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Quilters Find a way to care

01199 - 01203

Date: Tue, 14 Aug 2001 22:24:08 -0400
From: "anne" <datkoa@erols.com>
To: 

Please post for interested persons in the Washington, DC area. 
Thanks.

On Thursday Aug 16, Australian quilter/fiber artist Sharyn Hall will 
speak
at PM Patchwork in Washington, DC. Sharyn works as a full time mixed 
media
artist and contemporary quiltmaker, teaching patchwork and quilting 
as well
as advanced design based workshops. She lives in Brookfield, an outer 
suburb
of Brisbane, capitol of Queensland, Australia...lots of sun, not too 
much
cold weather. She has been teaching about 12 years and working as an 
artist
since 1985, exhibiting locally (3 solo exhibitions), nationally (1 
solo) and
internationally in many group
exhibitions. She uses dyeing, painting and printing to colour fabric, 
and
hand and machine stitching as embellishment, with the environment as 
the
source of inspiration.

Sharyn was recently awarded a Churchill Fellowship which allows 
overseas
study/research. Her Fellowship will take her to Japan, USA, Canada 
and the
United
Kingdom to study/research the transfer processes of photographic 
images from
computors to fabric and the digitising of similar images into stitch. 
She
is visiting and studying
with a very exciting list of artists- Jean Ray Laury, Jane Dunnewold 
and
many others.

PM Patchwork welcomes visitors for this lecture. The meeting is 7 PM 
at the
Chevy Chase Community Center, two blocks south of Chevy Chase Circle 
on
Connecticut Avenue. There will be a $2 fee. For additional 
information,
you may call Anne Datko at 301-949-9458 or email at datkoa@erols.com.

------------------------------

Date: Tue, 14 Aug 2001 19:53:40 -0700
From: "Rachel Greco" <grandmasattic@compuserve.com>
To: 

Can anyone really have enough of these quilt block 
dictionaries? I guess I'm a little "nutty" but I love to look 
through 
all of them. I find that they are all valuable in their own ways: 
Brackman, Khin, Rehmel (she has three volumes of pieced and one of 
applique that I know of--wrote to her a couple of years ago and she 
said 
they were all "out of print" but I have managed to collect at least 
one 
of all of them), Beyer, Hall, Kretsinger, McKim, the collections of 
Wilma Smith, Mildred Dickerson, Edna Van Das and the others who did 
the 
round robin thing, and the women who did Tumbling Alley and similar 
publications, and the AQSG publications (and probably more that I'm 
forgetting to mention)--they're all wonderful. I find myself 
collecting 
not only one copy of these but searching for first editions, second 
and 
third editions of things I already own, alternate printings, etc. 
It's 
fantastic to see the early beginnings of Brackman's work when it was 

basically mimeographed on pages and then compare to the AQS version. 

It's interesting to see how everything and everyone evolves and 
humbling 
when one considers the work involved in creating all these things and 

making them available for the rest of us. We are very lucky to have 
this 
research in all its forms--professional, hand drawn, sketched, 
annotated. I think the earlier editions of the quilt magazines did a 

fabulous job of acquainting quilters with quilt history in general 
and I 
refer to them often. The state books are "must haves." It's amazing! 

The house is over run with resource materials and yet I keep 
collecting--proving yet again that a collector is a collector is a 
collector and can't seem to quit! I admire the Quilt Historians 
among 
us very much as they keep this unique art form's past alive. Thank 
you, 
thank you, thank you, to everyone who has ever attempted to document 

even a part of it!

Rachel Greco
Grandma's Attic Sewing Emporium
Dallas, Oregon



------------------------------

Date: Wed, 15 Aug 2001 11:01:16 -0500
From: Laura Hobby Syler <texas_quilt.co@airmail.net>
To: 

Hi Rachel (and everyone else on the list who is an avid book 
collector!)
I would like to make sure that these resources get on the list that 
I'm
compiling for an article. I have Brackman, Khin and the 3 pieced 
books
by Rehmel, could you supply complete titles copy write dates and 
ISBN's
if available for the others? I know its a lot of work, but I think
everyone would like to add them to theirs as well.
Many thanks,
Laura
IN hot...HOT north Texas!!!

