Rabbit Goody: A Rare American Ingrain Carpet

Ingrain or Scotch carpeting was a main stay of early 19th century carpeting for households both common and wealthy. Woven as a two layer double cloth with geometric or curvilinear designs, ingrain carpeting became popular through the last half of the 18th century and blossomed in the 19th century.

One of only four known American produced ingrain carpets is in the collection of The Society for the Preservation of Long Island Antiquities (SPLIA). It also has the most supporting information about its manufacture at Jones Mill, located in Cold Spring Harbor, NY. Advertisements from Jones Mill appear in the newspapers during the 1830&#8242-s and document the production of figured ingrain carpeting among other fabrics.

Ingrain carpeting woven by American fancy weavers in the first half of the 19th century is distinct from the imported Scotch and Kidderminster carpets. The American versions use locally produced softer grades of wool and have a slightly different structure, more akin to the structure of woven coverlets of the same period.

It has been extremely difficult to document the American carpets because with the use of soft wools, the carpets were less durable and ended up being worn out, cut up and used for smaller rugs, and simply disappeared.

We’ve been working at Thistle Hill Weavers to reproduce the Jones Mill example both in its original color, and in a blue and white version which will be installed in SPLIA’s restored Sherwood Jayne House.

Master Weaver Rabbit Goody write about historic textiles. Her weaving studio, Thistle Hill Weavers, in Cherry Valley, NY, is a small mill modeled after the trade shops of the 19th century.

Hyde Hall: A New Director and Textile Treasures

For those of you who are not familiar with Hyde Hall, I had the greatest treat a few weeks ago: the new Executive Director, Dr. Jonathan Maney, and I perused the textile and trim collections that have survived at this Regency mansion.

Hyde Hall, a National Landmark and a New York State Historic Site, located in Springfield, NY, was built by George Clarke between 1817 and 1834.

Its importance to material culture historians is based on the extraordinary survival of furniture, textiles, textile ornaments, and receipts for the period of its building. Everything is fully documented.

Rarely do we have the opportunity to put so many pieces together to understand both the style and color way for window treatments in a high style Regency mansion circa 1830.

More important to those of us who work in rural areas, Hyde Hall is not located in an urban environment. Rather, it is far afield from the population centers that we normally associate with high style culture. Hyde Hall is perched high on a bluff overlooking the northern tip of Otsego Lake, about 60 miles west of Albany, New York.

We know that the draper/upholsterer came from Albany as did much of the furniture, and we know the exact volume of fabrics, trim, and ornaments that were ordered. We have surviving fragments of the original red damask, tassels, trim, and ornaments for the grand dining room and the drawing room. These great rooms are elaborate, handsome, and very well preserved.

Hyde Hall offers us the opportunity to study, educate, and reproduce the window treatments with more documentation than nearly any other historic site could ever hope to find.

Rabbit Goody is a textile historian and owner/weaver at Thistle Hill Weavers. She is also the director of the Textile History Forum.

New Contributor: Rabbit Goody, Textiles Expert

Please join us in welcome our newest contributor here at New York History, Rabbit Goody. Goody is a nationally recognized textile historian who has served as a consultant to major museums, private collections, and the film industry. Her reproduction fabrics appear in many movies, including Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Master and Commander, Amistad, The Titanic, Cinderella Man, Polar Express, The Prestige, Transformers, and the new Indiana Jones movie.

Goody has extensive experience working as a consultant to museums including dating and identifying textiles in specific collections- making recommendations about ex­hibits, storage, and con­ser­vation- helping museum staff to develop appropriate and workable furnishing plans that include historically accurate soft furnishings, from carpet to loose covers to window treatments- and developing plans for textile rotation. She has worked with many living history sites to coordinate the use of historically accurate repro­ductions with original items in the museum’s collections.

Wanda Burch: 18th Century Bed Rugs

The question was raised on &#8220what are bed rugs?&#8221 in a recent living history association [ALHFAM] on-line thread. Bed rugs, often spelled &#8220bed ruggs,&#8221 were common bed coverings that appear in both 18th and 19th century house inventories. Bed rugs were inventoried in Johnson Hall in Johnstown, NY, in a 1774 inventory of household goods by Daniel Claus. Johnson Hall was built in 1763- but the inventory was completed in 1774, a common recording for wills and cataloguing household goods. Read more

First Quilt Exhibit at Fenimore in 15 Years

The Fenimore Art Museum in Cooperstown, New York will open a new exhibition on September 24 titled Unfolding Stories: Culture and Tradition in American Quilts, organized by renowned quilt scholar Jacqueline M. Atkins. The exhibition will be on view through December 31. This marks the first time in over 15 years that the Fenimore will display selections from its substantial collection of historical quilts some dating from the early 19th century.

