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Subject: Shelburne name cards From: "judygrow" <judygrow@patmedia.net> Date: 


I think I speak for all when I tell you how we treasure your travalogues!

I haven't gotten to Shelburne yet, (am hoping to in a week or so) but I do have the book, brought back from the show for me by Corienne Kramer, Judy Roche's partner. I can't tell you how many times I read the captions under particular quilts and just stopped and said, "What?" Some of the comments made about the quilts are the most inane......I too expected much better from a museum with such a fine international reputation.

Since I am on the subject of new books, I also have the book "Wild By Design" from the IQSC in Lincoln, NE. The quilt descriptions take the form of conversations among 4 or 5 quilt experts. I wonder if they really spread the quilts out on the tables with the commentators standing around, a tape recorder mike hanging down from above. It is an interesting and unusual presentation, but I am not convinced it was the best and most informative presentation. Carolyn Ducey, being the curator of the collection (Hi Carolyn) was the most prepared with the known facts about the quilts; the others commenting from their own vantage points as academics, and authors. There were many times when I thought their inferences were a real stretch, and found myself saying, "Oh, come on" in that particular whiney voice. Still, the photos are very, very good, and there were lots of quilts I've never seen published before.

I too bought 6 yards of the Roche/Kramer Red border print (Chanticleer makes it) with a couple of the go-withs. Judy and Corienne's fabric lines have been right on the money. and I know the designs come directly from quilts in their collections.

A couple of days later, I went in to Joann Fabrics and noticed that they have a wide stripe in the same style, also with go-withs. Having my 50% coupon at the ready I also bought 6 yards of that one. After lusting after good Turkey Red repros for years, all of a sudden they are available. Get 'em while you can, I say. They are hot now, but who can say when they will be printed again?

Judy in Ringoes, NJ judygrow@patmedia.net


Subject: Re: oxycleans, etc From: "Judy Kelius (judysue)" <judysue@ptd.net> Date: Thu, 03 Jul 2003 05:57:23 -0400 X-Message-Number: 2

Hi Lynn and everyone else . . . I use and sell a product produced near me called Restoration. After following the thread in QHL, I decided to ask the manufacturer if it contained sodium perborate, and they told me it is sodium carbonate (plus other ingredients - "secret formula" <GR>). So you might want to add that to your study.

I think we need to distinguish between cleaners and stain removers . . . I use Restoration as a stain remover, not for textiles that just need washing. Orvus or another mild soap is fine for that (and cheaper!). I have had good luck with 20th century textiles like a badly stained kit quilt (probably urine stains) that is now spotless with no color change to the appliques. It does fade the fabrics on 19th century quilts if I let items soak long enough to remove the stains (I've tried it on blocks, not full quilts). It works fine with laces, linens, tablecloths, etc. Someone else wrote me to say that Historic Williamsburg recommends this product, but I have not confirmed that. I've never tried it as a shampoo <GR>!

At 10:34 PM 7/2/03, you wrote: >After taking notes on the sodium perborates, oxy-cleaners, etc., I decided >that there was really too much to do as a post. I promise that by July 28 >I will have an article of sorts on my website. Newbie came to visit >yesterday and we decided that there is lots of info. to share on this >subject. I plan to do a hand out on this for the Costume Soc. of Amer. >Region 6 meeting in Baton Rouge which is the end of July. I do much >better if I have a due date looming over my head. >If anyone has any wonderful info. to share regarding this topic I would >love to hear from you. (I will add the Mane and Tail Shampoo to my test >list. I have used that shampoo and like. But I do have wavy, curly crazy >hair so I guess I didn't notice the frizzzzzz!) >We might do Brimfield, Mass. next week, so if I don't respond give me a >few days. >Off to cook for a family gathering at the beach. Rain go away!! >Lynn Lancaster Gorges, New Bern, NC > > >--- >You are currently subscribed to qhl as: judysue@ptd.net. >To unsubscribe send a blank email to leave-qhl-1444947Y@lyris.quiltropolis.com


Subject: turkey red From: Midnitelaptop@aol.com Date: Thu, 3 Jul 2003 07:48:18 EDT X-Message-Number: 3

someone was just asking about turkey red fabrics....i got my newsletter this morning from colonial fabrics in Shelburne mass.... and they have a special on turkey reds.. http://www.colonialcrafts.com/shopcart/fabric/tred.asp jeanL


Subject: Re: Turkey Red fabric From: "Dee Stark" <dee@deestark.com> Date: Thu, 3 Jul 2003 09:01:53 -0400 X-Message-Number: 4

Sharon said:

> You can probably get some vintage turkey red fabric from Mary Koval in > Pennsylvania. > If you like I can look up the address.

