Category: Patchwork

Jul 26

Vintage Strawberries to Vintage Southbank

I’m super-excited (and not a little awed) to be taking vintage-strawberry-making to Vintage Festival 2011 on the Southbank this weekend, helping to celebrate the 60th anniversary of the Festival of Britain. I cordially invite you to join me and the Mollie Makes team for a FREE crafternoon in the foyer of the Royal Festival Hall! You’ll need to pay to get into the main festival, but there’s no extra charge for the workshop (Yay!). Choose to make strawberries with me on Friday 29th or Saturday 30th July, or join Sara Sinaguglia, apple-cosy crocheter extraordinaire, on Sunday 31st. Just sign up for a workshop when you arrive. Spaces are limited, so don’t delay!

More details are here on the Mollie Makes blog. In the spirit of post-war Make Do & Mend, I’ll be taking along lots of vintage fabric scraps and upcycled elements (vintage beads, buttons, bows and threads) as well as some new. I’m currently packing frantically, including bubble-wrapping my prop sewing machine Winifred, a 1933 hand-cranking Singer (which we sadly won’t be using as she has a tendency to misbehave when it comes to stitch tension, but she looks fabulous). Yes, the workshop will be hand-sew only, but I’ll part-prep the strawberries for you so that you can spend a lot of time embellishing them and making them your own (the fun part).

Winifred, a 1933 hand-crank Singer

Coming to the Southbank this weekend...

I’ve been recalling the last time I had a work engagement on the Southbank. It was more than 20 years ago (an era which would now be considered vintage, at least on Etsy). In those days I was a publisher’s publicist, opening the Twiglets and pouring the cheapest possible plonk (in the great publishing tradition) for a Terry Pratchett book launch at the BFI. We used to have the invitations produced (glorified photocopies, really) at a printer’s around the corner from work, and not many more than a hundred would have been ordered. To my eternal shame, I subsequently used some of the priceless leftovers as patchwork backing papers. Aherm. Will posterity judge me harshly for such upcycling of irreplaceable vintage Pratchett ephemera? Perhaps you’d better not answer that. Are you carrying any ‘really-shouldn’t-have-destroyed-that’ upcycling regrets? Please share them cathartically in the comments below and make me feel better about my act of literary memorabilicide.

Upcycled Pratchett invitations

A memento of my last SE1 work engagement

And I didn’t even finish the patchwork! the layers of guilt are piling up…

Anyway, check out the film above and let the festival’s originator, Wayne Hemingway, walk you through the various attractions. Things crafty and upcycled are mentioned 4 minutes 10 seconds in. Hope to see you there, if you can sandwich me in some time between Tracey Emin and the Avenger-thon! Now, where did I put those cat’s-eye spectacles…?

 

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Jul 11

Scrap of the week #17

Liberty strawberry fabric

Liberty Tana lawn scrap with strawberry motif

This jaunty scrap came in a job-lot of Liberty offcuts. I’ll probably applique it onto a needlebook cover, or possibly turn it into a part of a lavender bag. I don’t know the name of the pattern, nor the artist, but wish I did. Don’t those strawberries look like they have lots of sleepy eyes?

 

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Jun 20

Scrap of the week #15

Feedsack strawberries

Feedsack strawberries

This is a gorgeous original American feedsack strawberry print (have you noticed I like strawberries yet?) from Becca Gauldie. I’m afraid I’ve already snapped this one up, but Becca has a whole lot more. I don’t intend to do anything with it for now: it’s an entire feedsack, not just a teeny scrap, so there’s plenty to play with, but I really haven’t found the right project for it.

And thinking about strawberries in June inevitably leads my thoughts to tennis. Will you be watching Wimbledon this year? My viewing will be restricted to edited TV highlights only, alas. One of my friends has lucked out in the ballot and actually won tickets for the men’s final! I’m sure I could fit in her handbag if I try. Who will you be rooting for to win? Have you ever been to Wimbledon? Did you sample the strawberries and cream while you were there? Rub shoulders with any tennis stars? Please share your summer tennis stories! I love ‘em!

 

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May 24

Grandmother’s quilt

Shredded quilt

My grandmother's pinwheel quilt

Just take a look at my grandmother’s quilt.

