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Date: Mon, 19 Feb 2001 13:14:00 -0600

From: Laura Hobby Syler <texas_quilt.co@airmail.net>


I had a similar experience at Quilt Market about the same time. I opened the shop

in Sept of 1980 and by '82 we were doing lectures at Market for the "How to Run a

Successful Quilt Shop Series". Only because of that did the Hoffman rep agree to

"let me buy" the entire line. (Like he didn't want my $$???<G>) He just couldn't

understand what we as quilt shop owners wanted with garment fabrics. I know that

he told us that Karey had invited him to come to Market, and that she assured him

that he would be suprised! We bought everything he sold us! Even the orange

fabrics that I was sure would sit on the shelves flew out the door. And as you

say, such a breath of fresh air after having to live with Peter Pan, VIP and

Concord's little calico prints.

BTW, someone else just mentioned Cranston coming into the picture late in the

80's. Actually, Cranston is the parent co. for VIP. In 1980 when I first opened

we bought from Peter Pan, Ely & Walker, White Rose (solid colors, great Amish

Line) VIP, Concord and a couple of other smaller lines. Concord was by far the

best for quiltmaking. Joan Kessler and eventually her daughter were staff

designers for Concord....micro dot designer, as well as the "strawberry print"

that has been ripped off by several other companies. Unfortunately, Ely & Walker

closed it's doors after over 50 years in the mid '80's ( I sold the shop in '85

and I believe it was in '86 or '87) VIP and Concord have really dropped the ball

quality wise. I've lost track of all of the lines, but with greigh goods such as

the kind the Maywood and Hoffman use, we are indeed getting pickier and pickier!!

And I agree, what an interesting thread <G> this is! Thanks for asking the

question Judy!


in sunny N. Texas where the drought is "officially" over!!!


Date: Mon, 19 Feb 2001 16:01:03 -0500

From: "Peggy O'Connor" <mnoc@brinet.com>

I have a vintage double wedding ring quilt that I would like to hang, but I

am wondering how to keep the deeply scalloped edges (the edge of the "ring")

from folding over. Any suggestions on how to keep these sides on a plane

with the rest of the quilt?

Peggy in NC where the early daffodils are blooming


Date: Mon, 19 Feb 2001 16:55:17 -0600

From: Jocelyn <Jocelynm@delphi.com>


How about Jinny Beyer? She's the first designer I've heard of by name. I

suspect that the naming of designers came about only after they became

famous in the 'real world' as pattern designers, teachers, or historians.-

that is, at the point their names were familiar enough to the public, to be

a draw for the fabric.

My earliest exposure to JB fabrics was prior to my last move (which took

place January 1995) so I'd guess that 1993 would be a good estimate.



Date: Mon, 19 Feb 2001 18:53:20 EST

From: QultFrFn@aol.com

Laura -- Remember "that" medium-large brown/multi print that we all called

the million $$ fabric? That was a Concord. They also produced it in a blue.

They may STILL be printing that one...at 20 years+.

I don't think quilters coming into the art/craft within the last 10 - 15

years have any idea how much the independant quilt shops changed the look of

quilts today...simply by demanding, buying, and teaching their customers how

to use non-calico cottons.

Nancy AZ


Date: Mon, 19 Feb 2001 19:10:43 -0600 (CST)

From: Mary.Persyn@valpo.edu

I'm going to be in Newark NJ on a business trip next week and may have Friday

afternoon off. I'm going to be staying close to the Newark Museum of Art and

was wondering if anyone knows if they have any quilts on display.

I own a copy of "Quilts and Counterpanes in the Newark Museum", published in

1948, and they seemed to have a nice collection at that point in time. Does

anyone know anything about the current status?


MaryDate: Mon, 19 Feb 2001 21:19:15 -0600

From: Marcia Kaylakie <marciark@ev1.net>

To: QHL@cuenet.com

HI All,

Well, nothing like seeing the home folks on the Antiques Road Show from

here in Austin! Did anyone else see that magnificent crazy quilt? Quite

something! Can't wait to see next week's installment. Marcia Kaylakie,

Austin (of course) Tx


Date: Mon, 19 Feb 2001 22:05:12 -0600

From: Jennifer Perkins <qltrstore@harlannet.com>

Do those of you who went to AQSG remember Ethel Abrahams' quilt made of

printed selvages? I know it was displayed at Paducah last year, too. She

has as her oldest printed selvages several from the 30's, I believe. She's

in the AQSG book, you could contact her for more information if you're

really researching!