If you would be kind enough......I would like to use fabric contemporary with the quilt if possible. If not, then I'll go the reproduction route.

Thanks all!

dee www.deestark.com Author of: A Spiderweb for Luck: Symbols & Motifs used in Crazy Quilting


Subject: Calling Annie From: "Dee Stark" <dee@deestark.com> Date: Thu, 3 Jul 2003 09:15:02 -0400 X-Message-Number: 5

Begging everyone's pardon.....

Annie Copeland, could you email me privately please? Thanks!




Subject: qhl(Shlelburne labels) From: <mreich@attglobal.net> Date: Thu, 3 Jul 2003 09:55:16 -0400 X-Message-Number: 6

Cinda and I had lunch at Shelburne with a number of others QHLers. The inaccurate labeling of the quilts was the main topic of conversation. Having such a conversation seemed almost sacrilegious because of the prestige and reputation of this time-honored museum. First of all, viewing the Shelburne quilts was like being in quilt heaven. You can really get close to them without sensors going off and guards cautioning you to stay back. The lighting is generally really good. The biggest plus is that you can take non-flash photography. There were many quilts that I wanted close-ups of particular details, so it is perfect that you can take photographs. All of the volunteers were extremely nice and as helpful as they could be. I don't think that any of us were prepared to see the number of inaccuracies and misrepresentations with regard to the labels. From the quilt history standpoint, we have the knowledge bank to identify the errors, however, the largest percentage of people who view the quilts will believe it all because they read it at Shelburne. We all hold Shelburne to a higher standard. I truly hope that those of you who visited placed a comment in the suggestion box regarding the labeling. One visit to see the quilts was not enough for me. I plan to go again in September around the time of the Deerfield Symposium. sue reich


Subject: Re: Vermont and Deerfield From: "Bobbi Finley" <bobbi_finley@msn.com> Date: Thu, 3 Jul 2003 10:09:26 -0400 X-Message-Number: 7

I can only say Amen to Cinda's post. We followed each other around for three days and I thank her for the tip about the Deerfield exhibit. I loved seeing a quilt there with a border of the original "game birds" chintz in glorious color and condition. I wanted to add that for you who love the wholecloth wool quilts, Colonial Williamsburg has a wonderful collection and many of them will be on exhibit starting late Fall 2005 so plan to come to Williamsburg! I volunteer at the textile conservation lab and get to see them in preparation for the exhibit.



Subject: address for koval From: "anne" <datkoa@erols.com> Date: Thu, 3 Jul 2003 10:08:12 -0400 X-Message-Number: 8

Email address for Joe and Mary Koval is mkfabric@bedford.net. I've found these folks very helpful in understanding vintage fabric needs. AnneD


Subject: VT Quilt Festival From: "Mary Furber" <mary@furber.com> Date: Thu, 3 Jul 2003 10:40:58 -0400 X-Message-Number: 9

This is a multi-part message in MIME format.

------=_NextPart_000_006F_01C3414F.99BCB990 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Hi everyone,


I am new to the list, having just learned about it at the VT Quilt = Festival last week. I am also relatively new to quilting, and it was my first = trip to the VQF. Except for the awful heat, it was wonderful. I have posted some pictures from the show at www.furber.com/vqf. I took the AQS = appraisal classes and have posted pictures from those as well. I am fascinated by = the history, and am looking forward to learning more from the list.


Thanks, Mary Furber =20



Subject: mysterious disappearing messages From: jocelynm@delphiforums.com Date: Thu, 03 Jul 2003 13:16:26 CST X-Message-Number: 10

About 1 message out of 6 or 7 on the list is coming through as a blank email. But if I hit 'reply', the message is quoted in the reply! It seems to happen with lots of different senders. The only thing I can tell for sure it that it only happens with QHL, not with any other email list I'm on, or with email that's personally addressed to me. If anyone has a clue as to how to make it STOP showing a blank message, I'd sure appreciate it! :)



Subject: not about quilts: silk resist From: "Candace Perry" <candace@schwenkfelder.com> Date: Thu, 3 Jul 2003 16:50:49 -0400 X-Message-Number: 11

Allow me to tap the collective brain for a sec... I've got a couple -- if not more -- really glorious 19th c. scarves in the collection here that are silk with a resist design. I know very little about this...actually nothing...I'm just able to identify them for what they are. My question is: were these "store bought"? Or is it possible the women bought a plain silk scarf and dyed it themselves? The resist designs are geometric, not fancy, quite naive. If store bought, where did they come from? I'm familiar with Shaker silk; it is stiffer and has more body than these pieces. They are airy and just wonderful. I should have asked Kim Wulfert when I had her in my clutches a week or so ago. Anybody have any thoughts? They are certainly quite colorful for what is traditionally thought of as Schwenkfelder. Perhaps the old girls did the "Dance of the Scarves!" Thanks, happy happy 4th! Candace Perry Schwenkfelder Library & Heritage Center



Lynn Bassett is doing a research article about her study of the wool quilts, some of which were at the VQF, for AQSG. She has looked at over 200 now and is detailing the quilt patterns through drawings. She showed some at the gallery talks, which were excellent. There are three or four more wool whole cloths hanging at the Deerfield show, and there is an example of the pattern drawings she's making with one of them.