------------------------------

Date: Wed, 15 Aug 2001 11:09:35 -0500
From: Laura Hobby Syler <texas_quilt.co@airmail.net>
To: 

Hi again,
I have a request. Longish story here...but I think it's important.. A
client brought me a quilt top for appraisal last week. She is wanting 
to
have it quilted...which is normally no problem, but here is the
situation. The top -a DWR and in good condition- was pieced by her 
GGM
in the late 30's for her mother for her wedding. Back in the 80's or
early '90's (she wasn't sure) when Minnesota had it's Centennial, her
GGM was found to be the oldest living native of the state, and "quite 
a
fuss was made over her". She has been in touch with the museum in St
Paul, here GGM lived and they want the piece, but she's not
sure...de-acquisition and all that. She really wants to have it 
quilted
for her daughter to enjoy for a while, and we decided that if we 
could
find a Minnesota quilter, we could keep the state historical aspect
true...
Can anyone give me names and contact information on hand quilters in 
MN?
Please reply privately. No need to clog up the list.
My greatest appreciation with your assistance!!!
Laura Hobby Syler
Still in dry, hot N. Texas!!!

------------------------------

Date: Wed, 15 Aug 2001 11:44:32 -0500 (Central Daylight Time)
From: Mary Persyn <Mary.Persyn@valpo.edu>
To: 

I have had Yvonne Khin's book for a number of years and 
have found it useful.

Someone asked if she had published any other books. I 
checked WorldCat and only found her Encyclopia listed 
under her name. Over 700 libraries own it in its various 
printings.

A piece of trivia for a summer day.

Mary in beautiful, not steamy, for a change Valparaiso, IN

-----------------------------------------
Mary Persyn (219) 465-7830
Email: Mary.Persyn@valpo.edu
Law Librarian
School of Law
Valparaiso University
Valparaiso, IN 46383
FAX: (219) 465-7917

------------------------------

Date: Wed, 15 Aug 2001 16:47:11 -0400
From: Nancy Manning <nemanning@home.com>
To: 

re: Addy in Israel: . . .I'm curious to know what quilts you're 
working
on. Any reproduction quilts being made? . . .

I've been a "lurker" for a very long time, and finally decided to
join your group since I continue to look forward to the wonderful
"intellectual" and educational discussions. I have been involved 
in quiltmaking since the early 1990s in Michigan. I have really 
enjoyed the responses to Addy's question and would like to share
what I am currently working on in quiltmaking. 

I've been working on a restoration of sorts--from the 1930s. I
purchased 30 "Imperial Butterfly" blocks for $15 at an Amish
auction/flea market a couple of years ago. At that time, I had just
completed a total restoration (my first) of a 1930s Dresden Plate 
made
by my husband's grandmother, and I think I was still lost in the 30s. 
(I worked on the Dresden Plate quilt on and off for nearly eight 
years.
I learned a lot about the 30s during that time)! 

The butterfly blocks were made very poorly. They were 
straight-stiched 
machine appliqued with a fairly good stitch. A black embroidery 
floss 
stem stitch surrounded only two of the butterflies. They also had 
black
embroidered Xs in the center of the solid-colored bodies and the 
lower
solid-colored wings. Two butterflies had black embroidered antennae. 

The butterfly fabric was like new, so I took the blocks apart, washed
the very soiled, thin backgrounds of various sized feed or flour 
sacks,
and set about to reassemble them on the same backgrounds in a neater
fashion, then hand appliqued them. I did not choose to use the black 
stem stitch, but I did leave one of the original blocks as is. I
have set them diagonally in new fabric--Buttercup Yellow Kona
Cotton--to brighten them up, and am now working on the borders and
prairie points. I unfortunately am replacing my white narrow borders
(which were sewn to the yellow borders). When I looked at the quilt 
in
the sunlight, the white borders suddenly looked fluorescent! 

The top is marked, except for the borders. I used an old floral vine
quilting pattern to develop some block patterns, side patterns and
corner patterns, and it will also be in the wider yellow border. 
This
quilt will be used in the summertime in our old-fashioned guest room.