Made in the 1950s – I think, though employing older fabrics – it has been well worn (dare I say abused?) and is terribly shredded but retains much its pinwheel charm.

Feedsack pinwheels

Feedsack fabrics

I washed it yesterday using a delicate soap, gently agitating it by hand in the bathtub (just prodding it, really) before letting it drain (boy, that water was satisfyingly yellow!), rinsing it, draining it again, rolling it carefully and putting it in the washing machine to spin. Then I let it dry flat and supported before hanging it (just damp) on the line to finish drying in the fresh air. All in the name of work avoidance, of course.

Dotty pinwheel

Feedsack pinwheel

You might see it as a cutter, but I think I will drape it somewhere and watch it gently deteriorate.

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May 14

My first sewing machine #4: Abby Harris

Abby Harris of Bubs Bears

Abby Harris of Bubs Bears

I’m delighted to be able to present the story of Abby Harris‘s first sewing machine, another interview in my continuing series. Do check out my previously posted interviews with Ruth Singer and Julia Laing.

I met Abby when we were both running stalls at the It’s Darling! Spring Fair here in Bath. She was selling her lovingly hand-crafted Bubs Bears, which are often upcycled or contain vintage elements (such as some lovely buttons which she bought from yours truly). Leaving a small ecological footprint is clearly important to her. Abby also makes bespoke keepsake teddies, crafted from a customer’s personally significant textiles, such as baby clothes, wedding dress, or the garments of a lost loved-one. Some are patchworked from several special garments. She creates lots of other charming items including peg bags, lavender hearts, bags, cushions, button pins, magnets, hair clips and cards. Abby blogs, can be found on Facebook here and sells on Folksy.

More of Abby's makingsSome of Abby’s charming makings
Recycled sweater bear

Upcycled sweater bear

ScrapianaTell me about your first sewing machine, Abby. Can you remember its make, model and colour?

Abby: My first sewing machine was a Toyota, I don’t remember the model but it was a fairly basic one.

Abby's first sewing machine

Abby's first sewing machine: a Toyota

Scrapiana: Was it gifted or borrowed?

Abby: It was a joint birthday present for my 21st (I think) birthday from my then boyfriend and my parents.

Scrapiana: Nice gift! Do you still have it? If you got rid of it, where did it go?

Abby: I do still have my first machine as I only stopped using it last year after 15 years. At the moment it is on loan to my mother-in-law as hers is broken, but soon I hope to get it back so my eldest daughter can use it as she is showing a keen interest in sewing.

Scrapiana: How lovely that your daughter will be able to use it too! So, what’s your earliest memory of sewing? What did you make, and who taught you?

Abby: I remember doing a bit of sewing at school. I think we made and printed our own t-shirts; mine had yellow footprints on it. Other than that I learned mostly from watching my mum. She studied fashion at college and used to make all our clothes, as well as doing dressmaking and alterations for other people.

Scrapiana: At that time it was quite unusual to have your mother making all your clothes. I imagine she made a great sewing teacher, then. What was your first big sewing project?

Funky floral bear

Abby: My first big project was a dress for my daughter to wear to a wedding. It was a real challenge as it was a silky fabric and had two layers. But it fit her, and she got lots of compliments. I’ve never tried making another though!

Scrapiana: What did your first machine do especially well, or particularly badly?

Abby: It was terrible at keeping the correct tension, and kept jamming the fabric up under the foot. In hindsight I should have had it serviced regularly – when it finally got so bad last year that I had to take it in to be looked at, they gave me a good telling off when I admitted it hadn’t even been oiled in 15 years! While it was being serviced they loaned me an old Bernina. When I saw it my first thoughts were “oh my God, I am not going to be able to do my work on that!” It was ancient and I thought it would be awful. But I soon learned that it was the quietest smoothest machine I had ever used. I didn’t want to take it back!

Abby's borrowed Bernina

Abby's borrowed Bernina

Scrapiana: What machine do you have now? Is it your dream machine? If not, what would that be, if  money were no object?

