Thursday, March 19, 2020

Chrome Orange - Science & Style

Chrome orange sashing.
We call the color cheddar today.
Sara McLane posted this terrific Southern quilt on our
 QuiltHistorySouth Facebook page.


Whig's Defeat quilt from the Alabama Decorative Arts Survey
 shown in Bryding Adams's book Made in Alabama. 
Dated 1854 from the Turk family in Monroe County. 
Chrome orange for the blocks, a striped 
Portuguese chintz with exotic birds for the border.

Our groupthinking about Chrome orange and its favor with Southern quilt makers last September invited a lot of comments. The blogmeister has cut and pasted some of the most relative comments dealing with technology, taste and trade and this particular shade of yellow-orange.

We'll begin with the blogmeister herself who posted information she read quite a few years ago.
TECHNOLOGY
The coloring agent:
"Over 50 years ago V&A textile curator Peter Floud wrote an article about chrome. A summary: Invention of the chrome dyeing and printing process is attributed to Englishman John Mercer. Floud wrote that Mercer suggested the use of the related mineral antimony to print yellow figures on a white background in 1817. Mercer soon figured out how to discharge a piece of dyed cotton to produce white figures on an orange or yellow background. Six years later he saw a piece of French cotton with a bright yellow discharged figure on a madder purple ground, “a novel style which excited much curiosity.” He then experimented with chrome in the same fashion. His biographer states: 'Mercer soon brought out styles having designs of chrome yellow or chrome orange on variously coloured grounds; and also for foreign markets, chrome yellow and orange grounds of designs in various colours.' "

Chrome orange and chrome yellow print with a figure that may once
have been purple. About 1825.

 "Chrome Orange, a sample of fabric glued in ('tipped in') to a copy of William Crooks's 1882 dye book A Practical Handbook of Dyeing and Calico-printing. It seems a little dark in the picture but the acids in the book page may have discolored it.
Here's Crooke's swatch of Chrome or Canary Yellow,
again shading dark due to the glue or the paper.
Chrome yellow is lemon-colored, an intense yellow with a slight greenish cast.

From Bill Volckening's collection of Rocky Mountain/Crown of Thorn quilts

Kay Triplett directed us to the International Quilt Museum's paragraph on the chemistry:
"The yellow-orange color found in pre-1880s 'cheddar' quilts was produced with chrome orange, a mineral dye derived from crocoite, a hard, metallic element. Chromium, a by-produce of crocoite, was identified as a dye source by the French chemist Louis N. Vauquelin in 1797. Chrome orange was introduced as a pigment in 1809, and became popular in the 1820s, following the discovery of chromium deposits in Britain, France, and the United States.
Mineral dyes like chromium, also known as pigment dyes, were mixed with a binding agent, applied directly to the surface of a fabric, and then heat-set. The process was simpler and less costly than vat-dyeing, which required submerging fabric in a dyebath. In addition to a more efficient method, mineral dyes produced brighter, more colorfast hues than organic dyes extracted from plant or animal sources."
The caption goes on to read:
"The discovery, in the late 1850s, of pigments produced from coal-tar products—most famously, mauve—introduced the aniline or synthetic dyes that supplanted mineral dyes. Synthetic dyes were cheaper, more consistent, and safer, and by 1900, virtually all dyed or printed fabrics were produced using synthetic pigments. "
Sampler album in Miami Valley style dated 1912.
Sue Cummings identified many quilts this Ohio style,
most of which use chrome orange.

Many of us would disagree with that cut-off date as we see so much chrome orange in quilts reliably dated to the first 30 years of the twentieth century. 

Sampler dated 1921 with plenty of chrome orange---
I'm guessing it's from New York based on the cat, the large date, the flag
and those red sashing bars. From Shelly Zegart's inventory,

Of course, fabric survives in the scrap bag for years after it's purchased but there is much evidence that Southern mills were producing chrome orange solids well into the 20th century. 