Must get ready to attend fall classes soon, as an "older" student in
English/writing, but I'm definitely going to look up Gail Ingram's
reading material for more 30s inspiration, "Everyday Use" by Alice 
Walker. Thanks for the lead! Nancy

------------------------------

Date: Wed, 15 Aug 2001 16:33:19 -0500
From: grapes <grapes@flash.net>
To: 

Ok I am going to get on my soapbox here. I just got my LL Bean 
catalog.
It is the Home Casual Furnishings #LL 2108860. Lots of quilts. Hand
quilted. One machine quilted. All the other products say, 'made in 
USA,
Germany, Portugal, etc.' The quilts say 'imported'. Would this be
because they are made with slave labor in China or Taiwan? I am 
sending
them an email. The web site is www.llbean.com/home.

Jo in Tx
Gammill Classic

------------------------------

Date: Wed, 15 Aug 2001 16:51:47 -0500
From: "Rowley's" <rowley35@home.com>
To: 

In answer to Addy's question, I just put a crib-sized quilt on the 
frame 
to quilt that I made after a class I took several years ago from Liz 

Porter when she and Marianne Fons visited our guild. The class was 
to 
teach us how to make a quilt that replicates the 1880-1910 era. Mine 
is 
a Variable Star in a Streak of Lightning setting. I'm hoping to have 
it 
finished for our quilt show in October. I was thrilled when I showed 

the top at Show and Tell soon after finishing it and a woman whom I 
didn't know at the time came up to me afterwards and wanted to take a 

picture of it saying that it looked like it was made 100 years ago. 

didn't know at the time, but she is our resident expert on antique 
quilts and I've gotten to know her quite well since then.

I am also making a Southern Belle appliquE9 quilt using 30's repro 
fabrics. My question is this: after I do the appliquE9, how is the 

embroidery done? Do I embroider on the edge of the dress itself or 
on 
the background fabric very close to the dress? I plan to use a black 

outline stitch. Also, how many threads do you suggest?

This is my first time writing to the list, but I've been reading it 
for 
a good while. Thanks for all the great information.

Carla Rowley
who became a grandmother for the first time today!20


------------------------------

Date: Wed, 15 Aug 2001 16:48:50 -0500
From: grapes <grapes@flash.net>
To: 
I agree, the thing that gets me is I guess we kind of expect this 
from
Target, but LL Bean?
Jo
-- 
Spindle's Tops Machine Quilting
Visit our personal Photopoint album at
http://albums.photopoint.com/j/AlbumList?u352870&Authfalse

------------------------------

Date: Wed, 15 Aug 2001 17:43:58 EDT
From: jocelynm@delphi.com
To: 
On Wed, 15 Aug 2001 16:33:19 -0500 grapes wrote:

The quilts say 'imported'. Would this be
> because they are made with slave labor in China or Taiwan? 

Jo,
I think it probably means that the quilts are being made in more than 
one 
country. Probably some in China, some in Taiwan- and they don't want 
to
have to nail it down that all of one design are made in China. 
Probably,
if one design turns out to be much more popular than another, ALL of
their factories in whichever country will start making that design. 
So
they can't offer them for sale as 'made in X' (any specific country).
Jocelyn

Date: Thu, 16 Aug 2001 12:54:06 +1000
From: "kate knight" <kateknight@optushome.com.au>
To: <
In answer to Ady's question on our current projects: My quilt group 
in
Sydney just presented a quilt top to our outgoing president as a way 
of
acknowledging her fantastic contribution to the group. We wanted the 
quilt
to be very personalised so chose to reproduce an album quilt featured 
in
"For Purpose or Pleasure" by Sandi Fox on page 46...the Mary P Allen 
Album
Quilt.
A few of us raided our stashes of reproduction reds and shirtings and 
made
up little kits for our 90 group members with the fabric, pattern and
instructions, including instructions on how to write on fabric for 
the
dedication strips which separate the mini-sized pieced album block 
squares.
Each member was asked to make half a 12" block, ie two mini album 
blocks and
a signature strip. Many wrote little poems or drew tiny ink pictures 
as
well as signing their names.
I redrafted and made the central applique block which is a pieced and
appliqued wreath. Within the wreath a dedication was written to the
recipient. All up we recieved the makings for 49 whole blocks, so 
we only
had to make 5 more for the half blocks which went around the outside. 
The
blocks were set on point, as in the original, and sashed with a 
striped
shirting....it turned out to be 2.5m square (that is 100"). It was
presented last weekend to an completely astonished ex-president, who 
was a
blubbering mess for at least 35 minutes ! A very satisfactory result 
!!
Our group's web-mistress is out of town at the moment, but we will 
post a
picture of the quilt next week if anyone is interested in having a 
peek.
Kate Knight
from Eastwood Patchwork Quilters
website: www.epq.com.au