The exhibition explores the many connections that are made throughout and across cultures through the art ofquilting, as well as how these connections have changed over time and place. Almost every culture offers some form of quilting within its textile tradition, yet only in the United States do we see a confluence of traditions, cultures, ethnicities, and innovations that produces the richly diverse quilting culture that exists today.

On view will be approximately 24 quilts distinguished by their design, pattern, and workmanship. The quilts are organized to examine six themes ranging from the history and inventiveness of this time-honored practice to the role that quilts play in revealing values, culture, traditions, and beliefs. Unfolding Stories pieces together this intricate patchwork of diverse connections into a fascinating narrative that grows out of stories embedded in the quilts themselves. Quilts on display include pictorial narratives, one-patch designs, crazy quilts, cut-outs, star quilts, and signature quilts.

“Unfolding Stories looks at how various cultures interpret different designs within the quilting tradition,” remarked Director of Exhibitions at the Fenimore Art Museum, Michelle Murdock. “It demonstrates how cultural and cross-cultural connections are made through design processes as well. Quilts continue to provide visually powerful yet ever-changing texts for us to read, interpret, learn from, andenjoy,” Murdock added.

Also included are the three award-winning quilts from The Farmers’ Museum’s 2010 New York State of Mind Quilt Show. The exhibition is sponsored in part by Fenimore Asset Management.

The exhibition will compliment the many folk art related activities taking place this fall at the Museum including the exhibition Inspired Traditions: Selections from the Jane Katcher Collection ofAmericana opening October 1. Join us across the street at The Farmers’ Museum for this year’s A New York State of Mind Quilt Show – October 8 and 9.

The Fenimore Art Museum’s 2011 Americana Symposium will be held on September 30 and October 1. This new annual event will bring together leading scholars and experts on American history, art, and culture.

Photo: &#8220Trade and Commerce&#8221 Quilt Top by Hannah Stockton Stiles (b. 1800), ca. 1835. Possibly Delaware River Valley. Cotton, cotton chintz. 105 x 89 in. Gift of Hannah Lee Stokes. Fenimore Art Museum, Cooperstown, New York.

Adirondack Museums Fabric and Fiber Arts Fest

The Adirondack Museum will hosts its annual Fabric and Fiber Arts Festival on Saturday, September 17, 2011. Fabrics and regional artists are featured at this one day celebration of spinning, weaving, quilting, knitting, knotting and all fiber arts.

There will be textile appraisals by Rabbit Goody in the Visitor
Center from 9:30 a.m. &#8211 12:00 p.m. and a variety of yarn installations, or yarn bombings, displayed throughout the museum campus during the event. Yarnbombing is a type of street art typically found in urban areas.

Regional fiber guilds and artists will &#8220yarn-bomb&#8221 more utilitarian parts of the museum in celebration of the fiber arts, and to showcase how traditional crafts like knitting and crocheting are being applied in new ways in the 21st century. This year’s
event includes a crocheted SUV cover by Jerilia Zempel.

In addition to the yarn-bombing displays, the museum will also feature the Third Annual Great Adirondack Quilt Show on September 17. The show is a special display of quilts inspired by or used in the Adirondacks, and will be open through October 9, 2011.

Demonstrations during the festival include: art quilting with the Adirondack Regional Textile Artists Alliance- bobbin lace-making with Judy Anderson- mixed-media textile arts and quilting with Louisa Woodworth- quilting with Northern Needles- rug hooking with the Country Ruggers- a variety of wool arts with Serendipity Spinners and felt making with Linda Van Alstyn. Linda will offer informal sessions of make your own felt flowers for a $5 fee.

Museum Curator Hallie Bond and guest Rabbit Goody will offer a presentation at 1 p.m. and 3 p.m. entitled &#8220Weaving Through History,&#8221 telling the history of the weaving tradition. Presentations will take place in the Auditorium. Visitors will be able to browse and buy from a small group of talented North Country fiber artists at the vendor fair. Enjoy fiddle and guitar music by talented musicians Doug Moody and John Kribs throughout the day.

Hands-on activities include recycled rugs &#8211 help braid strips of blue jeans into a floor rug and placemats for the museum’s Little Log Cabin, or make a coaster for home from recycled tee-shirts. This year’s Fiber Fest will include an afternoon knit-in hosted by Carol Wilson. This will be an opportunity for knitters to work on a project in the company of other knitting enthusiasts, and to exchange tips with other participants about how to tackle tricky techniques. Knitters are highly encouraged to bring finished projects to display, as well as works in progress.