Jennifer in Iowa



Date: Tue, 20 Feb 2001 08:32:38 -0500

From: "Kalmia@innova.net" <


I heard recently that Lucy Hilty died on Saturday, February 11. Her

health had been failing, particularly in recent months, but she was

able to spend a treasured day with her long-term quilting friends at

the Point Bonita retreat in January. She died in the comfort of her

home in the company of a Hospice nurse. Details are not yet

available, but a memorial service is planned at her home in

Kensington, California, probably on Sunday, March 11.

For those who did not know her, Lucy was born to a Mennonite family in

Ohio, eighty-something years ago. After retiring from her career as a

kindergarten teacher, she became one of the early quilting teachers on

"the circuit" in the late 1970s. She developed a reputation for fine

hand-quilting and elegant quilting designs. She was one of the

featured quilters in Pat Ferraro's classic film "Quilts in Women's

Lives." Lucy was one of the founding members of the American Quilt

Study Group and served on that group's board of directors during its

formative years. She also participated in a Berkeley-area group

called the Crazy Quilters. I hope others will post what they remember

about her, because she touched so many of us in so many ways that a

single eulogy would be an insufficient portrait.

Through my friendship with Lucy I met her sister Agnes, who lives not

too far from me in South Carolina. When Agnes celebrated her 80th

birthday some years ago, she invited my husband and me to join her

extended family for the celebration. I remember that various family

members were amazed that Lucy and I had been good friends for many

years, even though we lived on opposite ends of the country. I

remember thinking then about how so many of my close friendships have

developed through a shared interest in quilts and their stories. I

can only echo what Agnes wrote to me: "She leaves a large hole in my

life and I think many friends will miss her."

Laurel Horton


Date: Tue, 20 Feb 2001 09:02:52 -0500

From: Merry May <Inspectr@delanet.com>

What wonderful news that Barbara Brackman is FINALLY going to be

inducted into the Quilter's Hall of Fame! I think it's long overdue.

She's my hero! :-)


Merry May (a.k.a. Inspector Cluesew)

Schoolhouse Enterprises



Email: Inspectr@cluesew.com

Toll-free (US & Canada): 1-888-84 GEESE / 1-888-844-3373


Date: Tue, 20 Feb 2001 08:50:17 -0800

From: Chris Anacker <chrisa@jetlink.net>

Speaking of Jeff Gutcheon, he wrote about cotton fabrics in August, 1990 in

his book called "A Quilter's Guide to Printed Fabric, Probably more than you

ever wanted to know about making cotton prints for quilters in the 1990s"

He said he bacame a commercial printer in 1983. He also says "Quiltmakers

can take a fair bit of credit for the resurgence of interest in cotton

prints from 1975 to 1990, and this interest will continue.)

Kim Wulfert

Ojai CA


From: "pepper cory" <pepcory@mail.clis.com>

I've been off-line for a few days so I hope these comments will not be too

out of date. The print from Concord that we've all bought is a medium-size

crowded floral print and at last market, Concord still printed it in a brown

and a navy ground. A Concord salesman once told me that print had gotten a

Coty award--it was the first cotton print to have over a million yards

printed. Some time has passed since then and I wonder if sales of that

favorite print would be like the ever-changing sign at McDonald's--you know

the one: when they got over a million hamburgers sold, they just started

saying "billions and billions." He also told me that within the industry,

the salesmen called that Concord print "arsenic and old lace." Referring to

the age and purpose of the print I suppose and type-casting all quilters as

LOL's (Little Old Ladies).

Can't wait to be an LOL (considering the alternative-)

From sunny and windy coastal North Carolina-

Pepper Cory


Date: Wed, 21 Feb 2001 16:57:19 -0600 (Central Standard Time)

From: Mary Persyn <Mary.Persyn@valpo.edu>

A while back someone on QHL mentioned an exhibit catalog

titled "Minnesota Quilt Project Presents Discovering

Ourselves in Minnesota Quilts". I ordered a copy.

Now, a web friend is trying to track down a copy and the

phone number given on the back of the book is disconnected.

Is the person who originally handled this book still on the

list? Does anyone know if there are still copies

available, and where?





Date: Wed, 21 Feb 2001 18:40:20 EST

From: KareQuilt@aol.com

I am getting ready to buy new recording equipment and I would appreciate the

experienced opinion of those who have used tape recorders for doing field

interviews as well as telephone interviews. What type of machine do you

recommend? Do you recommend the "mini" tapes or the regular-size tapes? What

kind of transcribing machine do you use? This is going to represent a

substantial investment for me! Thank you.

