Crazy for Crazy Quilts

I'm in the midst of preparing for a crazy quilting workshop that I am teaching this weekend.  I think there is some connection between the late 1800s crazy quilting and what we art quilters now call fabric collage.  I'm just not sure of the intermediary steps, if there are any. 

I only have one example of antique crazy quilting, this lone unfinished block:

I have had it for some time, and I do not recall where I bought it.  Someday, I will put a back and border on it.  I should do that sooner rather then later, to protect it.  Just as with the 1930s unfinished quilt top I found recently, I wish it could talk.  There are stories in the stitches that I will never know.  The story inherent in a piece of art is something that I have been pondering this year.  Perhaps I am worrying too much about it.  I just need to go make more stuff!

If you cannot get enough crazy quilting, there is another new book out on the subject: The Visual Guide to Crazy Quilting Design by Sharon Boggon (C&T Publishing, 2017).  As the title implies, it is heavy on design and composition principles, but this is a good thing.  If we want to have textile art taken more seriously, we need to approach the creation of it with the eye of serious fine artists. 

See, hear and taste

A week of my life gone, vanished in the process of doing my taxes!  Here's a quick report on my trip a few weeks ago to the annual Original Sewing & Quilting Expo in Cleveland.  This is the one held at the I-X Center, the former WWII bomber factory (later produced tanks during the Korean War).  Lots of history in those walls.

I saw the SAQA "Two by Twenty" exhibit - delightfully inspiring, as expected.  I noticed a few quilts whose edges were not bound in the traditional manner, looked to be just stitched very close to the edges to hold the three layers.  I will be exploring this "non-binding" in the next few months.

As I was anticipating having to pay a bunch on my taxes, I could not purchase much, but I found a few mixed bags from a couple different vendors:

Kimono silk scraps, and a bunch of fancy ribbons and trims.  I cannot resist embellishments!  I see more crazy quilt-type collages in  my future.  Stunningly, where I bought the most was not from a sewing vendor.  I purchased a small fortune of blended teas from SubRosa Tea.  I'm not much of a tea drinker, but their blends are quite creative and delicious.  I am enjoying Pina Colada, Spiced Mexican Chocolate, Cafe Latte, Strawberry Ginger, Chocolate Mint, and Coconut Truffle.  I appreciate creative and quality food as much as I love beautiful dyed fabric and art quilts.  To finish off this ramble on appealing to the senses, I have been listening this week to Verdi - Il Trovatore, Smetana - Ma Vlast, and Mendelssohn - Hebrides Overture and Symphonies #3 and #4.

More Cigarette Silks

In an earlier post this year, I lamented the lack of cigarette silks in my collection of vintage textiles.  I have corrected that now, with this recent antiques mall find:

This is an unfinished project, done in the crazy quilt assembly style.  Most of the pieces are true cigarette silks, printed with flags of various nations.  The silks are larger than the two that I have already, these are about 3 X 4".  Two pieces are commemorative ribbons from social club events with a European ancestry requirement.  These identical ribbons are dated 1927, and I have no idea yet what language they are imprinted with... will have to investigate "Kesajuhlet."  The world of old social clubs and secret societies is a whole areal of study on their own, a fascinating study.... for someone else!

The silks are machine sewn to a piece of muslin backing, then lengths of satin ribbon were machine sewn over the seams,  The maker hand stitched over almost all of the ribbon with a herringbone stitch.  What I want to know (and never will) is why the yellow herringbone stitching on the top horizontal row stops half way across, and why four of the silks are upside down.

What is fun for me is making connections with these vintage objects,  I'll never know the maker or the answers to the above questions, but I am certain that the hand stitches are done in Glossilla Rope embroidery cording ("Brighter than Silk").  I found a stash of new-old-stock Glossilla at a recent quilt show:

I have found it to be impossible to pull through regular cotton fabric, but it works well for couching or for the weaving thread in whipped and threaded back and running stitches.  Someday soon I will try it through silk.

Collectible Textiles

For a few years now, I have been working on a freelance art history project that necessitates looking through a major city's  newspaper page-by-page (the papers are not indexed by subject).  One of the perks of this project is finding pieces of other puzzles along with what I am supposed to be searching for. 

Over the past few years I have bought a few of these:

They are printed cotton flannel, and they were given away with packs of cigarettes.  That was all I could glean from price tags at antiques shops and markets.  Thanks to an accidental research find, I now know a bit more about them.  I recently found ads for these flags in the 1913 Cincinnati Times-Star.  Mecca brand cigarettes offered the flags as premiums, and Omar brand offered printed flannel Navajo blanket designs, like the one in the lower left here:

The ads were quite large, taking up one quarter to one third of a newspaper page.  I cannot confirm if 1913 was the earliest appearance of these flannels (also called "felts" by antiques dealers).  Later on, I noticed that on April 1, 1914, Cairo cigarettes was promoting two flags with each 5 cent package; "One packed regularly in Cairo and an extra blanket given with each package for a few days only.  Flags of all nations in brilliant colors."  This ad also noted that the flags measured 5 1/2 X 8 1/4."  In the May 6, 1914 Times-Star, an ad appeared for a "Free 8 X12 [inch] American Flag Blanket with a 10c oval package of MECCA cigarettes."  On May 20, 1914, also in the Times-Star, another ad touted, "Beautiful National Flag Blankets are packed with Egyptienne STRAIGHTS." 