------------------------------



Date: Wed, 15 Aug 2001 23:45:07 -0400
From: Nancy Manning <nemanning@home.com>
To: 
Regarding Carla Rowley's question about the number of black threads 
to
use on her Southern Belle quilt:

My 1930s Butterfly quilt blocks had three threads originally around 
two
of the blocks. They were worked like a stem stitch all around the
straight stitch machine applique on the actual background of the
block--right up to the butterfly. When I began the restoration of 
the
blocks, I chose to reapply the butterflies by hand applique, and I 
just
could not bring myself to put the harsh black threads around them 
(some
restoration!). I used only two black threads for the antennae and 
eyes
that I added. 

I have a single 1940s gingham applique animal that my mother started
where black stem stitches were used for details (eyes, legs, etc). 
The
black outline stitching was done to the pieces before they were cut 
out
of the gingham. Seems like that would be easier to manage. Hope 
this
helps! Nancy

------------------------------

Date: Thu, 16 Aug 2001 05:48:59 -0500
From: "Ann G. Hubbard" <ahubbard@cdoc.net>
To: 
to Laura and others,
For years my bible for block identification was a book printed in 
1980 by 
Susan Winter Mills.
It is called "The Illustrated Index to Traditional American Quilt 
Patterns". I also have all of Jinny Beyers Books. I have Yvonne 
Khin's book 
and I had Barbara Brackman's book until I bought Blockbase and then I 
gave 
the book to my daughter. I thought that both Susan's and Jinny's 
books were 
more helpful than the last two. But then mostly this is opinion as we 
are 
all searching for something slightly different and we use things 
slightly 
different also. I am enjoying reading the everyday series of history 
books 
and wish to thank whoever sent the book list to the quilt history 
list. Ann 
from Lake of the Ozarks

------------------------------

Date: Thu, 16 Aug 2001 14:45:51 EDT
From: CBENBERRY@aol.com
To: 


I was most pleased to read Rachel Greco's posting to QHL Digest 
concerning 
quilt dictionaries and indexes. She is apparently one of the rare 
persons 
who understands the evolutionary process that these quilt 
publications of the 
mid to late 20th century has undergone. Most of all she acknowledges 
the 
tremendous work of the pioneer quilt women publishers of the 1930s to 
1970s. 
And she does point out that the publishing women were motivated by 
different 
objectives.

As I was an active participant beginning in the 1950s grassroots 
quilt 
movement, it is gratifying to me to find someone like Rachel Greco 
who is 
able to place these publications in their proper historical context. 
Despite 
any perceived shortcomings of some of the various documents, first 
and 
foremost, they are all undeniably a part of the 20th century quilt 
history 
record. My hope is that there are others out there in the quilt 
world who 
have the same appreciation of these pioneer quilt publishing women's 
works as 
does Rachel Greco.

Cuesta Benberry
CBENBERRY @aol.com

Date: Fri, 17 Aug 2001 05:29:15 -0500
From: grapes <grapes@flash.net>
To: 

This is the reply I got from LL Bean. It is very politically correct,
but they do not say where those quilts come from......
-- 


Dear Ms. Spindle:
Thank you for your recent inquiry to L.L. Bean. I understand your
concerns about the source of L.L. Bean products and your specific
concerns with products made in China. We are sensitive to this issue 
as
well.