1916 chapter on dyeing "conditions injurious to health"
"In America, high wages are apparently some consolation for evil conditions."

Flavin Glover sent this picture of an Alabama quilt

A bad trade with some collateral benefits to all of us who
like the color scheme.

Flavin Glover sent a photo of this unusual Alabama quilt a while ago.

Chrome is not safe.
"Chrome dyes and heavy metal relatives are quite poisonous. I read that by 1993 22 states had banned heavy metal colorants in industry. You start seeing colorfast substitutes for chrome yellow and orange in the early 20th century." BB
And I do believe you could buy packets of powdered chrome orange to dye fabric at home and put your own health at risk.

STYLE
Pennsylvania quilt in oxblood brown and chrome orange from
the Christ Collection.

Quilt with a rainbow of solid color stripes, including
what looks like chrome orange, dated 1883. The pattern
Joseph's Coat and that rainbow of solid shading are strong
clues to southeastern Pennsylvania.

We are interested in chrome orange dyeing because it helps us identify and date quilts. Quilts above from Pennsylvania, Ohio and New York indicate that quilters all over the country used chrome orange solids; it was quite colorfast and relatively inexpensive. 

Another distinctively Pennsylvania style quilt signed M.C. Harter & M. Boyer,
1882

From Stella Rubin's inventory
Asherman family, Waynesboro, Franklin County, Pennsylvania

Jean Power took this photo of a quilt by Ellen Aycock Jones, York County,
 South Carolina in the current exhibit at the McKissick Museum.

They are thinking about 1880---but Ellen lived till 1920.
Why not 1915?

Lynn Lancaster Gorges posted this Pine Burr from her collection of
North Carolina quilts.

But there is something about the way Southerners used the fabric. Chrome orange may have been a consistent product of Southern mills after the Civil War. and it looks to have been a favorite of Southern quilters in the same time period. The fabric is one clue in assigning a regional origin. As far as a date on the solid fabrics dyed with chrome orange: About 1840 to 1930---90 years is not much help. As far as a date on the style of quilts using solid color fabrics featuring chrome orange: 1870 - 1930. And we need to explore that further.

Joy Branham:
 "Before we completely leave the discussion of chrome orange, I want to post this quilt which was made by my husband's great-great-grandmother Edna Cable Stanton in Johnson County, Tennessee. 'Big Edna' Stanton (she was six feet tall) was a midwife and farmer, widowed when her husband died in the Civil War. This quilt top, which was made sometime after the War, descended to her great-granddaughter Mara Branham, who had it quilted by Anna Stout in 1953. Mara always called it Shooting Star. I'm inclined to think that it started out as lilies and never had the leaves added!"

Joy posted another:
 Collection of MESDA, Museum of Early Southern Decorative Arts 
Attributed to Eleanor McCauley Atwater (1801 - 1872), Orange County, North Carolina
Were those pale peachy feathers once bright red?

The caption indicates it was made 1840 - 1860, but that's why this discussion is so important. I just can't buy that date. Eleanor lived till 1872---even if she made it in her last year---it's still too early I think. Look at all her daughters & daughter-in-laws at Find-A-Grave. Based on style and fabrics--- after 1900, perhaps by one of them.



Pepper Cory posted this 20th-century quilt she bought
from a member of North Carolina's Lumbee tribe on line
The 20th-century synthetics are redder---
more a true orange and they were quite colorfast.

TERMINOLOGY

What's the best term for the fabric? Chrome orange refers to the dye; the modern "cheddar" to the color, which is also close to the shade of “safety yellow” that appears in highway paint. You probably want to be as specific to the technology as you can.

Pepper: "Cheddar is a 20th-century term for the shade. In the 19th-century and on the dye packets, it was usually referred to as 'golden orange.' "

Julie Silber owes someone 10% on this quilt sale.