Kimberly Wulfert, PhD quiltdating@jetlink.net www.antiquequiltdating.com

Hello all-Did anyone take slides or migh there be a catalogue of the wholecloth quilts? I am a great fan and would love to see all those stitching details! Pepper Cory at the very windy NC shore


Good news, there is going to be a book of the Deerfield show! It is in the works now, and getting bigger and better, so is taking more time. Edward and Lynn have planned it and are writing as we speak. I saw the evidence! It shouldn't be too much longer now Edward told me. He's also working on a book of the samplers at Deerfield. He's doing it with an expert on them, who is in her 80s, and lives here is CA, so it's taking longer then he had hoped.

What surprised me the most about the labels at the Shelburne, was that there are excellent labels already made for many of the quilts that were displayed. in other words, they didn't have to generalize on the dates and info for ever single one, if they had just used the old ones. I have seen at aleast 50% before, andthey label dates were mor precise and the info more interesting nd specific.

Did anyone notice the tumbler one block quilt (hanging in the Hat and Fragrence Gallery on the movable frames) that was dated 1930s, but looked straight out of the 1880s? I looked for a discrepancy to give it that later date, but found none. Unless the back was 1930s, which the label didn't state, I was baffled.

The Schwenkfelder is a gem of a historical society and Candace is too. I loved the samplers she chose for display. Some were so very old and in excellent condition, obviously well taken care of! In one sampler, the ground fabric was a very thin transparent fabric with the cross stitching on top, so unusual to my eyes. Another unusual piece was made of wool, in a 3-dimensional format, to look like a table setting. A tablecloth, with four plates, the silverware, coasters, and some food I think. It was fairly large and was exhibited laying flat.

Kimberly Wulfert, PhD


I won't be going to this but since it is less than an hour from my house, I thought I would offer a place to stay if anyone else wants to attend. Just let me know so I can move the boxes out of the guest room:-))


LAST CHANCE TO REGISTER! Eastfield Village, a non-profit center for the study of early America, located near Albany in East Nassau, New York, is still accepting registrations for its 2003 summer workshop on historic textiles slated for July 28-30 (three days). The fee for the workshop is $365, and the stellar line-up of speakers includes Rabbit Goody of the Textile History forum, along with professional conservators/fabricators from Colonial Williamsburg and the Metropolitan Museum of Art, and Jane Nylander, author of Fabrics for Historic Buildings. To register and/or obtain more information, call Don Carpentier at 518-766-2422.

Textiles for 18th and 19th Century Houses Whether the house you're restoring is Georgian, Federal or Greek Revival, vernacular or high style, you face the same question - what is appropriate for its period interior? In this workshop, we'll address that question and study a range of historically accurate fabrics and fabrications. The format is lecture and consultation, and includes instruction in 18th century sewing techniques. Bring photographs of rooms you are working on, an exterior picture of the house, any documentary research you have (dates, original owners, inventories, etc.), and samples that interest you. Participants are advised to bring lunch and a cushion, as the period wooden chairs at Eastfield can be unyielding.

Understanding and Recreating Period Interiors - Jean Dunbar, consultant and author, Historic Design, Inc., Lexington, Virginia

Bright Colors and Entertaining Images: Changing Fashions in Household Textiles - Jane Nylander, author of Fabrics for Historic Buildings and President Emerita, The Society for the Preservation of New England Antiquities, Boston, Massachusetts

Wall to Wall: Historic Floorcoverings for American Houses - Rabbit Goody of Thistle Hill Weavers, Cherry Valley, New York, and Jean Dunbar

The Evolution of Upholstery Styles in Early America - Nancy Britton, Upholstery Conservator, Metropolitan Museum of Art, New York, New York

Loose Covers, Case Covers, Slipcovers: Protective Coverings for 18th and 19th Century Furnishings - Natalie Larson, Textile Furnishing Specialist, Colonial Williamsburg, Virginia

How Do Those Beds Work? A Functional Look at Bed Forms, Bed Hangings and Bed Furniture - Natalie Larson

Dressing the Room: Window Treatments of the 18th and 19th Centuries - Celia Oliver, author of Enduring Grace: Quilts from the Shelburne Museum Collection; Consultant/Historic Textiles and Interiors, Shelburne, Vermont

Period Sewing Techniques for Furnishing Textiles - Natalie Larson and Celia Oliver


Hi All!