Abby: I bought my new machine last year. My local shop gave me a great discount due to it being the old colour; the new machine with the new colour was about £200 more! It’s a Husqvarna Sapphire 850 and I love it! It has many functions which I’m still yet to learn how to use, but the fact that all I have to do is move my foot up and down and it almost does the rest for me is wonderful.It’s not a beautiful machine to look at, so if I could morph it with a pretty old black antique machine then I’d never want anything different!

Abby's new Husqvarna

Abby's beloved Husqvarna

Scrapiana: I have a strange confession, Abby, which is that I give each of my sewing machines a name (Josephine, Winifred etc), making them almost animate to me. Have you given any of your machines a name? And would you ever speak to your machine? – to encourage or to upbraid it, for example?

Abby: I haven’t named my machine. No, I don’t really speak to my machine. I might declare my love for it… though only when no-one else could hear me!

Scrapiana: Ah, just as I feared… it’s only me, then. Abby, thanks so much for taking the time to answer all my questions! It’s been lovely to hear the sewing-machine journey behind Bub’s Bears. Your business certainly has its heart (lavender-stuffed, of course) in the right place.

Stack of hearts, mid-construction

Stack of hearts await lavender stuffing


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Feb 26

Woollyherb

Woollyherb, Maggie Jarman

Woolyherb held by its creator, Maggie Jarman

I was really excited to see my friend Maggie’s quilt (above) featured in March’s edition of British Patchwork & Quilting. It’s in an article by Khurshid Bamboat about the Dulwich Quilters’ 2010 Exhibition. Here’s what Khurshid said:

‘Woollyherb’ by Maggie Jarman kept drawing me back. Maggie had cut small coloured felt squares, applied them on to black net and felt and sewed different coloured and shaped buttons on to the squares. It wasn’t a big piece – but it was beautifully proportioned and stunning.

Unfortunately, the images weren’t terribly clearly reproduced in the magazine, but I happened to have these shots in my camera, having met up with Maggie last month.

Woollyherb by Maggie Jarman

Woollyherb, flat

These weren’t exactly studio conditions: we were in a high-street pizza-chain restaurant and the garlic bread was on its way.

Woollyherb by Maggie - detail

Woollyherb close-up

I love Maggie’s delicate placement of colour, button and stitched detail. Maggie used all sorts of threads and yarns that she happened to have lying about. She also confessed to leaving in some of the tacking stitches (see above) which really adds to the charm.

Woollyherb by Maggie - detail

Woolyherb detail: felt, flowers & leaves

I also love that the felt used is ‘real’ felt – real to me being the home-fulled variety, rendered from old wool garments. And that many of the buttons are one-off vintage finds: a great way to empty that button jar. This would make the grooviest upcycled scrap project and is really quite achievable even for a beginner stitcher. There are no seams in it, for one thing. This qualifies as ‘a quilt’, incidentally, because it’s constructed of  three layers anchored together with stitching; to dyed-in-the-wool quilters these things matter. To make such a gorgeous piece it helps to have an impeccable artist’s eye, and Maggie has just that. As you may have guessed from the name, the colours of this piece were inspired by rosebay willowherb, a wild plant which you’ll probably recognise as a weed in your garden.

I’m astonished and delighted to calculate that Maggie and I have known each other for over 30 years. She was the first person I ever met who had a proper, vibrant sense of colour; she’s is also the only person I know who is utterly unafraid to wear orange. We always have exciting meet-ups: full of fabric talk, colourful observations, extraordinary recipes, and technical note-sharing. I came away last time with a small rotary cutter (thanks, Maggie!).

Maggie has also been known to teach screen-printing and other exciting artistic endeavours to both adults and children. If you’d like to contact her about that (she’s great fun!) or to a commission a piece, do drop me a line and I’ll be happy to put you in touch.

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Jan 24

Scrap of the week #11

Well, what a wonderful start to the week! I chanced on this bundle of ’70s hexagons in my local charity shop this morning. I know it’s cheating, but these are sneaking in under the wire as my Scrap of the week; it should really be just the one scrap featured, but when faced with such an embarrassment of riches I have to bend the rules.

Vintage hexagons

Big pile of '70s patchwork hexagons

Each hexagon measures 7cms across.  A few have been stitched together, but most are just tacked onto their backing papers.I recognise some of these fabrics. There’s definitely one Laura Ashley, and maybe a Liberty or two.