Visit www.adirondackmuseum.org for a list of fiber related workshops that will take place on Sunday, September 18, 2011.

Wedded Perfection: Two Centuries of Wedding Gowns

Vera Wang, Christian Dior, Paco Rabanne, Zac Posen, and Bob Mackie are just a few of the world-renowned designers whose creations are showcased in “Wedded Perfection: Two Centuries of Wedding Gowns” on view June 19 through September 18 in the Munson-Williams-Proctor Arts Institute Museum of Art in Utica.

Wedding gowns are the ultimate in fashion opulence. This monumental exhibition, the most impressive ever presented on the wedding gown and the largest in MWPAI history, showcases 50 gowns dating from the 1700s to today.

From vintage to vogue, gilded to goth, these fashion masterpieces are the epitome of artistry, illustrating how the same styles that pervade the fine and decorative arts in the Museum’s collection manifest themselves in fashion art.

Ancient Greek and Roman motifs, which saturated American arts in the late-18th and early-19th centuries, are embodied in the empire waistline, sheer material, and columnar outline of an 1801 gown in “Wedded Perfection.” The bride would have eschewed the opulent heavy silks and structured gowns associated with French and English 18th-century aristocracy of a generation earlier, and as captured in a 1763 emerald-colored, brocaded-silk gown in the exhibition.

Designers transform extraordinary ideas into clothing. Each gown in “Wedded Perfection” relates a story about cultural values, the bride, or the creator of the dress. Dressmaker Ellen Curtis (1850-1923), for example, wanted her own wedding dress to serve as a showpiece, a way to entice more ladies to call on her needle-working artistry. In the exhibition, her stylish wedding dress illustrates a mastery of skill and tailoring techniques and an awareness of all the latest fashions. Contemporary couture designer Zac Posen fashioned an imaginative vision into an extravagant dress for his sister’s 2004 marriage. The intense color and six-foot train ornamented with silk poppies are inspired by the movie “The Wizard of Oz” and reflect the bride’s sense of style. The train in its entirety can be seen in the exhibition.

“Wedded Perfection” will explore the origin of western bridal traditions, trendsetting wedding dresses, contemporary and avant-garde wedding dresses, influential designers and periods when the “traditional” white wedding dress was not worn.

When Queen Victoria married Prince Albert in 1840, she popularized the mode for the single-use white wedding gown. Not all women could afford such a luxury, and dresses of numerous colors are represented in the exhibition. When Evelyn Marie Wright married during the depression, for example, her family was not in a position to buy an elaborate wedding gown. Her future mother-in-law, an accomplished seamstress, crafted a fashionable dress from machine-made lace. The bride chose blue, her favorite color, and despite the high neckline of the dress, its sleek, form-fitting shape and light fabric are alluring.

The variety of styles in the exhibition illustrates how each bride makes a personal statement. As exemplified by the lace, tulle, feathers, fur, rhinestones, and flowered trim on the gowns, the wedding dress is an artistic canvas. The dress may be the most elaborate piece of clothing a woman will ever wear and the one garment in which she is assured rapturous attention. An opulent 1887 gown is ornamented with silver beads, faux pearls, and wax orange blossoms, a symbol of purity. Thirty-four years later, a 1921 dress also elaborately decorated with pearls, demonstrates how quickly fashion arts revolutionize.

With gowns that vary from a fairytale princess style to a 1967 installation piece by celebrated international artist Christo, this exhibition will examine the compelling allure of the glamorous wedding dress for modern women and its present iconic stature. A gown by New Hartford, N.Y., native and Emmy-award winning designer David Zyla evokes historical antecedents interpreted in an ultra-modern and chic manner. Likewise, dresses by Vera Wang illustrate her trendsetting designs of elegant formfitting, strapless dresses.

Including elaborate fashion statements and extreme runway samples by leading designers, “Wedded Perfection” is organized by the Cincinnati Art Museum. Munson-Williams-Proctor Arts Institute is the only other venue for the exhibition. A fully illustrated catalogue will be available in the Gift Gallery.

Special Exhibition Admission: MWPAI Members—first visit free with the voucher that you will receive in the mail- subsequent visits, $5. General Admission—$10

Group tour rates, which include a guided tour and offer a gourmet luncheon on the Fountain Elms Terrace, are available for groups of 20 or more. Contact Ellen Cramer at (315) 797-0000, ext. 2149, for more information.

Photo: Christian Dior (1905-57) France, Wedding Ensemble: Dress, Crinoline, and Headpiece, 1954, linen, silk, Gift of Countess de Rochambeau.