I went to our town's July 4th celebration alone for the first time in years, as DH didn't want the noise in his ears and DS dropped me off at one end of the field and cruised with his friends toward the other.

SO, I cruised the crowd, looking to see what kind of quilts folks brought to abuse. I love Bobbie Aug's (I think it's B.A.) story of starting her quilt collection at the beach. She noticed that many folks brought nice quilts to lie on at the beach, so she started bringing blankets to trade for quilts. I've never had the nerve to do that, but am always distressed at the number of quilts brought to picnics and so forth for parking the family.

Last night I was relieved to say that I counted only about 30 quilts in the crowd of about 2,000 people. ONly one could have been earlier than 1970, and I was too shy to peer at it for too long to see how old the navy blue/indigo fabric might be. AND, most of the quilts spread out in the dusty field to receive families appeared to be imports. There were a few that were 1990's four patches and log cabins, and one interesting poly double knit crazy quilt pieced in strips. But the rest were blankets and commercially produced comforters.

Leave it to me to turn any event into a quilt event. Oh, by the wary, the fireworks were great!

Happy Holiday! Pam

Pam Weeks Worthen


One of many Judy Grow's vintage quilts -- she thought you might be interested in seeing the tape construction of this chevron-style quilt. http://vintagepictures.eboard.com Select quilt tab.



Dear all, I am afraid that the "half assed" labels you saw at Shelburne may be a result of the trend of dismissing - or not replacing - our museums' specialty curators. There is a decided trend away from object based exhibits and thus away from having the staff that knows and understands the objects in the collection. In many institutions the collections managers are being asked to do part time curatorial work. These professionals are not trained to do that! 

This unfortunate situation vis a vis costume and textile curators was the subject of much tongue wagging and "oh dearing" at the Costume Society of America's annual symposium this past month. The National Museum of American History (Smithsonian) will not be replacing Claudia Kidwell with another costume curator (Claudia retired after 30 years). Other curators in the department of social history are having to do double -even triple - duty. The Goldstein in Minneapolis has gotten rid of their costume/textile curator. The job description was rewritten as one for an administrative person. These are only just two examples. 

Perhaps someone closer to Shelburne could find out what the background of the curator of the quilt show is.( After all, if he/she is not a textile person, but was pressed into service for this exhibit, it would help to know) It would certainly not hurt to express your disappointment over the 'sub standard' labels used in the show t the board of directors as well a to the director of the museum. After all, Shelburne prides itself on its reputation as one of the leaders in the field of the decorative arts. No one likes to have their reputation maligned. Also, it is well known in the museum world that quilters come and spend money and support their institutions - so yu do not want to alienate such a profitable constituency. Let them know you never expected an institution the caliber of Shelburne to have mediocre signage. Even say that Mrs. Havermeyer-Webb had much higher standards - and has the place gone to the dogs! 

As for having lables from past exhibits - that goes to institutional memeory and housekeeping. I have taken down my share of exhibits and believe me, what happens to the info depends on how much storage there is, how long the curator has been there, etc. Many times all the info for an exhibit is in a couple of 3 ring binders that move on when the curator moves on. These are not very well paid positions, after all. There is a certain amount of turnover of staff as people need to find benefits, or just more money! Newbie Richardson Past Crafts TExtiles Appraisals, Conservation, & Exhibitions Alexandria, VA


Hi Newbie-

The info for you is being mailed to me, I mailed 3 boxes of papers and books home. then I'll have references for you.

Sally Ward was informative indeed and the shudders I feel too. There was quilt at the Shelburne, postage stamp one patch, with a black child, large made with other people and things. It was based on an embroidery pattern it said. I copied the info for you, but have to find it.. will do.

I haven't wanted to put this on QHL, so it seems Shelburne wants to keep a low profile on this. Over 1 1/2 years ago Celia Oliver, the great curator there, was let go, with 4 other biggies due to budget restraints. that's why the labels were so poor I think.

My heart goes out to the Shelburne and many other fabulous museums I frequent and just by books about, as many are having budget restraints. Even before the economic downturn and 9-11 tragedy influencing travelers, museum professionals were overbooked and overworked. Sometimes the interns take more time rather than lessen their load, I have been told. They have to wear many hats. Most of us on QHL know this, I know.

At the Shelburne 5 main employees had to be laid off due to less money coming in. It was decided that they would be taken from different departments, so to spread the loss around. Unfortunately Celia was one of them. This was not talked about by Shelburne at all. They carried on with other employees help, but there is no curator of textiles now, and hasn't been since she left at least 1 1/2 years ago.