L.L. Bean's intent is to provide customers with the highest quality
product at the best possible price. "Made in the USA" has been a 
part
of L.L. Bean's heritage since we began. It is extremely important to 
us
that all of our products come from the best factories we can find. 
We
source more in the U.S. than most retailers, and because we employ 
350
people in our own manufacturing facility in Brunswick, Maine, we are
very sensitive to the employment implications of overseas sourcing. 
In
our factory, which is L.L. Bean's largest supplier, we still make our
heritage product, the Bean Boot. Our Brunswick factory also makes
luggage, dog beds, flannel sleepwear, robes, fleece blankets, canvas
boat & tote bags, futon covers and slipper socks.

Our catalogs are prepared months in advance and we don't always know
which manufacturer will be used (or their location). In the case of 
our
more popular products, the items may come from several different
companies so that we will have sufficient stock to service our
customers. As a result, the catalog copy may state a vague term, 
such
as "Made in the U.S.A. or Imported." Our telephone representatives 
do
have up-to-date catalog information and are able to provide customers
with specific information about the actual source for all of our
products. 

With an increasingly limited selection of U.S. manufacturers 
available
over the past ten to twenty years, we have had to place production in
offshore facilities in order to meet our customers' needs. In some
instances, the U.S. factory closed and we were forced to find
alternative sources for the products. In other instances, we felt we
could obtain an equal or better quality product and offer it to our
consumers for a lower price. Again, we are partial to U.S.
manufacturers, but we do have to deal with the realities of available
capacity for quality manufacturing in our own country as well as the
need to find the best quality factories wherever they may exist in 
the
global economy.

In 1996, L.L. Bean was asked to participate in a White House 
coalition
of U.S. manufacturers, consumer and human rights groups, labor
organizations and President Clinton to take a stand against 
exploitative
working conditions. L.L. Bean is one of ten nationally prominent
companies chosen to help define steps for ensuring that the products 
we
all make and sell are manufactured under decent and humane working
conditions. L.L. Bean joined this effort because we understand the
value that the American consumer places on knowing that the products
they purchase have been produced under acceptable labor conditions.

At L.L. Bean, we have had our own monitoring program in place for 
many
years. We rigorously inspect the factories we use and have extensive
quality control programs in the manufacturing plants of our vendors. 
Company representatives travel frequently to factories that produce 
L.L.
Bean merchandise, both in the U.S. and abroad. They not only monitor
product and production quality, but monitor employee age, working
conditions and pay standards. Because of our diligence, we are
confident that Bean products are manufactured under legal, safe and 
fair
working conditions. 

We feel that we are making continuous progress, but also realize it 
is
an ongoing challenge. The issues surrounding product sourcing are
complex and of great concern to us. L.L. Bean's Corporate Purpose
Statement explains our commitment to fair labor practices: "As we
become more active in sourcing products, we must ensure that our
business partners have compatible practices.....While we must surely
recognize and respect legitimate cultural diversity and understand 
that
individual business partners cannot control all political and social
aspects of their environment, we must be certain that our business
partnerships are consistent with our beliefs regarding employment
practices, child labor, health and safety, legal requirements and the
environment."

I hope this information helps to alleviate some of your concerns. 
You
are a valued customer and your opinion is very important to us. We 
hope
you will give us the opportunity to be of service to you again in the
future.

Sincerely,


Carolyn Beem
Consumer Affairs Representative

>>> <grapes@flash.net> 08/15/01 06:31PM >>>

From: Jo Spindle
Subject: Shopping

I am upset and concerned about your latest home catalog. As a
professional machine quilter I was shocked to see you are now selling
imported machine and handmade quilts. The fact that you choose to
designate the quilts as 'imported' rather than designate a country of
origin as you do with your other products indicates that they are 
made
in China or Tawain by slave labor. I expect this from Target, but not 
LL
Bean. If I am incorrect in my assumption, please advise me of the 
actual
origin of your products. There is a HUGE American quiltmaking 
industry
that could provide good, quality merchandise that is synanamous with 
the
LL Bean name.
Sincerely,
Jo Spindle 
customer #1894 263 803