Museum Seeks Adirondack Quilts

Do you have an exceptional bed quilt or pieced wall hanging that was made in, inspired by, or depicts the Adirondack region?

The Adirondack Museum at Blue Mountain Lake, New York is seeking quilts for &#8220The Third Annual Great Adirondack Quilt Show&#8221 to be held from September 17 to October 9, 2011. The show open the day of the museum’s Fabric and Fiber Arts Festival and will complement the final season of the exhibit &#8220Common Threads: 150 Years of Adirondack Quilts and Comforters.&#8221

There will be two divisions in the show. Historic quilts (those made before 1970) can be of any theme or technique, but must have been made in the Adirondacks. Modern quilts (those made after 1970) should have a visible connection to the Adirondack region. A &#8220People’s Choice&#8221 award will be presented to one quilt in each division.

An eligible quilt might depict an Adirondack scene in applique or be composed of pieced blocks chosen because the pattern is reminiscent of the region &#8211 &#8220Pine Tree,&#8221 Wild Goose Chase,&#8221 or &#8220North Star,&#8221 for example.

Although the show will not be juried, applicants must complete a registration form prior to September 1, 2011. A statement by the maker is required to complete the application process. For additional information or to receive an application, please contact Hallie Bond via email at [email protected] , by telephone at (518) 352-7311, ext. 105, or through the postal service at P.O. Box 99, Blue Mountain Lake, N.Y., 12812.

Photo: &#8220Late Summer&#8221 by Joanna Monroe was one of the entries in the 2010 Great Adirondack Quilt Show.

@adkmuseum.org>

Old Forge Call For Quilts

The 25th Annual Northeast Quilts Unlimited seeks entries. The Exhibition will be held at the Arts Center/Old Forge’s new building October 8 to November 30, 2011. Cash prizes will be awarded in several divisions including bed, wall, Art/Innovative, traditional quilt, Adirondack theme, and popular vote. The Northeast Quilts Unlimited is an open show- all quilts entered will be displayed, and judged for awards.

This year’s National Quilting Association Certified Judge is Molly Waddell. The deadline to enter the exhibition is August 27. The fee to enter is $10/$8 members per quilt, with a maximum of 2 entries per quilter.

For more information and entry forms visit www.ArtsCenterOldForge.org, or call the Arts Center at 315-369-6411.

War of 1812-Like Quilts Sought for Bicentennial Event

It’s “a once-in-200-years” opportunity. The Seaway Trail Foundation is asking quilters and non-quilters, to make quilts with War of 1812-era colors and patterns for the Great Lakes Seaway Trail 2012 War of 1812 Bicentennial Quilt Show and Challenge event.

Organizers are reaching out to American history enthusiasts and re-enactors, children and people of all ages from the U.S., Canada, United Kingdom, Native nations, and internationally to enter and attend the commemorative event to be held March 17-18, 2012 at the Great Lakes Seaway Trail Discovery Center in the War of 1812 heritage community of Sackets Harbor, New York.


Guidelines for making “cot to coffin”-size (30 inches x 70 inches) quilt using a variety of fabrics, including cotton, linen, silk, wool and linsey-woolsey, and patterns common to the 1812 period are online. Entries must be committed to the show by January 15, 2012- quilts must be completed by March 3, 2012.

The Great Lakes Seaway Trail 2012 War of 1812 Bicentennial Quilt Show and Challenge guidelines suggest studying the research works and books of noted quilt historians Barbara Brackman, Anne Orr and Pepper Cory.

Brackman of Lawrence, Kansas, suggests that a quilt in medallion or strip format would be a good patchwork design for the historical era. Brackman says, “Patterns that were popular during the 1812 time were simple stars and basic nine-patch and four-patch variations. The War cut into fabric imports into America but well-to-do women already had stashes of imported French, English and Indian chintzes and calicoes in a variety of colors, and loved to mix large-scale and small-scale prints. For those thinking of using fabric reflecting the domestic prints of the time, indigo blues, browns and a touch of pink would be among the best colors.”

Brackman has designed a reproduction collection of prints from the era for Moda Fabrics- the “Lately Arrived from London” collection should be available in quilt shops by the end of the summer of 2011.

The Seaway Trail Foundation is sponsoring the event as part of a host of War of 1812 Bicentennial commemorative plans for tourism, cultural heritage and military history programs in 2011-2014. The March 2012 show will be the kickoff for a 2011-2014 traveling educational exhibit of the War of 1812-like quilts.

The 518-mile Great Lakes Seaway Trail along the freshwater coastline of New York and Pennsylvania is a National Scenic Byway offering authentic American travel experiences

Illustration: War of 1812 attack on Oswego from the Paul Lear collection.