When did the cheddar become the quilt term? Long-time quilt dealer Julie Silber wondered in a blog  comment several years ago:
"When I first opened a store, specializing in antique quilts, in 1972, we could not sell a predominantly orange quilt to save our lives. NO ONE wanted them. It seems to me that in the early 1980s, 'someone' started calling that 'kind of' color 'cheddar,' and -- coincidence??? -- ORANGE quilts started selling. I was hoping you could tell me who it was and to whom I owe 10% of all those sales?"
Detail of an Indiana quilt from an online auction
"For Ned from Martha, 1915"

Can't get enough chrome? 
Read Kenna Libes's article on Fanny Longfellow's yellow dress.

Tuesday, March 3, 2020

Variable Shading: An Aesthetic Choice

Christian McIntyre (?-1924), Scotland County, North Carolina
North Carolina project & the Quilt Index

A typical quilt from about 1900, done in the claret reds of the time, a
popular pattern usually called Single Wedding Ring today

Simple pattern in a fancy quilt

Published as Wedding Ring in Farm & Home magazine
in October 1887, according to Wilene Smith.

And then published by other sources. The Ladies' Art Company
probably influenced a good many quilters around the country.

Indiana Amish quilt, David Pottinger's collection

Quiltmakers after 1890 had many choices of innovative patterns, some of which like this one became quite a fad.


One could control the color carefully with two solids, a fashionable look at the time...


or add the variety of the scrapbag.

But there is something different going on in the quilt below.

Laura Louisa Griffith Dunlap (1861-1942) 
Kanawha County, West Virginia
Ca. 1920s

In the book West Virginia Quilts and Quiltmakers: Echoes from the Hills, Fawn Valentine called our attention to Laura's use of fabric, shading and repeat. 
 "The repeating pieced blocks are cut and stitched according to pattern but the fabric selection creates a variety of perceptual mutations. The pattern pieces are distinguished by shape, but not by value (dark or light)...no symmetrical balance. (pg 90)
  
The conventional shading

Variability
The photo in the book is much better than the one on the Quilt Index.

This is not one piecer's make-do attitude but a way of looking at pattern, as Fawn writes about another quilt, a "model of Scotch-Irish quiltmaking aesthetics, with the same value printed fabrics obscuring the details of the pieced blocks."

Gardenvale Stars
It's a look Jen Kingwell has captured for her
very popular contemporary patterns. Jen is from the far South,
Australia.

Recorded by the Wyoming Project
Purchased in an antique shop
Consistent shading

The Quilt Index has many quilts in the Single Wedding Ring pattern, most of them with no variability in shading, value or repeat (some have an occasional pattern error). But I knew where I could find quilts with variable shading like Laura Dunlap's. In the North Carolina project.

Agnora Bulloch Mclean, Robeson County North Carolina

Isabelle Maser Meadows, Stokes County, North Carolina

Is it a Southern thing?

Thursday, February 6, 2020

Partial Blocks


Quilt by Harriet Barrow, Claiborne Parish, Louisiana. 
From the Texas project and the Quilt Index.
Family thought Harriet's mother made this quilt
but it is more likely dated to Harriet's life span
or her daughter's.

Some design characteristics are hard to see as style. You can view Harriet Barrow's use of four half-blocks along the top of her quilt as an individual's personal quirkiness. The woman had 14 blocks; it was easier to cut two in half than make two more.

But we find half blocks along the edge so often
that we have to view it as a shared idea, a style characteristic
common in Southern quilts after 1880 or so.

Elizabeth Voss, Forsyth County, North Carolina
NC project & the Quilt Index

From an auction of Beulah Ketchie's
estate, North Carolina

It is more than just one woman's practical solution
to a problem, such as:
Pattern of a certain size, quilt of an incompatible size.
Improvisation necessary.

A layout like this from an online auction is puzzling. The woman had 6
blocks. She cut 3 in half for the edges. This was the look she was after.
She would have gotten the same size quilt if she'd used the blocks whole.