Seventies patchwork

Flower power

I wonder who worked so hard to get these patches this far all those years ago?

Lucky find

Groovy hexagons

I’ve no idea what will become of them yet. But no matter. They add a ray of sunshine to a dull late-January day, and that’s enough for now.

Hexagons

More funky florals

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Nov 21

My first sewing machine

Singer 99k, 1946

Josephine, a 1946 Singer 99k

Meet Josephine. She was my mother’s sewing machine, the one I learned to sew on. I was nudged to dig her out of the basement and dust her off by this blog post.

Poor old Josephine has seen better days. Second-hand by the time my mother got her in the 1970s, she never struck me as especially pretty. In fact, quite the opposite. She’s led a hard life (witness scratches and scars), and was converted from treadle or hand-crank to electricity some years after manufacture; that’s when she acquired her clunky housing and cardboard case. I imagine some cowboy sewing-machine repairman performing this atrocity, a cigarette butt clamped ruthlessly between his teeth throughout the ordeal. Piling insult onto injury, I’ve neglected her and half meant to get shot of her for years – well, her charms aren’t immediately apparent, unlike her petite cousin, the 221k – but I’m beginning to change my tune. Especially as I know a little more about her now. I’ve even discovered her birthday.

Singer 99k 1950s case

1950s cardboard case

The joy of today’s internet is that you can look up serial numbers of yesterday’s Singers and discover when and where your machine was made, and the model type. The model type is very handy if  you don’t have the sewing machine’s original instruction booklet. Free pdf downloads of instructions can be found out there, so it’s worth searching a little. Otherwise, they can be had for a small fee. It’s useful to know how your machine is supposed to be oiled, how tension can be adjusted etc.

99k register number

Singer serial number

From a quick dip into the Singer site I’ve learned that Josephine was one of 30,000 99k machines registered on May 20th 1946 in Kilbowie, Clydebank, Scotland.  That date was when the entire batch was assigned, so I imagine she was still a lump of metal at that point and didn’t gain her final gleaming-gold-decal form for days, weeks or months. Anyway, it’s nice to have an anchoring date. Maybe next year I’ll bake her a cake and Singer happy birthday (ouch).

Singer 99k

Singer lettering

By the time Josephine came to us, she already bore the marks of a hard grafting life, the scratches of myriad pins passing by on miles of fabric, a thousand scissor-nicks from hurriedly clipped curves.  Her motor bears the installation date of February 1956. When we first got her, she had to be plugged into a light socket. This meant that every sewing experience was preceded by a perilous clambering above the dining room table to extract the bulb and insert her lead into the pendant fitting. I’m amazed that no-one was electrocuted in the process.

Singer 99k with Sylko spool

Hand wheel, bobbin-winder and the odd decorative flourish

The absence of ceiling  light made it pretty hard to see what you were doing, and eventually someone in the family changed her plug to a regular three-pin wall variety. It was slightly annoying that she had no light source of her own, but my fresh eyesight didn’t seem to mind that at the time, and I enthusiastically made up a lot of patchwork and a number of Laura Ashley dresses on this machine.  She worked reliably, until I got her out a couple of years ago and found, to my horror, that she ran manically without her foot control being activated; this seems to have been a simple case of ‘sticky pedal’, and I’m happy to report that she’s fine now.

99k decal

The scratches of hard use

My mother wasn’t an enthusiastic needlewoman, just a utilitarian one. Same with all handicrafts. It was my maternal grandmother who’d been the real crafter of the family, and perhaps my mother naturally rejected that role as one generation tends to react to the previous one. She’d gone to college and pursued more academic pursuits. She typed fast, played piano well, but the sewing-machine isn’t something I can picture her at. It was at school that I was instructed in how to operate a sewing-machine. Home Economics hadn’t been chased off the curriculum in those days, and we learned from rather joyless, stern teachers (“unpick that again”) on rows of hand-cranked machines. But that’s another story.

