate FOR preserving quilt paper (patterns, booklets, advertisements, scrapbooks, etc). Have you looked at the Boxes website at the centerforthequilt.org ? There's an inventory sheet you can download and print out. Although it doesn't give dollar values, it will help you describe your collection.

But briefly, what do you have: Kansas City Star patterns, Cappers Weekly, Ruby McKim, Nancy Page? Are they clipped and loose? or are they glued into a scrapbook or notebook?

How many do you have? What is the date range? Are there any news articles about quilts that pertain to a particular locale? Believe it or not, those are the most valuable, because they are rarer than the nationally distributed patterns mentioned above.

Depending on the amount and rarity of the patterns and publications, the dollar range might be $75-$150, but that's without examining what you have. If you'd like to describe them a little more fully, I'll be happy to help. Thank you for contacting us.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

I can send you a photocopy of the original newspaper clipping for Night and Day by Nancy Cabot. The Nancy Cabot syndicated column originated with the Chicago Tribune in 1933. The patterns also appeared in the Detroit News, New York Daily News, and much later (1940s) in Progressive Farmer.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Full Question
My 85 year old Grandmother gave me a quilt her sister made which won an award at The World's Fair in Chicago - I believe in 1926. What would be the best way for me to find out more information as to what type of award it may have won?

Answer

I've written about the 1933 Chicago World's Fair quilt contest. In fact, I was at Rosemont April 9-11 with an exhibit of quilts entered in that contest.

There were other world's fairs--1893 Chicago World's Fair and the 1939 NY World's Fairs, both had quilts exhibited or entered in contests.

I suspect if your relative lived in Chicago--and is only 85--it's likely the quilt was entered in the 1933 contest. Over 24,000 people entered the contest. We only have records (mostly those published in local newspapers) of about 500. What is the name of the person(s) who made the quilt? I'll check the records. Can you describe the pattern? Floral, geometric? colors? or is it pictorial, representing the theme of the 1933 fair--Century of Progress.

My book is Patchwork Souvenirs of the 1933 Chicago World's Fair. If you love Chicago and quilts, the story of this contest will interest you.

If your quilt turns out to be one entered in the 1933 contest, I'd like to list it along with a photo and include the quiltmakers' names. Someday we may do a sequel.

Reply from Questioner

I spoke to my Grandmother last night and she said it was in 1933, as she was about 15 years old and her sister got a couple free tickets so she and her brother were able to go with her sister.

My Great Aunt's name who made the quilt is Dorothy Aquelino, she lived in Waukegan, Illinois with her parents, she took care of infants, so a woman taught her to quilt during nap times. It took her a year to make one quilt and it was all done of course by hand. The pattern I have is baskets, white background with powder blue baskets, pink flowers, green leaves. My Grandmother said her sister in Arizona has another quilt that hung at the Worlds Fair that she believes is called Maple Leaf. I can send you a picture of the one I have and will request one from my great Aunt in Arizona.

Reply from Answerer

When I see the quilt, (and later the one in Arizona), I may be able to identify the name and source of the pattern. Quite a few in the Chicago area were made from Mary McElwain patterns--she had a shop in Walworth, WI that sold patterns, kits, partially made quilts. She was also a judge at the 1933 contest.

The quilt in Arizona MIGHT be a pattern named Autumn Leaves--it was very popular at the time. In fact, two quilts in that same pattern reached the final round of 30 quilts. One of them won Fourth Place--out of 24,000+ quilts entered! There's a photo of Autumn Leaves in the book. I look forward to seeing the photos. Your grandmother's memories of her visit to the Fair are also of interest. You should try to tape her stories/her memories of the visit.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

The Double Wedding Ring pattern with interlocked rings is one of the classic American quilt patterns. It appeared first in the late 1920s. Colors were pastel solids and prints. Even today when people make the quilt pattern, they often use pastel colors.

For examples, visit the Quilt Index: http://www.quiltindex.org/ and in the Quick Search in the upper right, type “Double Wedding Ring”  (using quotation marks).

There is a good book about the origins of Double Wedding Ring Quilts:

The Romance of Double Wedding Ring Quilts by Robert Bishop published by E.P. Dutton in association with the Museum of American Folk Art in New York (1989)

If you'd like a copy, you might try to contact the Museum or check e-bay or a rare book site online. Click here: American Folk Art Museum

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Quaker quilts are a favorite subject of mine, and I live in the Philadelphia area. While many museums and historical societies in this region have quilts from Quaker families in their collections, at the moment I am not aware that any exhibits are running in this region featuring Quaker quilts. Individual quilts may be on exhibit, however, and to find where you might wish to contact the "likeliest" museums or historical agencies. I would suggest you check with the curators at the Germantown Historical Society, and the Chester County Historical Society. Philadelphia Museum of Art and Winterthur each have quilts made by Quaker women in their collections, and an email or call might let you find out if any are currently on view. You might also contact the Arch Street Meeting (a Quaker meeting) in Philadelphia, to see if they are aware of any particular installations that might be of interest.

