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Subject: Putting a quilt on a frame From: "Vernon Farms" <vernonfarmssisna.com> Date: Fri, 23 Jul 2004 07:22:58 -0600 X-Message-Number: 1

My mother and everyone in the neighborhood where I grew up put the quilt on the frame. First the backing was tacked, then the batting was added and finally the top was tacked on. The quilts were and still are beautiful. Just because some people do it one way does not make it wrong. We need more open-minds here.

Su Vernon


Subject: Re: Putting a quilt on a frame From: amdresner <amdresnercomcast.net> Date: Fri, 23 Jul 2004 08:47:31 -0500 X-Message-Number: 2

Ditto Su, Same way my mother and her mother did it and taught me to do it. I love the process of thinking with an open mind also. So much more to learn than I can possible do in a life time. Well I am 64 so don't have life time to learn but am doing my best to beat the odds. <smile> Aren't quilters the greatest!!!

At 07:22 AM 7/23/2004 -0600, you wrote: <<My mother and everyone in the neighborhood where I grew up put the quilt on the frame. ................. Just because some people do it one way does not make it wrong. We need more open-minds here. Su Vernon>>>


Subject: "no baste" quilting frame From: "Sehoy L Welshofer" <slw4quiltscomcast.net> Date: Fri, 23 Jul 2004 08:53:30 -0500 X-Message-Number: 3

From Jennifer: If those kids are never exposed to quilting again, they will always incorrectly assume that quilts are put together on the frame, instead of layed out smoothly, basted by thread or pins and then put into the frames. **************************************************** Jennifer - If this person had a Zook frame as I do, that's exactly the way to put a quilt together. The frame is made to be loaded with 3 separate layers which then roll together to be quilted. It's a great frame, and keeps all three layers with even tension. Sehoy

http://www.Welshofer.com/WebThreads The newsletter for the Net savvy quilter...

"All email scanned by Norton AntiVirus"


Subject: Re: A different point of view From: Midnitelaptopaol.com Date: Fri, 23 Jul 2004 10:23:24 EDT X-Message-Number: 4

pat, i feel really badly about the written abuse you received concerning your trying to prove logically the impossibility of there being coded quilts.....unfortunately it has now become an hysterical/racial issue.....and i think rather than face the facts about the impossibility of the truth in the coded quilts...the subject will become the immorality of slavery......then again maybe there's a need to find a heartwarming tale about a terrible time... there was an entire civilization of people who believed that: Zeus transformed himself into a swan to seduce the lovely mortal Leda. ... you can read about it in greek mythology... jeanL


Subject: Re: September issue of The Quilter From: Ivory22986aol.com Date: Fri, 23 Jul 2004 10:28:50 EDT X-Message-Number: 5

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Got to love Jim ((hug)) As a person I would rather know fact then fiction about our past it sounds like this person knows that it was all fiction...Which is fine But to let others think that it is a fact is just like telling them Fairy Tales about their peoples past....I bet that person does not repeat The Old Sambo story As far as being silent.... I guess as a long as agree you with them You can say what ever you want too Ivory

No, this particular issue (September 2004) is brand new. I received a copy in yesterday's mail and it is just now becoming available to the general public.

The article is four pages long and has blocks that I made for purposes of illustration, as well as some antique blocks. The tone and information is somewhat the same, but additional information has been included.

Thanks for all of you who have written in response to my posting. When I ran out into the yard to tell Jim that someone thinks I should be silenced, from his ladder where he was painting, he called down, "Good luck to them! It would be a first. People have been trying to get you to shut up for years". Lovingly said, of course! Humor is what gets us through.


Sonny & Carly, Live Long & Prosper, Together Forever #' 4



Subject: Re: A different point of view From: "Sally Ward" <sallytattersntlworld.com> Date: Fri, 23 Jul 2004 17:32:47 +0100 X-Message-Number: 6

My mother was fond of quotations and left me with a many sayings in my head that I can't attribute. The pertinent one on this occasion goes: 'it is impossible to reason a man out of a thing he was not reasoned into'.

Sally W


Subject: Silencing Pat!! From: "Jan Drechsler" <quiltdocsover.net> Date: Fri, 23 Jul 2004 12:53:22 -0400 X-Message-Number: 7


Think of it this way. How exciting it is that people respond to your articles with passion, rather than indifference.

We should re-read this sad letter written to you as a reminder to keep an open mind about all subjects, forming our opinions after researching and considering facts and alternative opinions, and not before. Especially important when every day the media brings us 'facts' which we need to sift through for the truth.