99k face plate close-up

Surprisingly fancy face plate

I’m seeing Josephine in a slightly different light now. A no-nonsense post-war workhorse from an age of austerity, her few redeeming features (such as her surprisingly decorative face plate, the pleasingly robust bobbin-winding facility, and the houndstooth-patterned paper inside her case) stand out all the more. One last detail: in the spirit of make do and mend, she still carries a piece of masking tape on her needle plate, marking some long-forgotten seam-allowance I once used. No fancy screw-on seam guide for her.

Now I’m wondering where all of Josephine’s 29,999 siblings are. These 99ks strike me as real survivors. How many are still sewing? How many have been melted down for scrap? Where are they now? If you happen to have one, I’d love to hear about it. I”m also wondering what your first sewing machine was like? Was it basic or luxurious? Do you still have it? What did you make on it? Show and tell.

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Nov 12

Corduroy Day

Yesterday was Remembrance Day. But it was news to me to discover, thanks to Fashion Incubator’s tip-off, that 11/11 has also been declared Corduroy Day. It’s all to do with the vague resemblance of that date (11/11) to the ridges of said fabric.

Corduroy appears to be the Marmite of materials, with people either loving or hating it. I love it – what could be more redolent of cosy comfort on a cold British winter’s day than corduroy? However, I’m big enough to acknowledge that not everyone feels the same. When I was at university in the mid-1980s, I noted that a particular kind of derision was reserved solely for those unfortunate male students who resorted to wearing dark brown corduroy trousers. This was probably an understandable reaction to the 1970s, when it had been virtually enshrined in statute that the nation be covered in brown, beige or – at a pinch – oatmeal corduroy. Seventy years earlier, in a book called Corduroy Breeches, American Wilfrid Hardy Callcott recounted how he’d received a pair of corduroy knickerbockers as a young boy and detested them. The book runs to some 148 pages so I’m guessing his animosity ran pretty deep. On the other side of the fence, the Corduroy Appreciation Club founded by New Yorker Miles Rohan in 2005, celebrates all things corduroy; members  meet on dates resembling corduroy (11th January: 11/1 and 11th November: 11/11) and must wear at least two items of corduroy to each meeting. I believe that Miles is the happy man responsible for Corduroy Day.

Liberty needlecord

Cute Liberty needlecord: what's not to like?

The SOED defines corduroy as a late 18th century word meaning  ‘a coarse cotton velvet with thick ribbing’. If you, like me, thought it had French origins ( ‘corde du roi’), that looks like being a fine example of folk etymology; according to the esteemed oracle (OK, it’s Wikipedia, but I’m feeling lucky) there’s no such phrase in French and the word, like the cloth, appears to be of English origin. The clever dictionary folk of Oxford claim that the word is formed from ‘cord’ (in the sense of string or rope) plus ‘duroy’, duroy being a kind of coarse, lightweight worsted (wool) cloth formerly made in western England (in my local towns of Chippenham, Melksham and Devizes, to name but a few) and used to make men’s clothes. The name harks back to the early 17th century, though its origins are shrouded in mystery. I’ve flagged up this sadly dark area of textile etymology to Michael Quinion over at World Wide Words and will let you know if he gets back to me with any illumination. What seems more certain is that corduroy was at one time a cotton textile produced in Manchester; in continental Europe, corduroy is still referred to as ‘Manchester’ (another Wikipedia fact, so please don’t treat it as Gospel until Saint Michael of Quinion has approved it). Manchester cloth was originally worn by poorer workers in the same way as fustian; however it was of high quality, according to this authority, with a good dense pile.

By the late 18th century, the term ‘corduroys’ was being used to describe a pair of corduroy trousers; I’d like to think that the squirely classes (still evident on the streets of Bath today, sporting their garish-corduroy-and-dun-Barbour winter plumage) were calling their breeches this in Jane Austen’s day. But I suspect ‘corduroys’ were  then for the much humbler sort. Here’s a picture from the V&A archives of a man in working clothes (including cord trousers) seated in doorway, c.1845. And a work of 1854, The Lower Orders (published in Noctes Ambrosianae), casts aspersions on those wearing:

…corduroy breeks and linsey-woollen petticoats…  Poor, lonely, humble people, who live in shielings [shacks], and huts, and cottages, and farm-houses…

So, it appears to have been very much  a working man’s fabric, able to keep a person warm when out in the cold. The humility of corduroy is underscored again by James Joyce in A Portrait of the Artist as a Young Man:

There was a cold night smell in the chapel. But it was a holy smell. It was not the smell of the old peasants who knelt at the back of the chapel at Sunday mass. That was a smell of air and rain and turf and corduroy.