Prepared by Patricia Keller, quilt historian and author

How should I store treasured quilt memorabilia? I have downloaded a copy of your inventory form. Unfortunately the owner has Alzheimer's and is of little help. I do have contact with younger brothers and sisters which may help, if I knew the right questions to ask.

The material I have is in a box. It is full of newspaper clippings that began in the mid to late 80's, includes some from 1957 that celebrate the semi-centennial of Oklahoma, all in pristine condition. Some are quilt patterns, others are recipes and still others are subjects of interest to the owner. When I found a yellowed one with a date of 1938, I figured it was time to close the box until someone tells me how to handle the news paper clippings. How do I touch, organize, and store them?

Thank you for contacting us at the Center for the Quilt.And I'm glad you've downloaded the inventory form. Take a deep breath and open the box again. I know there's a tendency to think it is precious and rare. I've opened boxes like that. I've even hesitated to reshuffle the pagesbut remember if these are from newspapers and magazines they've all been published and distributed widely. They are not the only copies. Many newspapers and magazines have been microfilmed and scanned.

What I'd do is go through the box, make a rough list of what it contains (i.e. newspapers, magazines, quilt patterns, recipes, etc). Then sort them by newspaper or by magazine. Or you could sort them by quilt pattern or recipe. Then put them in chronological order if a date is still visible or alphabetize the quilt pattern names. Look for some of the titles, pattern names, etc. on the Boxes Under the Bed inventory form.

You might want to photocopy everything at this point. Then you won't have to work with the original clippings.

Then make an inventory list of what is in the box. You don't have to use the inventory form you can type your own list. Then report back. I'll be happy to hear from you. Of course, we are most interested in quilt-related items, but I'm a strong supporter of family histories.

I'd suggest you contact the family members who are still living. Ask them to look over the list and the photocopied items. They might remember a quilt made from a particular pattern or a favorite recipe. Maybe she saved the patterns and recipes for another reason. Ask them if they know about her quilts, her education, or her hobbies. Record their answers in writing or on tape.

If you see a quilt article in the box reporting on a contest, exhibit, or special quilt project, that would be most interesting to quilt historians.

If you need more help, let me know. Make this project fun and worthwhile. You don't need to be worried about damaging things for posterity. Thank you again for contacting us.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Thank you for contacting us about the value of your friend's 1840 quilt. I'm assuming by "value" you mean what is the "dollar" value. There are certified quilt appraisers located throughout the USA.

The Professional Association of Appraisers: Quilted Textiles (PAAQT.) www.quiltappraisers.org, although a separate entity from the American Quilters Society, PAAQT is a non-profit organization whose membership is comprised only of appraisers that have been comprehensively tested and certified by AQS, and have proven expertise in the area of quilts and related textiles.

Other appraiser organizations are:

• The Appraisers Association of America
• The International Society of Appraisers
• The American Society of Appraisers?

There are many things that can affect the dollar value of a quilt- condition, etc.

You may be interested in the historical value of the quilt, by that I mean, its style and pattern. If it is indeed dated and if your friend knows the maker's name and if the quilt has descended in her/his family, the quilt becomes very important to quilt historians. If she/he would like to send me a photo, I'll be happy to look at it and give you my take on its historical importance.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Could you help me find a quilt that was shown in the Virginia Quilt project? I'd like to trace its history. The quilt has a label sew on it indicating it is registered with the Virginia Quilt Project, dated 2-27-88, and a registration number of VBA-186J. It is made of old necktie pieces. The backing and edge have been replaced. The original quilt is the center. It is quite large. The person I purchased it from could only say she thought it was made by a Tennessee family, by the name of Appleby.

I believe the records from the Virginia Quilt Project are stored in the Virginia Quilt Museum. Here is a link to them:

http://www.vaquiltmuseum.org/

I would think with the information that you have, they could look up the registration number and tell you if they have more information for you.

Please write back if the museum does not have the Virginia Quilt Project records.

Prepared by Penny McMorris, quilt historian and author

How can I find out more about Evelyn Brown? I would like to know where you got the Tumbling Alley....you see, I am Evelyn Brown's granddaughter and am looking for as much info as I can find about the circles she was in back in the 70's. I have several quilting books that she gave me over the years and we still have (in storage) every issue of "Tumbling Alley" that ever was...as far as I know....do you have the entire collection? Can you point me in the right direction...maybe people who would have known her back then and more of her history!