--------------7116AE7D9EEA6B0ACDEF9077--

------------------------------

Date: Fri, 17 Aug 2001 09:24:09 EDT
From: ARabara15@aol.com
To: 

This is Donald Brokate, I am new to the group and and have not 
responded to 
any of the many emails unless I felt that I could contribute 
something. In 
this case I feel that I can. Having recently retired (not due to age 
but a 
career change) from 25 years in the retail industry, I can support 
Bean's 
response. Catalogues are put together well in advance of production 
and when 
sourcing production in foreign countries, many times factories and 
counties 
change, as do quota prices etc. I feel that their explaination is 
adequate 
and not vague at all. But then I have an inside understanding of the 
industry.

As an introduction to myself I am a collector and dealer in vintage 
and 
antique quilts. 
My primary occupation is building restoration and when construction 
slows in 
the Winter months I do quilt restorations. I live in Trenton NJ with 
my 
partner of 18 yrs and our 4 adopted sons and assorted 4 legged 
friends.

------------------------------

Date: Fri, 17 Aug 2001 12:27:15 -0700 (PDT)
From: Judy Schwender <j_schwender@yahoo.com>
To: 
I had never seen the Electric Quilt version of
Brackman's Encyclopedia until last night. A visiting
friend had it on her laptop. It was late (we had been
going to antique shops, quilt shops and the IQSC all
day) but I did manage to work with it a bit. A very
interesting tool. One thing struck me about this
tool: in the accompanying instruction book, Brackman's
thinking on block names was given, and she pointed out
that many 19th century quilters would not recognize
the names we ascribe today to their blocks. Language
is a fluid thing, and it seems that the language of
the quilt block is VERY fluid. I am always amazed
how, at a quilt show, if a quilt is labelled "thus and
such" and viewing quilters contest this label, the
discussion can become so heated. 
As a reference point in tracking the dispersion of
quilt patterns the use of identifying labels can be
very helpful and instructive- it keeps the train on
the track, so to speak. Block names have worth in
understanding the language of quilts. But as a
be-all, end all, I think care must be given to not
allow argument over names to supercede inquiry the
names assist. 
As for the publications themselves, I wish I had
Khin's book! I have an old Romance of the Patchwork
Quilt that was water damaged long before I got into
this obsession, yet I was adamant about keep the thing
when I threw out other, less damaged books.
Thanks to this email group I have an idea of what
other references I need to access in the future. 
Thank you!



------------------------------

Date: Fri, 17 Aug 2001 15:33:56 -0500
From: grapes <grapes@flash.net>
To: 

Donald, I guess I was unclear in my statement. I just meant that the
reply did not ever make clear where the source countries were. I do
understand the logistics of printing the catalogs, but now that they 
are
out shouldn't they know who is shipping? Of course as was referenced
earlier, maybe the problem is that the quilts are coming from several
factories in different countries....
Jo
-- 
Spindle's Tops Machine Quilting

Date: Fri, 17 Aug 2001 23:16:58 -0400
From: "J. G. Row" <Judygrow@rcn.com>
To: "


I just got the Pottery Barn Bed and Bath catalog, and the listings 
for the
quilts they have for sale don't mention country of origin at all. Or 
that
they are imported, or if they are American made. Nada. No mention 
at all
of anything, that I could see.

Judy in Ringoes, NJ
judygrow@rcn.com

------------------------------

Date: Sat, 18 Aug 2001 09:16:28 +0200
From: Ady Hirsch <adamroni@netvision.net.il>
To: 



Hi all,
I'd like to thank everyone for responding to my question about quilts 
- it
made fascinating reading, and also inspired me to get out of summer
doldrums and start piecing again.
Re Yvonne Khin's book - one of her quilts, an Alphabet applique, is 
on p.
237 of Duke and Harding' America's Glorious Quilts. I stumbled on her 
book
by pure chance, while brwosing www.powells.com (it went for somethng 
like
$10) and find it very useful in conjunction with other pattern 
sources.
Happy quilting
Ady in Israel

------------------------------

Date: Sat, 18 Aug 2001 07:26:05 EDT
From: DDBSTUFF@aol.com
To: 


Hi All.