The person who curated this current exhibit is the head curator of the museum, Henry ____.( my books not handy). Clearly, quilts are not his only area. My real reaction to the labels generizability wasexactly this, Celia is gone, and Henry with others made the labels. This is why I think they should have found the old ones and used them, both for accuracy, time-saving and as a role-model!! Anyway, I would be willing to bet money that the idea to have a major quilt show, was exactly as the Wall Street Journal quilt exhibit article discussed on QHL some time back said ( in part that is), it was an easy and affordable way to draw a big crowd to the museum. I don't fault them one bit. They are adapting to the conditions and we got to see some great quilts.

The trouble is, I put the onus of educating, or at the least, accurately informing the public, on to a museum's exhibits, and that part was watered down significantly,( or wrong, as in the Baltimore/Annapolis example Cinda shared.)

Instead of emailing to complain or explain, why not send money with your comments. I spent more money in the gift shop then I might have, to help them out :)). Seriously, I hope understanding will emanate from this error of transmission, and appreciation for the great job the Shelburne Museum does for us Americans, will prevail if messages are sent to the president. By the way, The Hat and Fragrance building will soon be closed(not this year) for renovations and upgrading of the wiring for lighting etc. It is the last building they are tackling and is under a grant, that helped with many of the other buildings. Hopefully the on-going quilt display will be temporarily moved somewhere else for the season,(or kept in the Webb Memorial building where the exhibit is now) as I'll be taking my tour group next summer to see more of their 700 quilts.

Kim Wulfert


Subject: Help needed From: "Sally Ward" <sallytatters@ntlworld.com> Date: Sun, 6 

Being a member of QHL is a great pleasure and privilege for me, and I have always appreciated how friendly you all are. As I sit at my computer here in northern England I always feel part of your community. Often I forget just how far away I am, but today I was rudely reminded.

I've had a private email from Xenia telling me that following a huge storm and an electricity failure the basement of her house has flooded to a depth of 4 feet. And it did it secretly and sneakily while they slept. You know what's coming next - stored in that basement were some 80 antique quilts from her inventory, her collections of vintage fabrics, uncut kit quilts, aprons, ephemera, all her new fabric stash, 8 sewing machines (I'm guessing a number of Featherweights) and all the other household things you would find in a basement.

If there was not an ocean between us I would be on my way there now with rubber gloves and buckets, but as it is I feel helpless. Since I suspect Xenia is too busy rinsing quilts to tell anyone, I decided that one thing I thought I could do was to let the list know, in case there is anyone close enough to help wash out some fabric for me by proxy. I'm sure that help would be very welcome. And if anyone gets there, please give her a hug from me.

Sally Ward


Subject: Xenia's flood From: "judygrow" <judygrow@patmedia.net> Date: Sun, 6 

I am sure Xenia knows that until she can get to washing those quilts and fabrics, renting a freezer locker and storing the quilts and fabrics frozen is the best way to prevent mold and staining.

I surely wish I was close enough to help out too. My heart goes out to her. I am feeling her pain as well.

Judy in Ringoes, NJ judygrow@patmedia.net


I've always heard that a little knowledge is a dangerous thing, and have just had that fact verified in the most abrupt way. Last night, around midnight, while attempting to catch up on e-mails, I got a brief note from Gaye I. wanting to know what she could do to help Xenia. I could tell she was truly concerned, but she didn't say what had happened, and I had not received a post from QHL. SO, I worried and fretted all night, worried to death (which is not like me) this morning, trying to get up my nerve and hear the dreadful news, but not wanting to bother her in her grief. FInally, I called, and could hear the resigned tone of her voice, but still didn't know what was wrong. I hesitantly asked "What's going on at your house?" When she told me she was standing, ironing hundreds of yards of valuable fabric, and went on to tell me of her plight, I began to laugh and cry at the same time. I am not sure she appreciated my laughter (did you, X??) but I couldn't help it, I was so relieved. I THOUGHT HER HUBBY HAD DIED!!!!!! 

So, as horrific as her loss is, it is small compared to what I thought she had lost. Keeps things in perspective, doesn't it??? SOme of you may not be aware that I am the lucky one who helps Xenia vend at Paducah and Houston, so I know all too well the inventory and the loss. It is not slight. Perhaps when she gets things in hand, she can list some of the losses for us, as it may be items that we can help to replace. 

Teddy Pruett, still laughing, even though I know it is not funny!!!!


