QUILTS & FABRIC: PAST & PRESENT


Friday, January 24, 2025

Specialization in Commercial Textile Production: Spinners, Weavers & Printers


When reading textile history one is struck by the early specialization in manufacturing processes in America and Europe. Cotton from boll to yardage involved many steps and fabric mills often focused on only one or two of those steps.

We'll look at the Amoskeag Mills in New Hampshire for a mill first specializing in spinning yarn and later weaving cotton cloth  Their history indicates that Benjamin Prichard and the Stevens brothers bought the water power rights on the Merrimack River at what would become Manchester, New Hampshire where they erected a spinning mill in 1809 or 1810. Their spinning machinery was sold to them by Samuel Slater of Rhode Island, machinery that turned raw cotton into yarns of various thickness and weights.


The Amoskeag Cotton & Woolen Manufacturing Company's spinning yarn then went to local weavers who wove cotton cloth at home. A skilled and industrious home weaver could weave about 10-13 yards a day. Both men and women earned money at their home looms.

As industry evolved (and the mill owners became more "acquainted" with their product) the factory with its used and fractious spinning machinery became a more sophisticated enterprise incorporated in 1831, adding weaving machinery to produce yardage of "sheetings, shirtings and tickings." They commissioned a local manufacturer to copy an Arkwright spinning machine that worked better than the second-hand machinery.


Tickings: Woven pattern, defined in a recent edition of Fairchild's Dictionary of Textiles

Weaving mill employees with their shuttles.

Amoskeag also wove seamless cotton bags with a small area of 
ticking stripe at a specialized branch established in 1856. Users personalized
 these with initials etc. so their local grain dealer
 could return the bag to the right owner.


See a piece of Amoskeag ticking from about 1870
at the New Hampshire Historical Society here:
The weaving mill was well-known throughout the 19th century for cloth production.

Library of Congress
Trade mark registration for a ticking line, 1876, a hot year for the product

Boston Evening Transcript
As far as I can tell Pearl River, Amoskeag and Massabesie are
all Amoskeag trademark names.

Text from the 2013 edition of Fairchild's
Levi Strauss purchased his "Jeans cloth" or blue denim from Amoskeag until 1915.
The teens during World War I were the most profitable years for the company.


Woven patterned cloth and perhaps plain sheeting on the looms in the
 "Weave Room" at Amoskeag, early 20th c.

Do note that the Dress Gingham (gingham refers here to the process of weaving yarn-dyed cotton cloth)
is advertised as "patterns of checks, broken plaids and plain colors." Amoskeag was associated with woven pattern---not prints.

When they decided to manufacture prints they used another name and built new mills.
Printing branch name changes: Manchester Mills 1839
to Merrimack Mills (already used for a business in Lowell)
to Manchester Print Works

Delaine with coloring and stripes
typical of pre-Civil War ladies' fashion. Delaine 
is a combination weave.

Printing was initially confined to the popular clothing cloth delaine, a wool or wool combination, 
rather than cotton. Adapting to fashions, the printing mills changed focus between 1845 and 1865, eventually specializing in cotton.

Manchester Print Works built 1845

Feather pillows were an expensive item in 1910
Los Angeles Evening Express

Amoskeag with it's reliable woven cloth weathered financial ups and downs for about 130 years until 1936. Like so many other long-established businesses the mills closed in the Great Depression.

"Remnant Store Closed"
Library of Congress
Carl Mydans, 1936

1828 English baptism records show a variety of specific
textile jobs.

Next post we'll look at a Cotton Printing Mill in England where many were employed
at specific, often-mentioned occupations. 

Read More:
The Amoskeag Manufacturing Co. of Manchester, New Hampshire: A History by George Waldo Browne

Sunday, January 19, 2025

Digitizing Photos for Pop In Applique Books

 

Here's how I've been digitizing the applique designs
for my Pop In Applique source books.


Original photo of a detail from an applique sampler
dated 1851. Pattern is regional yet common, found in New York and
adjacent areas.
#28.44 in my Encyclopedia of Applique (page 101)

First I "posterize" the picture in Photoshop,
which sharpens it up somewhat.

There may be a way to do this automatically but
I eliminate the color variations manually with the
erase tool, mainly because it's relaxing and I enjoy
doing it---like a coloring book.

Under filters there is a tool to "Sharpen," which
can add a black line around the shapes.

And here is the digitized picture on page 2 of Volume 2 of Pop In Applique.

Now that it's digitized I can pop it into a structure of some kind. Although it generally set all alone I put it in a simple wreath using "Duplicate Layers."

Hmmm. Better on the diagonal?

More balanced.

New idea for traditional pattern.

UPDATE:


I decided I wasn't having all that much fun erasing paint colors manually so I decided to learn something new in Photoshop everyday (canceling subscription to WaPo, not watching news etc. frees up much time.) Learned the PaintBucket tool yesterday which changes color in one keystroke and also turns a color picture into an outline drawing if you fill it with white. Very efficient.

Thursday, January 16, 2025

Pop-In Applique: Cutting Paper & Creating New Traditions



 I'll show you how I cut paper---resized---to design a block.
Found a simple image in Volume 1 of Pop In Applique to stitch a basket
of Morris Manor fabric (in shops in March)

Vase fabric
Resized the container and erased the color. Only need half of it
as it has to fit on my printer paper.

Vase full of sunflowers?
Kansas Day is at the end of the month.

Found a naturalistic sunflower in Volume 2
Resized it.
Printed it to the correct scale on 8.5" x 11" paper.

Large sunflowers. Here's half of it in paper on my cutting board.


Did a little photo manipulation flipping over one sunflower.
Are there too many leaves?

Too few or too many?
I started photo-manipulating as it's easier for me.

Better.
I have the shapes I need at the right scale for one large block. I'll print half of this on an 11x8-1/2" sheet, cut templates and
then fabric.


See posts on this sourcebook project here:

Sunday, January 12, 2025

Pop-In Applique Source Books

 


Variations of the Ladies' Dream or Pomegranate
Sketches of similar designs from my Encyclopedia of Applique

  

I've had a pleasant early winter here working on my Photoshop skills by digitally drawing applique designs and compiling the drawings into booklets---source books for applique design.

A gallery of wreath formats


A few months ago I was working on drawing patterns for the 2025 applique block of the month at my CivilWarQuilts blog Liberty's Birds and I said to myself. "Why am I drawing the same leaf over and over again? What if I made a file of the leaves found in old applique quilts.... And the birds...."

I got better at drawing and coloring.


And the roses---and the tulips.....and the pomegranates... And then I could just pop them into the patterns.  What if...


And then I thought you might like to have a file of roses and tulips and leaves you could use to design traditional applique.

With Galleries of traditional arrangements

And Image Files of the design units.
I'll show you how I use these in the next post.

Buy the booklets in PDF form at my Etsy shop for $15 each:

Pop In Applique

Pop In Applique
Volume 2 Wreaths, Tulips, Pomegranates & Birds, 22 pages:  https://www.etsy.com/listing/1839481886/pop-in-applique-vol-2-of-a-sourcebook?

And I've created a Facebook group. Check it out and post any creations of your own.
PopInAppliqueQuilts
I'm working on that group to make it public so you don't need to ask to join. Hope it's working right.