Has anyone thought to simply call and ask? It the Bean letter, the 
writer 
clearly says,
"Our telephone representatives do have up-to-date catalog information 
and are 
able to provide customers with specific information about the actual 
source 
for all of our products." 

I haven't called but I'd be curious to hear what they say.

Darwin

------------------------------

Date: Sat, 18 Aug 2001 09:58:01 EDT
From: Hazelmacc@aol.com
To:



No doubt l will upset many of you, but this thing of saying 
"imported" 
without country origin has been going on before even the Smithsonian 
crisis 
of their having quilts duplicated from their collection. From that 
experience we were just happy that they at least documented that the 
quilts 
were "imported". 

Now my question is: What does it do to know the country? If you go 
to 
Bloomingdales they usually say their quilts are from India but l have 
not 
found many others that document the country of origin. I was just in 
Macy's 
yesterday to check on the new styles being produced. A little study 
and one 
can usually tell a quilt that has been imported.

Another consideration that we had to think on during the earlier 
crisis - if 
these people whom you may consider 'slaves' (we could never 
substantiate that 
it was slave labor from the companies nor from our own government) 
were not 
making these quilts, what would they be doing? If women no doubt 
they would 
become prostitutes.
It is a sad note to end on but have been down this road years ago 
during the 
Smithsonian crisis.

Hazel Carter in No. Va. 

------------------------------

Date: Sat, 18 Aug 2001 15:36:37 -0400
From: "J. G. Row" <Judygrow@rcn.com>
To: 



I have been intrigued for a long time with a certain color 
arrangement in
log cabin quilts, and am wondering how and when this arrangement came 
to be.
It is usually seen in a barn raising set.

This is not a scrap quilt -- all fabrics must be bought specifically 
for
this, because there are only 5, usually, and they are arranged in 
specific
order.

The photo I am looking at, taken at an antique shop in New Oxford, 
Pa., is a
perfect example. The center squares are twice as big as each strip 
is wide,
in this instance, double blue. Instead of just dark and light 
arranged on
either side of the diagonal, there are a light and a medium light on 
one
side (white shirting and yellow calico) and a dark and a medium on 
the other
(red /black print and yellow/green print). These colors alternate on 
either
side of the center square. And in alternate blocks the starting 
strips
(therefore the outside strips) also alternate.

So, when looking as the quilt as a whole, besides seeing light and 
dark
diamonds, you see alternating stripes of color moving around the 
center
squares.

I have seen many of these in "Dutchy" colors, and I own one in green 
and
red, yellow and double pink, with cheddar centers! This one has a 
border of
half blocks set on point. There is one in Stella Rubin's new book 
(c. 1900)
on page 109 in red, white, double pink, and burgundy!

I'm wondering if this color arrangement started out in south east
Pennsylvania or was just favored there. There are so many of them 
(none on
e-bay at the moment) that I wonder if there was ever a pattern or 
directions
published for it. This would have been after the 1880's I believe, 
not
before. I can't believe it appeared spontaneously all over at 
approximately
the same time.

Has anyone seen references for directions for this?

Judy in Ringoes, NJ
judygrow@rcn.com


Date: Sat, 18 Aug 2001 22:37:18 EDT
From: ARabara15@aol.com
To:



Hazel, It's Donald Brokate again, Having grappled with these ethical 
issues 
in my last career life, and having been on task forces to explore 
these 
issues, I understand what you are saying. We as Americans have a hard 
time 
grasping the low economic standards of 3rd world countries. The real 
issues 
here are not low wage and long hours, which may be usual for an 
underdeveloped country, but other abuses that occur in these 
sweatshops that 
violate basic human rights-beatings, starvation, indentured 
servitude. These 
are the types of things that we as Americans cannot endorse and by 
not buying 
products made under these conditions we can in some small way show 
are 
disapproval. As I had mentioned to Jo, it is the responsibility of 
any large 
company doing business overseas to have their overseas production 
team source 
factories that are reputable and who are not engaged in human rights 
violations. I am not familiar with the Smithsonian situation but it 
sounds 
like you were very involved. Regards.