Subject: Shelburne From: "Cinda Cawley" <lrcawley@dmv.com> Date: Mon, 7 Jul 

The president of Shelburne is Hope Alswang. Her email is president@shelburnemuseum.org.  Let her know what you think. I did. Cinda on the incredibly hot even for southern Maryland Eastern Shore


Subject: Re: labels at Sturbridge From: <chrisa@jetlink.net> Date: Mon, 7 Jul 2003 

Hi Newbie-

The info for you is being mailed to me, I mailed 3 boxes of papers and books home. then I'll have references for you.

Sally Ward was informative indeed and the shudders I feel too. There was quilt at the Shelburne, postage stamp one patch, with a black child, large made with other people and things. It was based on an embroidery pattern it said. I copied the info for you, but have to find it.. will do.

I haven't wanted to put this on QHL, so it seems Shelburne wants to keep a low profile on this. Over 1 1/2 years ago Celia Oliver, the great curator there, was let go, with 4 other biggies due to budget restraints. that's why the labels were so poor I think.

Got to run- more later, Kim  


Subject: Barnes Diving Elks From: "Phyllis Twigg" <ptwigg@radix.net> Date: Mon, 7 

Hi! I would like to embroider a single redwork design from the 1901 = Pan-American Exposition in Buffalo. The words "Wild Water Sports" and = "Barnes Diving Elks" are on a depiction of the building where this = particular activity was apparently held. You can see it pictured in the = lower left corner on page 84 of Deborah Harding's book "Red & White: = American Redwork Quilts ". I have attempted to sketch it from this tiny = picture but I am having difficulty with some of the details (what's = happening in the center?). Does anyone know of a source for a larger = image of this design? Thanks! Phyllis Twigg


Subject: Shelburne exhibition From: "Laura Fisher" <laurafisher@netlink1.net> 

hi all - I haven't been to the Shelburne exhibit yet, but I'm sure the = quilt show is wonderful. I've seen many of them on past trips.

In light of all the concern about the inaccuracy of the quilt = information conveyed in wall captions and catalog/book, it's probably = not too late to get them to make corrections.. The first printing may = be out now, but given the popularity of the subject and place, a second = printing is likely, for which they should make corrections, don't you = think?

How about offering them a volunteer QHL historian's committee to review = and re-write? You might bring their attention to some of the more = glaring examples you mentioned in this digest. The pictures are = available, and many of you probably remember every detail of what was = inaccurate in the captions, so..........

just a thought.


Also, what about offering the museum the accurate info by creating an = historian's committee of qhl'ers to do the review. At least their data = base should be more accurate, even if sadly the publication is not = (yet).



Subject: RE: Shelburne exhibition From: "Candace Perry" 

Ahhh, it's a wonderful idea...but curator's egos can be as big as Dallas (coming from a curator herself). You may want to tread lightly. I've been reading this discussion with more than a little glee; it's nice to know that the mighty can even fall, although sad for the public they are trying to educate. (can't help myself!) I have been on the receiving end of tyrannical executive micro managers in museums who love to get their claws into something like this to further terrorize their staffs. I guess I am saying to proceed with caution if you want to submit your suggestions for corrections...the nasty stuff rolls downhill and in museums you're often dealing with an entirely different (and peculiar) breed of cat. Enough cliches outta me, Candace Perry


Subject: Re: Shelburne exhibition From: "Anita G. Solomon" 

My husband, who was a vice director at NYC museum, has a longstanding contrary philosophy regarding 'volunteers.' He feels that by volunteering, despite one's best intentions, you contribute to allowing institutions to avoid hiring qualified staff. In effect, for all the good you believe you are doing, you are costing someone their job...

Anita Grossman Solomon ----------------------------------------------------------------------

Subject: re Laura Fisher's recommendation From: Gaye Ingram 

May I act the contrarian here?

I think Laura's suggestion was sound. Of course, she assumed delicacy and sensitivity on the part of those who wrote, and I suspect her assumption is valid.

Yes curatorial egos are large, as are egos in general, and staffs that are heavily volunteer have the additional problem of responsibility to deal with because after all, one cannot dismiss a volunteer as easily as he can hired help.

Yet, in this case, I would think that tactfully presented, the offer itself would have salutary effects in a good museum staff. One would hope it would alert them to the problem and cause them to review not only the labels in question but the process that produced them in general. That in itself would be good. Or they might actually accept the offer? Another good end.

Humility is a virtue, whether in museums or elsewhere, and even the most professional, well-informed person's work improves in consequence of positive critiques. The best seek such critiques. And the rest ought to.

The Shelburne is not Disneyland, and the population it serves tends to be better informed and more interested in historical accuracy than many. One likes to believe the museum would want to maintain its reputation among that population.

The thing I liked abut Laura's suggestion was that it offered a positive way to approach what appears to be an unfortunate situation. Too often we all sit and complain among ourselves and feel very virtuous for our superior knowledge or wisdom. Such grousing never brings about improvement.