This woman is a good example of the 'Ready, fire, aim' personality. My sense is that this woman is not the type of person I would choose for a friend. Too emotionally out-of-control and hurtful. Sorry she 'aimed' at you.

We have a long-time friend, an amazing violinist, who is as sweet, well-loved, funny and WACKY as they come. My husband claims that she never lets reality get in her way. It works for some folks but others turn bitter and hostile. This Speech Pathologist pushes aside reality.

Thank you for continuing your scholarship efforts in all aspects of quilt history.

Love, Jan

-- Jan Drechsler in Vermont Quilt Restoration; Quilting teacher www.sover.net/~bobmills


Subject: Re: September issue of The Quilter From: "jocelynmdelphiforums.com" <jocelynmdelphiforums.com> Date: Fri, 23 Jul 2004 19:08:28 +0000 X-Message-Number: 8

On July 23, 2004, Ivory22986aol.com wrote:

> As a person I would rather know fact then fiction about our past=20 > it sounds like this person knows that it was all fiction...Which is fine > That's the saddest part of this whole mess: how many people are clinging to= the myth, apparently in the belief that if they learned what really happen= ed, it wouldn't be half so good.

We KNOW that somehow, escaping slaves transmitted information to each other= . That old grandmother- is it less heroic of her to teach songs or stories = to the children, than to make a quilted picture of the information? No matt= er how she did it, it still is a testimony to her ingenuity and courage. Th= e medium is being confused with the message. I'm rereading HIPV right now, and I'm struck with how many 'conclusions' ar= e actually worded as questions, and how many times they state one possible = conclusion among many, as if that means that it is true. For example, they = make much about the traditional use of the colors blue and white in one Afr= ican tribe, without mentioning that the colors have the same symbolism in W= estern European cultures. After all, no matter where you're from, the sky i= s still blue and clouds are still white! There's no proof that the symbolis= m came from that one tribe, as opposed to another, or opposed to WE culture= s. Just because something COULD be the result of a particular influence doe= sn't prove it is... I'm also struck with how often they tell you to consult= the colored photo section, and when you do, the 'example' is not linked to= the pages, nor does it precisely depict what they were saying. Just showin= g a 9 patch block doesn't 'illustrate' a story about how a 9-patch block is= a map! And if they use 'allude' when they mean 'elude' one more time....<G>


Subject: New e-mail for Julie Silber From: Julie Silber <quiltcomplexdirecway.com> Date: Fri, 23 Jul 2004 14:15:31 -0700 X-Message-Number: 9

This is a multi-part message in MIME format.

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The remaining contact information remains the same:

Julie Silber The Quilt Complex PO Box 729 Albion, CA 95410 707-937-0739




Subject: Joe Cunningham's exhibition! From: Julie Silber <quiltcomplexdirecway.com> Date: Fri, 23 Jul 2004 14:36:46 -0700 X-Message-Number: 10

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Hello All,

We have been away and have had to change our internet servers, so I have missed a few weeks of QHL. I don't know if there has been any conversation about Joe Cunningham's exhibition in San Francisco: "The Life of a Quilt." My partner Jean and I just saw it and want to recommend it to all of you!

What a treat! Joe-the-Quilter has done a really superb job of organizing about 25 quilts, old and new (his own), into a stunning, varied, and really fun display. It's a gorgeous installation in a perfect space.

And food for thought...? Amazing. Joe has always had his VERY OWN ideas about quilts -- which here he gets to express in several ways. In his own fabulous quilts, in his choice of older quilts that have inspired him and his work, and perhaps BEST OF ALL -- Joe is THERE to take you through and "gas on" about the whole thing. Is there anyone as amusing and interesting as Mr. Joe Cunningham?

Joe is always at the TOP OF MY LIST of people-to-walk-through with at any quilt exhibition, but here, at his own -- WOW! He is there every hour the show is open, until August 8! Great opportunity. If you're anywhere in the neighborhood of the Presidio in San Francisco, GO! And even if you're not in the neighborhood, you might want to GET THERE anyway -- you won't see a show quite like this anywhere else!