These flags were made quite cheaply.  I have found that most of them have faded over the decades, and almost all of the ones in my collection show varying degrees of dye bleeding, especially the red dye.  I have seen a couple of quilts made from the national flags flannels.  Since smoking was nearly taboo for women at the time, it is fascinating that the premiums for a men's product were targeted to women for sewing projects!  I think that the concept of a series of small items given away in cigarette packs goes back earlier than 1913.  Small cards with various printed subject series (military ships, sports, colleges, etc.) can be found.  Harder to find are the silks:

I've only been able to secure these two.  These silks were sometimes stitched into crazy quilts.  I'd like to look into crazy quilts that have dates stitched into them and include cigarette silks.  That would give a fairly good indication of when the silks were made.  However, that is a project for some other time.

What is a Creative Kit?

As an itinerant vendor in a heavily saturated market (quilting and sewing expos), I am constantly thinking of ways to package fabric and notions that stand out from the crowd.  One of my more popular brainstorms is the Creative Kit.  These “kits” are each one of a kind assemblages of hand dyed fabric, lace trims, fancy yarns and dyed vintage doilies.  The contents vary in amount, but an average kit contains three small cuts of fabric (12" to 20" length & width), three or four cuts of trim (10” to 18” each), three or four yarns (one to six yards in length each) and two or three doilies or other vintage fancy work textiles.   

 

I’ve been pleased with the initial reception of the kits, sales have been steady.  However, for every person that buys one, three more ask, “what do you do with this?” I’ve been explaining them as started kits for small art quilts and crazy quilts, but don’t stop there!  Use them for fiber art dolls.  Use them to embellish… anything – baskets, clothing, bags, purses, and hats, whatever it is that you stitch through.  Make fabric collages, postcards, bookmarks, artist trading cards.  Add the trims into pintucks, couch the fancy yarns with decorative threads.  Cut small designs out of the doilies and add them as textural design elements into an applique quilt.  Add a Creative Kit into the fabrics for a wall hanging kit and make it unique.

 

There are a few of my Creative Kits on my Etsy site (click on the link to the right).  Later this summer, I will probably not be putting the doilies in them.  I have not decided what will replace the doilies, but they will soon only be available by the piece at the shows I will attend, not online.  It is getting difficult to find the vintage doilies at a reasonable price.  If you like the kits with the doilies, grab them now!

Embroidery Stitches

Whenever I get together with other art quilters, talk often turns to techniques and where one gets their ideas or where they learned a certain way of doing something.  I have been wanting to talk about textile art resources for a while now, so here is the first of a periodic series on what I have been using to learn.  NOTE:  I do not receive any compensation for mentioning any book, product or individual on this blog!

 

I have been working on a (somewhat) weekly project, making a fabric postcard sampler of hand embroidery stitches.  The amazing array of textures created by hand stitching in crazy quilts and ribbon embroidery was probably the biggest factor in my finally learning to sew and jumping into art quilting.  Over the past few years, I have amassed a stack of books on fancy stitches.  I keep coming back to four of them more than any of the others.

For my weekly stitch samples, I have slowly been working my way through the Embroidery and Crazy Quilt Stitch Tool by Judith Baker Montano (C&T Publishing, 2008).  You really can’t go wrong with any of her books, but I feel that this is the best of her stitching books if you want to learn stitches.  No images of her stunning stitch work here, just clear instructions on creating some 180 thread and ribbon stitches, very easy from which to teach oneself.  My little project consists of making one postcard per stitch, and I use as many different threads as I can, resulting in my own visual stitch journal/”dictionary.”  It is a great reference for choosing a thread and stitch for a certain look that I want to achieve, and sometimes it is a reminder that some stitches don’t look so great in some threads.  If something doesn’t work out, I leave it as a reminder. 

Another stitch guide that I refer to frequently is Creative Stitching by Sue Spargo (self-published, 2012).  This source covers only about 50 stitches, and there is some duplication with the Montano book, but there are enough other stitches not in Montano to make it worthwhile.  Spargo also gives helpful recommendations on what needles to use for each stitch.  

Once I’ve mastered the basics of some new stitches, I look to Montano’s Free-Form Embroidery (C&T Publishing, 2012) and The Magic of Crazy Quilting by J. Marsh Michler (Krause Publications, 2003) for endless inspiration on combining and altering stitches by stretching and overlapping. 

As I mentioned, I have other books on embroidery stitching, and there are more than that out there, these are simply then ones I use most often.