Your grandmother is not as well-known today as she was during the 1970s-80s when she participated in round-robin pattern collecting with people throughout the country. These quilt pattern collectors were diligently trying to save and distribute quilt patterns. The current quilt revival was just getting startedand these women such as your grandmother, used whatever printing means they had mimeo, ditto, hand-tracing, etc. Can you imagine what they would have done with today's internet, faxes, digital cameras, etc.? The info and photos (Tumbling Alley, for example) you see on the centerforthequilt.org are from my collection. I bought one woman's quilt pattern collection (Mildred Dickerson of Birmingham, AL) she corresponded with lots of those women. I may have all of the issues of Tumbling Alley. I've written about a lot of these women, but not your grandmother. It's not because she is not interesting, it's because I just haven't had the time. I think people WOULD like to see the Tumbling Alley newsletter. You might look for a quilt guild in your area and do an exhibit and maybe even a lecture or show-and-tell. Do you live in Florida? I seem to remember another relative of Evelyn Brown getting in touch with me. I'm wondering if you are the same one. I live in Knoxville, TN. I am a writer. I am also on the Board of the Alliance for American Quilts, the sponsor of this particular webpage. Let me know if I can help you further.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

It's a huge topic. Here are some books to get you started:

• Japanese Quilts by Jill Liddell (out of print, by possibly available through interlibrary loan)

These books may also be out of print:

• The Quilts of the British Isles by Janet Rae
• Historic Australian Quilts by Annette Gero

I hope this gives you a head start.

If you'd like to ask a whole group of quilt history experts, you could join the H-Quilt Forum and post your question there: http://www.h-net.org/~quilt/

Prepared by Penny McMorris, quilt historian and author

Can you help me find my mother-in-laws contest quilt? My mother-in-law entered one of Stearns & Fosters quilt contest in the mid-1980's. She won a cruise and of course Stearns & Foster kept the quilt. We are trying to find out where this quilt is now located. Do you have any idea or know who might be able to help me in my search?

Your query has been forwarded to me. I've done a lot of research on Stearns & Foster patterns and contests but none in the 1980s and 90s.

I suggest you contact Linda Pumphrey or Vicki Paulus who work with the Mountain Mist (Stearns & Foster Co.) patterns. Both have worked there for many years.

I have Linda's email address.
Linda Pumphrey: linda.pumphrey@stearnstextiles.com

I'm curious though did your mother-in-law enter a full-size quilt in the contest? Or was it a quilt block only? I had not heard of the S&F company keeping a prizewinning quilt, but they may have kept it for their corporate quilt collection. What was her name when she won the contest?

  Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Can you help me research my 1888 quilt? It was given to me when my mother-in-law passed away; it has a date of 1888 on one of the patches.

First, I need a description or a photo of the quilt. You say there is a date of 1888 on one of the patchesit is highly likely that your quilt might be a crazy quilt. They were often inscribed or embroidered with dates in the time period (1880-1910). But my guess might be incorrect. Yours could be a pieced block quilt in cottons or even a floral applique quilt.

So let's begin with a description or a photo. And then I can suggest some books and websites to consult.

I look forward to more information. And thank you for contacting us through centerforthequilt.org.

Prepared by Merikay Waldvogel, researcher, writer and curator of quilt related history

Can you give me information about quilt history? For my senior project at school I am making a quilt, and writing a research paper. My thesis is going to be about how quilts were once considered a luxury and are now just a hobby. I was wondering if you could give me any type of information: websites, books, etc.

I would look for this book in the library, or through inter-library loan: Quilts in America by Patsy and Myron Orlofsky. Also, look for Rod Kiracofe's book, The American Quilt, and Robert Shaw's book, Quilts: A Living Tradition.

I would also suggest you may want to join the H-quilts discussion forum quilt list and ask your questions there. That list has some of the best quilt researchers in the world on it, and if you had specific questions (not just "tell me all you know about quilts") you should be able to get some wonderful information for your project.

Here is the Web address for this group. You can always unsubscribe after your project is completed:

http://www.centerforthequilt.org/hquiltforum.html

They might also be able to suggest the best places to look for information to support your topic.

Prepared by Penny McMorris, quilt historian and author

You should treat a very worn crazy quilt the same way you would treat anything or anyone old and not in good health: very, very gently! The less you handle the quilt the better. If the crazy quilt is basically in good condition, with only a few worn areas, you can cover the worn areas with fine silk organza or crepeline (a fabric made especially for textile conservation work) and carefully hand-sew it to the quilt taking large stitches so as to make as few extra holes in the quilt as possible.

No matter what condition the crazy quilt is in, you can prolong its life by following these simple rules:

• Keep the quilt out of bright light, especially direct sunlight and flourescent light. Silk is extremely susceptible to light damage. If you want to display the quilt from time to time, keep the light level low, keep the curtains closed and put lighting fixtures a distance from the quilt.