Julie Silber



Subject: Re: Joe Cunningham's exhibition! From: Midnitelaptopaol.com Date: Fri, 23 Jul 2004 17:49:00 EDT X-Message-Number: 11

if you go to http://www.joethequilter.com/ and click on gallery of quilts you can see a few of the quilts in the exhibit. jeanL


Subject: Re: A different point of view From: "quiltstuff" <quiltstuffoptusnet.com.au> Date: Sat, 24 Jul 2004 09:49:27 +1000 X-Message-Number: 12

Sally wrote > My mother was fond of quotations and left me with a many sayings in my head > that I can't attribute. The pertinent one on this occasion goes: 'it is > impossible to reason a man out of a thing he was not reasoned into'.

That is a quote from Jonathan Swift, English Novelist who died in 1745.. so it has been around a long time. VBG

According to the quotation pages it is actually >.It is useless to attempt to reason a man out of a thing he was never reasoned into.>>

Although when looking it up, I did notice a quote attributed to Sydney Smith.. ( not that I know who that is) which was * Never try to reason the prejudice out of a man. It wasn't reasoned into him, and cannot be reasoned out. -- Sydney Smith>>

And I guess that quote has a lot of bearing about the whole issue of Slave codes, prejudice past and present and emotion and logic.

Suzy Atkins QUILTSTUFF Machine Quilting Service Brisbane 07 3378 0499 My Quilting Photos. http://community.webshots.com/user/quiltstuff


Subject: Re: A different point of view From: Gail Ingram <gingramtcainternet.com> Date: Fri, 23 Jul 2004 19:52:33 -0500 X-Message-Number: 13

Sydney Smith is a British literary critic, among other things, born in 19th century, long after Swift was in his grave. I think I know the specific source and will look it up.

Swift was not exactly a novelist, though "Gulliver's Travels" is almost in that genre. He is know for his satiric essays, most famous among which is "A Modest Proposal" in which his thesis was that the English should consider using Irish babies and very young children as a foodstuff. Swift had been a cleric in Ireland (banished there for being too ornery and critical of the English church) and knew that in effect, that is what the English of the day were doing to the poor of Ireland. Yet, of course, he was being satiric. So realistic was his argument, however, and, we must assume, so close to it the attitude of certain Brits, that he was savagely attacked in papers, pulpits, and broadsides for his barbarism.

Cynical about man's natural tendencies, he wrote "Gulliver's Travels," in which he found horses to be more intelligent than men.

Oh, I'm sorry for getting off on Swift, but the power of his words and ideas obviously are potent. Witness Sally's mother.



Subject: Re: Women's CLubs - LONG From: AG32040aol.com Date: Fri, 23 Jul 2004 21:16:27 EDT X-Message-Number: 14

TEDDY, In your book is there any mention of the Coconut Grove clubhouse ?It has historic designation .


Subject: Buried way back on e-Bay From: "J. G. Row" <JudyGrowpatmedia.net> Date: Fri, 23 Jul 2004 23:50:11 -0400 X-Message-Number: 15


3738170333.jpg (125930 bytes)Read carefully; only the eagle center seems to be original. But a wonderful design, don't you think?  (click on the thumbnail)

I don't know the seller and found it by accident.

Judy Ringo judygrowpatmedia.net


Subject: sheepish grin From: "Jennifer Van Haaften" <jasvanhaaftenhotmail.com> Date: Thu, 22 Jul 2004 23:52:41 -0500 X-Message-Number: 16

Guess, there are all sorts of ways to put quilts together. I noticed Xenia quilts from center out, while Laurette mentions outside in. My mother might be considered a bit of a perfectionist; I can imagine she'd lay all the parts out so as to get even coverage everywhere on each layer, which is how I would feel most comfortable doing it (but maybe that's because I grew up with that method). I can see how laying it directly on the frame would save a step as opposed to the basting elsewhere and then moving it to the frame.

Historically, were the basic techniques for putting the layers together as varied as what we mention here? If we were to do this as a demonstration at a museum, is laying it directly on the frame (instead of basting elsewhere first) more historically accurate, or is that a regional or cultural choice?

Jennifer V.


Subject: quilts in a frame From: "Brenda & Roger Applegate" <rbappleg1comcast.net>

I have wondered about putting them in the frame as well. My personal = frame is probably from around the 1950's. My grandma did not baste her = quilts before putting them in. As in contemporary frames, I have = ratchets to tighten the tension.

I also have the 4 boards that are "C" clamped together. We have = basted a quilt to put that one on and not sure if putting the long = boards closer together and quilting from the center out was the = historically correct way, but that is the way we did it. Some of the = paintings look like the frame could have been quite large and it is hard = to keep an even tension when the entire quilt is stretched out.