The museum might not accept the offer, but the offer itself is a sign of faith in its ethics and quality. One doesn't make such offers to generally second-rate places with staffs more invested in personal egos than in the work they produce.

Personally, I wish the Shelburne would accept the offer, that the expert crew that was sent would need a good and humble typist (moi), and that I would find myself in Vermont instead of North Louisiana, where the temperature just rose to 97 degrees and the humidity to 90%.

So much for egoes! Gaye


Subject: re: labeling problems at the Shelburne From: "Patricia L. Cummings" <quiltersmuse@comcast.net> Date: Wed, 09 Jul 2003 07:02:06 -0400 X-Message-Number: 2

When I visited the exhibit at the current Shelburne Museum exhibit, a week after it opened, I was so busy looking at the quilts, I barely took the time to check any of the labels for accuracy. In fact, the thought never occurred to me that I should.

Quite a few of the quilts I had seen before (in books), especially ones that are presently hung in the Webb Library. Seeing them in person is so different than seeing them in print. Who could have guessed from a photo that the two large cotton crazy quilts in the foyer would have machine stitched appliqués?

It was not 'til I reached the Hat and Fragrance shop that I saw one quilt that seems to be mislabeled. The written information just did not jibe with the true time indicators on the surface of the quilt.

Laura has a great idea about offering suggestions. If the folks in QHL who have visited the exhibit and have objections to the labels would be willing, perhaps they could just make a list of the labels that seemed "out of whack" to them and send either them directly to the Shelburne or to someone who can compile the list into a cohesive document. It seems a bit problematic to ask everyone, especially people who live at a long distance, to re-visit the Shelburne for the purpose of critiqueing labels.

I don't think we want to appear as if we are on a witch hunt. Museum curators are generalists. They know a little about many different subjects. Of course, some of them have their special areas of research interest. It seems as though the head curator (there) knows quite a lot about quilts, but not as much as those of us who are totally dedicated to studying every little bit of information about old quilts, on a daily basis. It will take a bit of diplomacy and finesse to offer constructive criticism in a way that it will be accepted. What we don't want to do is to act in such an obnoxious way that the museum would think twice about offering a special exhibit of some of their other treasures.

There is a fine line between trying to help and bruising someone's ego. I hope that we can find a good way to assist, in a way that we can affect the desired changes: better labels and a possible revision of the exhibition catalog (which I have not seen yet).

Pat www.quiltersmuse.com


Subject: re: labeling problems at the Shelburne From: "Candace Perry" 

I would say that some curators are generalists, but most would say that they have an area of specialty, but by virtue of working in general history museums, you must know something about everything...actually in some cases, quite a lot about everything. Believe me, in my career, being a "generalist" -- or rather being a chameleon who can adapt her general knowledge to several different museums -- has been both a help and a hindrance. It makes you far more employable, however. I don't want to split hairs, it's just that word "generalist". Candace Perry Curator Schwenkfelder Libray & Heritage Center


Subject: Kansas City and UGRR From: "Carla Toczek" <CToczek@kc.rr.com> Date: 

The U.S. Army has moved us again..... to Ft. Leavenworth, KS, about 30 minutes outside of Kansas City. It is a delight to discover the myriad of quilt shops within a 45 minute range of here, not to mention my location of an hour south of Lincoln, NE. My first visit to the Leavenworth quilt guild fell on the evening historical lecture by Bettina Havig. What a nice initiation that was!

In today's Kansas City Star neighborhood section, there's an article about a quilter's donation to a local museum, a new quilt replicating the one pictured inside Sweet Clara and the Freedom Quilt. And of course, the lady makes note of HIPV by Tobin as a guide for quilts she's made, calling it "a powerful story." I give the Star credit for the next brief disclaimer: "Though some quilting authorities question the authenticity of such lore, that didn't extinguish the spark of belief for (quilter)."

Is this the blurring point between fact and fiction? From myth to reality because the beautiful must be the better, and hence, the believable? I don't have QHL back issues, but I know we discussed this very subject recently. Unfortunately, these "quilters inspired" stories make much better press than the truth does in this case. If an historian in this area were to write a rebuttal of HIPV, presenting the facts as we know them, i.e. dates of pattern etc., after the appearance of a "feel good" piece like today's story, the resulting read might seem .....petty?.....not pretty. Presenting the facts as we know them is preaching to the choir when the facts are published in our professional journals. But there, at least, the facts are considered, debated, valued. But in the mass media? The scholarly is not particularly sensational. So to what forum DO we preach? Especially in light of the current discussions on museum staff cuts?