The idea of cutting a block in half is difficult for us to understand. As Barb R commented: "How could you put that much work into an applique block and then chop it in half!!"

Beverly T echoed her feelings: "I’ve never understood the half-block rows. I’m too OCD to do that, I think."

Mid-20th-century quilt with 2 blocks chopped for the side.
Frugality?

Laura S had a common idea as to why. "Waste not; want not." And this may indeed be the case---some of the time. But it's more than frugality that seems to dictate the idea.

On-point sets requires some kind of half block. Most of us today use unpieced triangles to frame on-point  blocks or we might piece half blocks. (We draft a pattern for half blocks rather than cutting a block in half---you'd lose an inch in your seam allowance!)

Album quilt once in the Milne collection.
Probably Maryland about 1850.

But in the past they thought nothing of cutting across an ink-inscribed applique wonder.

The quilts we are talking about with the partial blocks are not set on point (Southern upland quilts after 1880 rarely set on point.)

Ebay quilt sold from North Carolina

These are not cut down from their original size either
as they often have a border along the edge.

The look may be one common solution to the problem: Pattern of a certain size, quilt of an incompatible size.

As Lenna said: "I’m of the mind that it was to accommodate a certain bed or length."

Unusual configuration found in the Florida project
Seven blocks minus 3/4 of one.


Loretta: "I have always thought of a half-block as a convenience for a quilt that was meant to be used. Beds pushed against a wall would not need a full block row on the back wall side, and lots of beds would have been pushed against the walls when homes were small and rooms were multi-purpose."

Walker Sisters cabin in Tennessee, 1930s
Smokey Mountain National Park

Loretta is thinking that the half blocks would be on the wall side where you could not see them.


The Louisiana project recorded two similar quilts, the one above by Betty Meeks McKenzie (1860-1925) of Claiborne Parish. Her family thought she made it in 1883. The pattern was often set with  partial blocks.

The one below by an unknown maker from a family in Shongaloo, Louisiana, about 20 miles away.


Unknown
The pattern must have been passed around; some finished five
blocks, some seven or eight.

From the book Stitchers in Time: Ozark Quilts

Not everybody cut a block in half. Salona and Emma Cornett of Arkansas 
made a quilt just about the same size as the one below by adding two plain borders.

North Carolina quilt from a Jeffrey Evans auction.

Southern quiltmakers must have wanted this look. There were certainly other ways
to get a rectangular, smallish quilt out of a large block pattern---like the Cornett's plain border.

East Texas, on ebay years ago.

From Tennessee, found in the Texas project.

The actual problem directing the look may be:
What do you want to show with a bed against the wall, quilt tucked in?

Eunice Lawrence, Logan County, Kentucky

Michigan Project, made in Arkansas by Alice Handy Trammell (1857-1957)
Alice was born a slave in Magnolia, Arkansas

Rather than the half block hidden along the wall Alice's partial blocks may have been designed to show on the front of the bed.

Unnamed woman, Photo by Jack Delano Greensboro, Alabama
1941, Library of Congress

If one put a plain border on the side of a quilt one would have
nothing to see on the side of the bed.


This is just a theory but quilts as bedding are a cultural response to the architecture of the bedroom. Southern cabin architecture and interior style would seem to invite a different way of looking at the bed and its decoration. Making the bed is a folk practice---influenced by commercial media, but also passed on in families.

A different aesthetic from the look in a more spacious home
of the same time period with a room devoted to sleeping and
a more impressive bed centered in the space.

Illustrated in these humorous stereo cards.


Mary Parks Lawrence's daughter Eunice with a quilt
on the bed in Logan County, Kentucky 

Mary's quilt is in the collection of the Wichita/Sedgwick County
Historical Museum. Nancy Hornback discovered the photo to
go with the quilt.

But just to prove me wrong the Parks quilt is oriented with the half blocks at the foot of the bed. that's not how I would have made the bed.

Current standard for bedmaking influenced by commercial media
trying to sell us pillows, and more pillows.