Brenda A.



Subject: Depends on your frame... From: "Cindy Brick" <brickworksatt.net> Date: Fri, 23 Jul 2004 22:52:16 -0600 X-Message-Number: 2

RE how you do it -- I use a John Flynn frame (which is wonderful, by the way) and that doesn't require basting -- just lay all three layers out, smooth everything, then wind onto the poles. Keeps the tension even = while you quilt, and I can even hand quilt a bedquilt while sitting on the = couch -- either end of the arms rest on either arm of the couch. My grandma, = who used a frame hoisted to the ceiling, would have been jealous.

A mention about basting. I pin-basted for years, but have found that if = I hand-baste (as fast as I can, incidentally, with as large stitches as possible), my quilts don't seem to have the puckers and folds = pin-basting produced. Don't know if anyone else has noticed this with their work.

I also seem to do a much better job on binding if I hand-apply the whole thing, instead of just the second seam. I almost always use a French (double-layer) binding: cut twice the size of the finished binding, plus 1/4" -- iron while folded over lengthwise, then stitch in place. This = pesky handwork also seems to produce better results if putting in piping along = the binding!=20

Not that anyone asked... :) Cindy

BRICKWORKS www.cindybrick.com


Subject: "Oh Lord!" From: Gail Ingram <gingramtcainternet.com> Date: Fri, 23 Jul 2004 23:56:28 -0500 X-Message-Number: 3

I have just returned from five remarkable days in New Jersey and Pennsylvania as the guest of the leader of the Ringo Gang, J. G. Row (aka Judy Ringo). Carolyn Miller bunked across the hall from me. And every now and then we would look at one another, Texan to Louisianian, and say, "Can you BELIEEEEVE this?!!!!"

Now both Carolyn and I have seen a quilt or two, but this was five days aswirl with wall-to-wall extraordinary Pennsylvania quilts. I can barely remember the names of the museums at this moment, but I remember this: they housed jewels.

And what hospitality. Sunday, Dana Balsamo (too young and smart to be true) came for a day of flea-marketing, which melted in a drenching rain. Not to be outdone, the fearless Ringo Kid took us home to dry out and then out we went to shops in the afternoon. I can't even remember where the shops were located. It doesn't matter. Dana kept calling her husband to tell him she would be later than she had told him the last time she called him because we were running late, because she was staying for supper, because she was staying for dessert, because we were laughing so much.

On Monday Judy took me and Carolyn to see the Burlington County Historical Society's wonderful quilts. Along the way we picked up Barb Garrett who, of course, was on time, which we were not. We thought we could see no better, no more quilts so lovely. Then we visited Judy Roche in the afternoon. Judy G. called her husband to tell him we would be late. Then she called him again to tell him we would be later still. We were eating pie and talking quilts.

It was at Judy Roche's that Carolyn turned to me and said, "Can you BElieve this? It's like they maybe say to themselves, 'Oh I am going to run to the grocery store to pick up some orange juice for breakfast. And I might stop by a shop and buy an 1820 chintz quilt while I'm about it.' I just can't beLIEVE there are so many quilts in one place. I mean NICE quilts. FINE quilts. Can you?" My answer was always the same: silence. What we were seeing was THAT fine!

I kept thinking of Shreve, Quentin Compson's Canadian roommate, in "Absalom, Absalom!" by William Faulkner. Confronted by the complexity of Quentin's southern history, the ahistorical Shreve said, 'Tell me about the South. I mean, how do people LIVE there!" How, I wondered, would it be to live in a world with such constant quilt talk, with so many opportunities to see exceptional old quilts at every bend of the road?

We saw quilts Tuesday morning, but the real show was in the afternoon. By this time, Jan Dresher had joined our crew at The Kid's and we had met the ever punctual Barb. Carolyn and I thought Southern women sighed and oohed and ahhed a lot, but we didn't know what we were talking about until we saw the Studio Quilt Study Group in action at the Montgomery Historical Society that afternoon. Remember that scene from "When Harry Met Sally"---the one where another patron at the restaurant where Harry and Sally are dining tells the waiter, "I'll have whatever she's having"? Well, Sally paled by comparison with this group. We sat there, mouths agape. And the quilts that elicited the sounds that led the genalogical librarian to tiptoe in and close the door to our meeting room--well, who knew?