Man in corduroys, 1990s syle

Cords keep out the cold effectively in 1990s Pyrenees

An older term for corduroy was ‘wale’. The original Old English word was ‘walu’: from Low German ‘wale’ = weal, a ridge raised on the flesh by the blow of a rod,  and from the Old Norse ‘ vala’ = knuckle. By the late Old English period it was being applied to a ridge of earth or stone, and it turns up in Middle English to describe the broad thick timbers forming the outer sides of a ship; it survives today in the nautical ‘gunwale’. Come the late 16th century ‘wale’ was being used to describe a ridge or raised line of threads in a woven fabric, and to name, by extension, the fabric with such lines.

These days, ‘wale’ is used to refer to the number of ridges per inch in corduroy: the thicker the wale, the lower the number and the chunkier the cloth, so 4-wale is much thicker than 11-wale, for example. Wide wale is commonly used for trousers, while elephant cord, the very thickest of wales, can be used for upholstery. Fine wale (needlecord, pin-cord or pin-wale) is suitable for for shirts and children’s clothes.  Incidentally, the club motto of the Corduroy Appreciation Club is ‘Hail the Wale’.

Liberty needlecord selection

Liberty needlecord: the wale I hail

We also have the late 18th century word  ‘corduroy’ (or ‘corduroy road’) to describe a rudimentary thoroughfare made from logs, so named because of its resemblance to the fabric. In The Dominion of Canada (published by L. Stebbins of Toronto in 1868) Henry Youle Hind apologised for their roughness:

Where the foundation is a morass the corduroy is a ready and efficient mode of constructing a road…though most disagreeable to the traveler, and perhaps destructive of the vehicle, it is often impossible for the scattered settlers to do more.

Corduroy fabric can be just as difficult  to work as the corduroy road must have been to travel. But if you want to take corduroy beyond knee patches, I’d recommend looking at the Gee’s Bend quilters who often used unyielding scraps of corduroy and denim with great deftness.

If anyone wants to meet for a British Corduroy Appreciation Party on Friday 11th November 2011 (11/11/11!) do leave a comment and I’ll see what can be arranged. That leaves plenty of time to plan  a suitable corduroy creation.

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Jun 23

It’s Darling!

I’m slowly but surely working myself up to becoming a vintage haberdashery trader, and will be plying my wares at a new vintage and handmade fair in Bath next month. It’s Darling! will be held in the Guildhall (not far from the Abbey, just opposite Cafe Nero) on Saturday 17th July from 9am-5.30pm, so do come along and say “Hi!” if you can manage it. I’ll be there all day with loads of lovely old cotton reels, buttons and other sewing paraphernalia. Plus several vintage eiderdowns. Oh, and an old wooden sewing box. You get the idea.

Catherine Stokes, one of the organisers and she of Mrs Stokes’ China, interviewed me for the show’s website.  I’m quite chuffed with my new coinage, “button glutton”.  Are you one too?

In this and last week’s fog of events, I forgot to post two Scraps of the Week, so here’s a picture taken to accompany the above interview. In it you get a whole yearful of scraps at one go! The picture is supposed to illustrate something in my life which answers the description “It’s Darling!”, so I chose my grandmother’s feedsack patchwork pieces, many dating from the 1930s. They mostly measure  just 4.5cms across.  She was a fairly utilitarian patchworker, not spending a whole lot of time arranging pattern placement, just putting pieces together more or less as they happened to fall. After all, she was a busy lady with five daughters to make clothes and keep house for, and there was a Depression on at the time. Though she finished a fair few quilts and quilt-tops, she never got round to these. They were all ready and waiting to be fed through the sewing machine for 9-patch blocks and are as fresh as the day they were cut. I’ll feature them individually at some point so that you can get a better look.

Feedsack darlings

1930s American feedsack fabrics

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