Karen Alexander

Independent Historian

Press Secretary, The Quilters Hall of Fame


Date: Wed, 21 Feb 2001 18:53:53 EST


A gifted young friend of mine, a Japanese woman, is working on a graduate

paper on quilts and quilting and would like to interview Japanese quilters in

America. If you know of an appropriate person who might be interested in

communicating with her, please ask her (or him) to contact Fuyu Shiraishi at


Thank you.

Deborah Harding

Date: Wed, 21 Feb 2001 23:34:46 -0500

From: "J. G. Row" <Judygrow@rcn.com>


Buy a small recorder, something that the subject of the interview can easily

forget is there. In fact I use something the size of a walkman. Which means

using cassettes, not reel-to-reel. Buy a very

good, small microphone, but don't hook it onto a lapel or dress - they tend

to fiddle with it, or their beads. I just put mine on my lap, or put it on

the arm of the chair near me.

Best advice I got at the course in oral history I took was:

1. Use 30 - 45 minute tapes, the shorter the better. Longer-time tapes

tend to stretch and distort much faster.

2. Buy the very best tapes you can afford.

3. Transcribe as soon as possible.

4. Also, make a copy to CD if you can. Tapes, even the best quality, tend

to disintegrate with time.

Judy in Ringoes, NJ



Date: Thu, 22 Feb 2001 09:19:40 -0400

From: Barbara Robson <robsonbh@dbis.ns.ca>

Dear QHL,

I had the honour of meeting Lucy Hilty at the East Bay Heritage Quilt

Symposium in 1985 (I think!). I have never forgotten her or our very short

time together. I am saddened to learn of her death.

I was teaching "Stab Stitch" quilting at that Symposium and Lucy was

fascinated to see how I did it. I remember sitting outside a classroom on

the stairs demonstrating to her just how I quilted, one stitch at a time

and using both hands and getting straight even stitches top and bottom. It

was one of those "quilt moments" I shall always cherish and remember.

The quilt world has certainly lost a "gem".

Barbara Robson

Fox Point, Nova Scotia



Date: Thu, 22 Feb 2001 09:44:13 -0500

From: "Kalmia@innova.net" <kalmia@innova.net>


Karen Alexander wrote:

I am getting ready to buy new recording equipment and I would appreciate 


experienced opinion of those who have used tape recorders for doing 


interviews as well as telephone interviews. What type of machine do you

recommend? Do you recommend the "mini" tapes or the regular-size tapes? 


kind of transcribing machine do you use?


The debate among folklorists these days is between mini-disc and DAT 

(digital audio tape) recorders. Each technology has advantages and 

disadvantages, so there's no clear-cut single choice, and both are 

relatively expensive. For most of us a good quality cassette recorder 

is still a viable option. About three years ago I bought a Sony 

TCM-5000EV, which is a good, solid portable machine. When I asked 

around for advice, the other good option was a Marantz with similar 

features. Although these machines cost considerably more than boom-box 

recorders, the real shocker is the cost of microphones. You need an 

external mike, not one that is built into the machine itself. There is 

a lot more variability in microphones than in recorders. If you opt for 

a stereo recorder and plan to interview only one person at a time, you 

can use two lavaliere mikes, which are good at eliminating background 

noise. I bought a single-channel recorder and a microphone that is 

designed for recording meetings. I'm pleased with its performance. 

Email me privately and I'll give you the name and phone number of a good 

company that sells sound equipment and can give you advice about 


You want to avoid mini-tape recorders. Neither the machines nor the 

tapes are designed for extended use. Be sure to buy good-quality 

cassettes, and make sure they are fastened with screws rather than glued 

together. That would make it possible to rescue a broken tape of a 

valuable recording.

Never use your recording machine for transcribing. The frequent 

on-and-off will wear it out. Mine is a Panasonic RR-830. It has a foot 

pedal, variable speech control, and headphones to avoid driving other 

people crazy when you play a sentence over and over. I bought the 

transcriber through an office supply catalog.

As a folklorist, I've been interviewing people about their quilts for 

over 25 years. I've presented a number of workshops on interviewing 

quilters. It's not just a matter of turning on a machine and having a 

conversation. The quality of the information in an interview depends 

largely on the preparation of the interviewer. Think about the purpose 

of the interview and prepare your questions before you turn on the 

machine. Then, once you've prepared, turned on the machine, and asked 

the first question, there's this marvelous feeling you get when the 

interviewee starts talking. It's wonderful.

Laurel Horton