Wednesday, Barb, Judy, Jan, Carolyn and I were off to Lititz to see the stunning collection Judysue Kelius had brought together, thence to the museums at Lancaster City. By then, Carolyn nad I had our dialogue down pat: I would say, "Oh, Lord!" and she would respond with "Can you....."

Alone together, driving to the airport, Carolyn and I tried to reflect on the exerience. We couldn't. It defied our simple imaginations. But the thing that struck us, along with the incredible beauty that lurked in every corner we'd seen, was the shared passion for quilts, quiltmaking, history, and the women who had produced such beautiful quilts in a time when leisure was not commonplace. Not enthusiasm. But consuming passion. A passion that automatically made us part of a much larger group of women, many of whom had been only names to us before.

Flying home, I thought of something J. G. Row often remarks---how extraordinary the bond is between all of us on this list. I have encountered more people like myself on this list than I encounter in my daily life. Joined by the passion for quilts, we become more than students together. We become friends. That, I think, is how it was with the makers of the quilts that bring us together, except their worlds were geographically more limited.

How lucky we are that Kris took the time to establish this list and that she puts up with all of us.

How lucky we are to have AQSG, which helps discipline our studies.

I know from experience how daunting the thought of forming a local or regional quilt study group can be, but if you could have been with us Tuesday, everyone on QHL would be at work right now pulling such a group together. The quilts our foremothers made deserve study, and they exist---perhaps not in the same kind of beauty of the PA German quilts, but with characeristic beauty that speaks of the culture from which they came.

Still in visual overload, Gail



Subject: sheepish grin From: Jennifer Hill <jennifer.hillshaw.ca> Date: Fri, 23 Jul 2004 23:04:40 -0600 X-Message-Number: 4

>Historically, were the basic techniques for putting the layers together as >varied as what we mention here? If we were to do this as a demonstration at >a museum, is laying it directly on the frame (instead of basting elsewhere >first) more historically accurate, or is that a regional or cultural choice?

Personally, I would say it depends most of the type of frame being used. I learned to quilt on a homemade frame made of planks with fabric tapes stapled to them to attach the layers, and the corners secured with C-clamps. We loaded the quilt one layer at a time. I had made at least a dozen quilts before I ever encountered the term "basting a quilt" and had no idea what it meant.

I have quilted most of my larger quilts on a modern Hinterberg frame, which has three poles to control tension, and the layers are loaded separately. Unfortunately, my family has banished it to the crawl space, since it sat unused for too long. I am currently quilting a large quilt in a lap hoop, and had to "baste" the layers together first (I use safety pins because it is wayyyyy faster than thread basting). However, a friend of mine who quilts for a living, uses a lap hoop and never bastes or pins. As I often preach in my classes, "There are many paths leading to the same destination."

Jennifer Hill Calgary, AB


Subject: Re: "Oh Lord!" From: "J. G. Row" <JudyGrowpatmedia.net> Date: Sat, 24 Jul 2004 01:41:39 -0400 X-Message-Number: 5


Thank you for once more writing so eloquently, and again echoing my thoughts. Of course I've had friends in my life before QHL and quilting, but I can't remember ever having such a sympathetic relationship as I do with my quilting friends.

I do have one little bone to pick. What we saw at Burlington was NOT Penna. German. What we saw there was Delaware Valley Quaker and Baptist, and what we saw at Montgomery was also more aligned with the Delaware Valley English Quakers than with the Germanic traditions. I guess because your last day here, Wednesday, we were so immersed in Lancaster County quilts, those blues, pinks yellows, reds and greens have totally cleansed your memory of quilts that actually use white fabric.

Ya'll come back, y'heah. And make it soon.

Judy Ringo judygrowpatmedia.net


Subject: Re: A different point of view From: "Sally Ward" <sallytattersntlworld.com> Date: Sat, 24 Jul 2004 08:25:12 +0100 X-Message-Number: 6

Ah, thanks for finding me the author.

In actual fact, an amended version came to be used in the family that 'it is impossible to reason our mother out of a thing she was never reasoned into'. She was known for strong opinions, as well as quotations <G>

The antiquity of its origin just shows that human nature never changes.

Sally W


Subject: Re: Buried way back on e-Bay From: Judy Kelius <quiltsptd.net> Date: Sat, 24 Jul 2004 07:22:36 -0400 X-Message-Number: 7

Look at the seller's other auctions . . . body tattoos! That doesn't give me a lot of confidence to bid a large amount on this piece. I wonder how the seller acquired it and where it originated.

