An Aussie Explanation of the American Quilting Bee - 1955

While I was away last week I was on the lookout for vintage magazines.  I was after women's magazines, preferably with craft and patterns.  I managed to find half a dozen from the 1950s and 1960s.

 The first one I found was 1955, an Australian magazine called The Australian Woman's Mirror.  There were a pile of magazines at the collectibles shop, but this issue had an article on Quilting Bees.  That was a bit of a surprise - Australian women weren't making quilts in the 1950s.  The article was written by B.L.L., who I don't think had ever attended a quilting bee.

First requirement is a light wooden frame of a size to make a double-bed quilt; smaller quilts may be made just as easily on the larger frame.  This is set up like a table on its side, so that several women may work side by side, fastening the ground material in place with drawing-pins (thumb tacks).

Over this the cotton-wool (batting?) is pinned.  The patterns are drawn on; the already-sewn patterns go on the the drawn outlines; the quilting is done and the appliqued designs completed.  Finally, the edges are bound.

Sorry, B.L.L., but I think a bit more research is needed.   I don't know if B.L.L. read about it in a book, or overheard half of a conversation between strangers, but I don't quite see a quilt resulting from the above actions. A quilting frame is more like a table on its legs than on its side.  How does one draw the pattern onto the cotton-wool batting, and why would you finish the quilting before the applique is complete? It's a mystery.

Next stop - Woman's Weekly 1971.  Part 6 of the Handbook of Homemaking A-Z is Q for Quilts.  The quilts are are shop-bought but the description is still interesting.

Many quilts are now filled with man-made fibres, such as Terylene.  Synthetic fillings are dust-free and moth-proof, but they tend to have less buoyancy than feathers or down.

Ideally, a quilt should be placed on top of all the other bedclothes.  A gentle shake will keep it fluffed up - and a hot water bottle in the bed helps to make it buoyant.

That must be a big water bottle - it sounds like the quilt is bobbing around inside, buoyant and free of dust and moths.  Terylene is the trademarked Dacron in the USA.


Last week's block of the CCCQ Revisited was Block 3 and this week's is Block 16. 

Block 3 Priscilla Turner

Block 16 Adaline Gibson

Previous Chester Criswell Posts:

Block 3 - Priscilla and Joseph Turner
Photos of Block 3
Block 16 Adaline Gibson
Photos of Block 16

What's in Today's Mailbox?

I received two lovely parcels in today's mail.  The first was from Nancy in Georgia at Tattered Garden.

Nancy is a regular contributor to the photo gallery and we arranged to swap a signature block.  Nancy's stitches are so tiny!  Even DH was impressed with the workmanship.  Thank you Nancy, and the signature is excellent.

My other parcel had some greens for the collection.  I like the Party of Twelve range, the wide range colours are nice and clear.

What have I been doing?  I've been practicing my penmanship for my next swap block.  I belong to the Primary Patchworkers group in Sale and we've been donating small quilts to the local nursing homes.

And I've been making another fleur de lis block.  Should be finished next week.

Actually, I received a really big parcel last Friday but it deserves a blog post of its own. Next week.

More on Signatures

I haven't seen this block yet but it is flying halfway around the world to greet me.  Nancy from Tattered Garden Quilting was concerned about signing a block for the first time, and this is her maiden effort. How good is this signature!  A few comments on her blog asked about the pen she used, and Nancy has done a post about her pen trials. Nancy used a Pigma Pro, I used the Micron pens.  I have been tracing my signature from the laptop screen, but I can see that it is time to lift my game.

The best book I've seen on signing blocks is Pepper Cory and Susan McKelvey's "The Signature Quilt".  I re-read the section on "Embellishing Handwriting" and decided to give it a go.  I started with lined paper and the first ball-point pen I could find.  I followed the hints in the book and started doodling.

It was quite enjoyable.  I haven't quite got the look I want, although I am happy with the 'Australia' in the bottom left hand corner.

I need lines to keep my writing straight.  If I have some sort of stabilizer on the back of the block I will rule some dark lines on that, then  use them as a guide to write on the front.

Patti left this comment on the last post about signatures.  Thank you Patti, it's just what I needed to hear.

I've finally stopped worrying about how I sign my blocks. My handwriting has deteriorated lots as I've gotten older and my hands get more arthritic. I used to agonize about my signature, but now I don't. I make sure the writing is legible, but that's it. I don't try to be fancy. Remember, your handwriting is individual and belongs to you alone. I'd much rather have the block creator's own writing on a signature block as it is a part of who she is - just as much as the fabrics she selected when making the block.

What's Your Favorite Block?

I had a week's holiday at lovely Mallacoota in Far East Gippsland.  I finished two blocks, one of which I can't show you yet.  The other is a second Elizabeth Cowan block.

The first one I made had the colours reversed, this one matches the original block.

It's great to see all your photos and blogs about your work in progress.  It takes time to photograph the blocks and write blog posts so thank you for your effort.  Here are a few show and tell pictures which deserve a second look.

Wendy of Legend and Lace sent me this photo of Nancy Smith's Block 4. Wendy's needleturn is perfect, if you want to find out more about back basting applique her blog is a good place to start.

Carole from Wheels on the Warrandyte Bus has a lovely blue Block 4 which she finished on a delayed homeward commute.  I like the way the curves on the fabric echo the curves of the applique.

Michelle of  Buttontree Lane has only had the patterns a short while, but her choice of fabric is amazing! The mix of traditional patterns and contempory prints is a remarkable fusion.  I'm looking forward to what she chooses next.

Do you have a favourite block so far?  They feel a bit like children to me so I don't have a favourite, but Nancy Smith's block is particularly nice.