------------------------------

Date: Sat, 18 Aug 2001 22:50:33 -0400
From: "KYRA E HICKS" <KHICKS1@prodigy.net>
To: 


Hello -

I was recently reading a newspaper article about a women who entered 
her 
quilts regularly in the NY State Fair. The article did not say if 
she 
won any blue ribbons, though! Does anyone know if there's any good 

books or articles that review the quilts at the annual NY State Fair?

Thanks - Kyra

Kyra Hicks
Khicks1@prodigy.net


------------------------------

Date: Sun, 19 Aug 2001 01:35:43 EDT
From: KareQuilt@aol.com
To:


Gail, are you a writer as well as a quilter?! <g> I thoroughly 
enjoyed your post about your efforts to cover your period beds with repro 
quilts (but confessing that your "true" love is Depression era 
fabrics!) Was it truly Alice Walker that inspired you or do you also LIKE 
to write? <g> Summer projects Addy asks? I am presently visiting the 
San Juan Islands off the coast of Washington State. We inherited my 
husband's parents' home in March when his father passed on at age 83. 
This is the longest visit we have managed (17 days) so I am actually 
making some headway sorting through a life-time accumulation of 
stuff, though these two were really quite good about not being pack rats. 
Uhh, except my dear MIL, bless her soul, was a quilter so she can be 
forgiven for her accumulation of "stuff!" <g> I have now sorted the 
knitting and crocheting out to offer to my two daughters. The quilt 
stuff I will KEEP! <g> (I am now trying to find the pattern source of 
all her quilts in her "s!
!
tuff." That's one of my summer p
rojects!) My new DIL was just here to visit and decided that she too 
will become a quilter so she promptly returned to Portland and bought 
some fabric and a rotary cutter and began slicing away at her 
fingers. <g> She emailed "HELP!" but I had to confess that I had never used 
a rotary cutter myself (yet), but that my QHL friends have indicated 
that it is indeed a very dangerous instrument. <g> I guess now that I 
have inherited Wini's quilting studio I am going to have to get back 
to actually making quilts instead of just researching and writing 
about them. (Ahh, yes but before I pick up that needle, I have three 
Press Releases and two articles to write!)

Karen Alexander

------------------------------

Date: Sun, 19 Aug 2001 08:11:42 -0500
From: "Avalon" <malthaus@idcnet.com>
To: 



Ady,

There is another picture of one of her quilts on page 236, #194. It 
is a
great study in her "fabric stash".

Mary in Wisconsin



>Re Yvonne Khin's book - one of her quilts, an Alphabet applique, is 
on p.
>237 of Duke and Harding' America's Glorious Quilts

------------------------------

Date: Sun, 19 Aug 2001 13:16:09 -0500
From: Charlene Shanas Davis <cspdavis@iamerica.net>
To: 


Hi Everybody,

On the question of imported - or not - once upon a time, there was a
federal regulation that required "imported" on any item that was
imported. But today, with -- almost -- every nation having 'most 
favored
nation' status, that may have been revoked. And besides, look at the
price! and you'll know!
As long as you know what you are getting -- there is a place for 
those
quilts -- who would put a real work of art or history in a window as 
a
drape -- I wouldn't, but I have two windows covered by $29.95 quilts
from very poor countries.
(Hi Hazel Carter, I think I agree with you about where the women 
would
be without the slave labor.)

Speaking of poor countries, Russian women are turning to quilts as a
tourist sale and also as their expressions of art. Their materials 
and
equipment are limited. My daughter, who works for Delta and can fly
stand-by, is in the Moscow area often -- very close friend of hers 
and
mine. We have discussed several times getting up something in the way 
of
"aid to Russian quilters from American quilters." Does anyone have
feelings, bias, suggestions on the subject?? The Russian people are 
very
proud and would undoubtedly want to return something to us.
And yes, my daughter speaks Russian, so she can communicate; she 
spent a
semester at Moscow State U (and no, I didn't sleep the entire 
semester :
) ) and has a degree in Russian Studies from Stetson U.

Charlene in Louisiana -- who usually just lurks and reads with
enjoyment!