• Keep the quilt clean. According to the "Care of Victorian Silk Quilts and Slumberthrows" from the Smithsonian Institution's Division of Textiles (web site: www.si.edu/resource/faq/nmah/textiles.htm) you should never dry-clean or wash a crazy quilt. Both will harm the fabrics. But dust and dirt can harm fabrics too, actually cutting fibers as the small dust particles expand and contract with changes in temperature and humidity. The only safe way to clean a quilt is by gently vacuuming it. Cover the quilt with a piece of screening, preferably fiberglass-coated window screening and run a very low power vacuum over the quilt's surface to suck up dust. If the quilt is damaged, hold the vacuum a few inches away from the quilt. If the quilt is extremely damaged, do not risk vacuuming at all.

• Keep the quilt dry. Don't store quilts in damp basements or in other areas of high humidity. Don't seam them in plastic bags.

• Keep the quilt from direct contact with wood or paper. Don't store them in wooden bureau drawers or trunks without putting a protective layer of fabric between quilt and wood. You can purchase acid-free textile storage boxes made especially for quilts, as well as acid-free buffered paper in which to wrap the quilt.

Be prepared for the possibility of the quilt showing additional wear and tear even though you do everything possible to safeguard it. This "self destruction" is often caused by the minerals, salts and other substances that were used during the fabric manufacturing to stiffen the fabric and make it weigh more. (Fabrics were often sold by weight. The more they weighed, the more money the manufacturer made.) These salts can act like tiny razor blades, literally cutting up the fabric--making the silk "shatter." Unfortunately, there is no way to reverse or stop this deterioration.

Prepared by Penny McMorris, quilt historian and author, 8/00.

There are two sides to this issue. Obviously, rare or unique tops should be left as is because the new quilting will almost certainly have a negative effect on their value. Also, sometimes the fabrics in an antique top are so brittle or fragile that the actual act of stitching and pulling the quilting thread through can cut the threads of the fabric or cause too much stress, particularly on the old browns that are so fragile anyway because of the damage done by the original dyes and mordants. New quilting thread can also continue to cut through old fibers even after the top has been quilted. As in medicine-the first rule is: Do no harm!

However, if the quilt top lacks historic or artistic value and is in good condition, there is an equally strong group of supporters that believes that the original maker would have quilted it, that the tops are stronger with the batting and backing to support them, and that no harm is done by careful quilting with the proper thread. If an old quilt top is newly quilted, always make sure to sew an identification label to the back explaining the approximate age of the top and stating clearly when it was quilted. Also include identification of both the top's maker (if known) and the quiltmaker because 50 years from now, that will be an invaluable clue to future generations or to someone attempting to date the quilt.

Also pertinent is to consider should you wash an old quilt top? There's no one answer to this question because of the many variables within any antique top. However, please be aware that washing a top puts great stress on the stitching, and few tops can survive even careful home laundering intact. Washing an old top in a washing machine is a sure recipe for disaster. Frayed and split seams and loss or bleeding of color are two of the most common types of damage. Uneven shrinkage of different pieces or different fabrics used in the top canalso occur, which can warp the quilt beyond redemption.

When the quilt top is so soiled that no one will quilt it without its being washed, the owner must make a choice between risking it by washing or keeping it unquilted. If the decision is made to wash, knowing the risks, first test each different fabric and thread to be sure they are colorfast.

Then try to keep the top as flat as possible; place the top between two old sheets for support and protection before wetting it; do not agitate, rub, or move the top under any circumstances; and use repeated changes of clear lukewarm water to lift the soil or discoloration, rather than using soap or detergent. When you drain each change of water, you will see how the water has discolored as the top has soaked. That discoloration may be the water's lifting the soil and stains, or it may be color loss.

If you have access to a child's large wading pool, that can be pressed into service as a temporary "quilt bath." It's easy to drain and refill and may be large enough to allow the quilt top to remain flat. Use the two sheets like a sling to lift the wet top out of the pool. Do not try to wring or press excess water out of the quilt top! Just lay it flat outside, still between its two sheets, let it drain, dry it flat, and hope for the best. A dry, hot, slightly cloudy day is best. You can speed the drying process by placing an electric fan to blow across the quilt.

Prepared by Karey Bresenhan, President and CEO of Quilts, Inc. and author, 8/00.

I am going to recommend that you read Diane Gaudynski's new book "Guide to Machine Quilting." It is by far the best book I've ever read on machine quilting. She shares all her tricks. It's well written, with good illustrations and easy to understand. Good luck!

Prepared by Karen Musgrave, quiltmaker, teacher, author and folklorist

Here is the one book I know of about making quilts with handkerchiefs:

Handkerchief Quilts by Pat Long Gardner

This should give you lots of ideas. Good luck with your project!

Prepared by Penny McMorris, quilt historian and author