Thinking out loud and glad to be back on the list, Carla Toczek Ft. Leavenworth, KS


Subject: Re: Volunteer offer From: "kathy moore" <kathymoore@neb.rr.com> Date: 

I've been reading the discussion regarding the Shelburne and I am torn. = An offer of volunteers to help rewrite the labels and get them right is = a noble and generous as well as high minded idea. I agree with the = comment about volunteers depriving others of their jobs. I've noticed = over many years that there are two institutions which tend to exploit = and over estimate their employees abilities: churches and museums! When = you volunteer to do the work of qualified professionals, you've stepped = over the threshold and become an enabler for that institution to = function without paying the professional.

It seems to me a compromise might be to frame your offer of help in such = a way that it doesn't cross that threshold. Perhaps you could raise the = alarm with the director informing him of a few of the most glaring = discrepencies and recommending that you'd be glad to help a professional = quilt historian on contract to make the corrections. That way they don't = have to hire a professional for full-time work but can offer a = short-term contract for a specific task. In the real world, I doubt it = or the other generous ideas will be accepted, but it's worth a try.

Just a suggestion. -


Subject: Re: Volunteer offer From: "Candace Perry" <candace@schwenkfelder.com> 

I think this is a great idea...however, I would not go over the curator's head unless you know, without a doubt, that the director is a fair minded individual. My current position is great in that way...but I have been in enough positions myself, and been privy to other institution's problems through the Museum Assessment Program, to know that you could cause a lot of unhappiness for the staff. JMHO!


Subject: Fw: Re: Quilting disaster From: jocelynm@delphiforums.com Date: Wed, 

Here's a response that was sent to me privately, about the Quilting Disaster, but she has agreed for me to post it to the list, as others of you may be interested in the answer. Jocelyn

---------- Forwarded message ---------- 


You've actually got a rep from The Warm Company in the group. I just hate to hear about this problem you've had hand-quilting Warm & Natural. From the follow ups to your message, I really do think it was the combination of the basting spray with the batting. And, possibly an over-heating of the spray, as you said. I've hand- quilted Warm & Natural myself for a wall hanging (before I worked for Warm) and had absolutely no trouble getting the needle through and finishing the quilt. I have had customers say it's a little stiffer to work with, but have never heard this about breaking needles. If you would like me to replace your batting, please send an email to me at work, dnation@warmcompany.com, and I'll get you another one to try.

Before I go, I just want to clear up the way it's manufactured for you, though. It is needlepunched with a scrim. The 100% cotton fibers are laid out on a very thin polypropelene material (the scrim) and thousands of needles punch the cotton through. This scrim material is what holds the cotton in place and enables the batting to be quilted up to 10" apart and you don't have to worry about the batting bunching or shifting after machine washing and drying.

There are other types of batting that lay their scrims on top of the fibers. Those are bonded battings. The fibers are actually laid out and then a layer of glue or resin is applied to hold the fibers together. These types of batting are easier to hand quilt, but you have to quilt them closer together and, if it's a quilt to be washed often, the glue and resins eventually break down with washing and drying, resulting in fibers that clump in your quilt.

I hope this clears up a lot of questions for you and other sunnies. If you ever have any problem with a Warm Company product, we guarantee it to your complete satisfaction. Please let me know how this all works out for you.

Warm Regards,

D. Nation


Subject: dated quilt on ebay From: Gloria Hanrahan <gloria@ak.net> Date: Wed, 


This quilt, obviously made earlier than when it was dated. Wonder what story it has to tell to get a 1930 date on it?

Gloria in Alaska

princess feather quilt


Subject: Re: dated quilt on ebay From: jocelynm@delphiforums.com Date: Thu, 10 Jul 2003 11:45:03 CST X-Message-Number: 4

On Wed, 09 Jul 2003 17:16:31 -0800 Gloria Hanrahan wrote:

> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3232524310&category=947 > > This quilt, obviously made earlier than when it was dated.

While it's of an earlier style, it might be that the quilter was making 'one just like Grandma had'. Hard to tell, with solid fabrics. :)



Subject: Re: July 4th & beach quilts From: KareQuilt@aol.com Date: Thu, 10 Jul 

I once felt the way Pam described about the "abuse" of quilts as beach wear until my beloved MIL shocked me into another way of thinking by making String quilts SPECIFICALLY for her picnic table and for taking to outdoor concerts! They have now become a beloved part of our visits to the San Juan Islands. When they finally wear out, I will make my own to replace them since we will be carrying on the tradition once we move here permanently next year. I did stop a concert-goer in New Orleans at a Manhattan Transfer outdoor concert in the 80s when I spied the gorgeous Victorian Crazy Quilt they were carrying into the concert. Just couldn't keep my mouth shut because it was in such great condition. Didn't change thier mind an iota -- at least not that evening. Karen Alexander






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