Most interesting quilt, but it is hard to get a true feel for it. Anyone live near zip 89121 who is willing to contact the seller to see if she can examine it in person and report back to all of us? (My private jet is booked for the week, or I'd hop on it and do it myself <GR>!)


Subject: re: "Oh Lord!" From: Gail Ingram <gingramtcainternet.com> Date: Sat, 24 Jul 2004 08:48:00 -0500 X-Message-Number: 8

Dear Ringo Kid and All Others:

I KNEW that--about the Burlington and Montgomery collections' being primarily English, Quaker, Baptist (a whole churchfull) from Delaware Valley. Had just looked at the cds with those quilts of them last night. But like Carolyn's, my mind is still ajumble.

And, to be honest, Lititz was still on my mind. For those not familiar with Lititz, as I was not before this week, the fine collection is housed in a unique structure, basically an old general store with living quarters above. Evidently it had been moved to its present site by a man who proposed to set up a top-flight museum collection of regional quilts. Judysue Kelius created and organized the collection currently hanging, I believe.

On our visit, the owner showed us at least 20 additional quilts he said he had purchased within the last 2 weeks, all exceptional. Just as I was thinking how good it was these quilts would be housed near where they were made and would not, like the ones in the former Esprit collection, have to spend a long sojourn outside their original contexts, the owner announced he was selling them to the Smithsonian, along with the General Store.

Knowing the Smithsonian's display limitations and recent lack of a full textile curating staff, my heart sank. And, for good or for bad, it really is 'the nation's attic.' But because I know something of the Smithsonian's aquisition policies, I also somehow doubted the quilts would be part of the deal, though the General Store would be a real "find" for the institution.

Yet the thought of all those quilts, so carefully assembled and artfully displayed and bodying forth for future generations the history and cultural soul of the region, somehow really disturbed me.

It raised a question I've often considered---should the finest examples of a region's material history remain in their natural context, which will illumine them for both residents of the region and visitors? Or should they be dissiminated so many people can see them?

It seems somehow wrong that an English scholar studying the works of Browning or Samuel Johnson must travel to the University of Texas or Yale University, for instance. And to have all the Faulkner papers in Oxford, MS, instead of Charlottesville, VA, seems more reasonable.

I understand that in the latter case, the author designated the site and as a student of his life and works, I can appreciate his motives, but I still think the person who hits the country roads outside Oxford and walks the streets of the town after the now-gussied up square has closed for the night would gain an appreciation for the works and their creator he cannot gain in Charlottesville.

And I know we would not have John Keats' "Ode to a Grecian Urn" had Lord Elgin not "saved" tons of marble and pottery from Greece when it was at war with Turkey. But still, I wonder.

That said, I myself am delighted to own PA German quilts along with other PA quilts as well as representative pieces from other sections.

How do the rest of you feel about this? And how can we raise the consciousness of business and state funding agencies to act to retain representative collections of their regions' unique material culture, especially textiles, which still get short shrift outside certain circles?

And should we do this?

Still woozy after all those quilts, Gail


Subject: Re: "Oh Lord!" From: Dana at Material Pleasures <danabalsamoyahoo.com> 

Gail, Oh, how you are rubbing salt in the wound! How I wish I could have joined you on Monday and Tuesday, but I did enjoy our day out on Sunday. Judy is the most gracious hostess: breakfast, lunch, dinner, dessert, and lively conversation during and between. Although I had told my husband originally I'd be home to see the kiddies off to bed, he knew I wouldn't...he just knows me too well, so he was expecting each and every phone call that day (and night). I do not have him trained as well as Judy has her husband (who can date fabrics with the best of us), but he knows how passionate I am about quilts and how they make me happy...which means he'll be happy, so he is very understanding. He should only know it is going to get worse. I came home to a clean house and the children fed and tucked and asleep in bed. It was a wonderful day. Hugs, Dana

Material Pleasures Affordable Vintage Linens, Lace, Textiles, Buttons & More! www.material-pleasures.com



Subject: Name of Manufacturer From: Vivien Sayre <vsayrenesa.com> Date: Sat, 24 Jul 2004 13:51:38 -0400 X-Message-Number: 10

Hello All,

I am looking for any information you might have about a company that manufactured the fabric used as a border in a quilt top I own. The fabric is a loosely woven cotton indigo with a horizontal white line formed by varying sized dots. These lines are spaced widely apart. I suspect it was manufactured in the first quarter of the 20th century judging from other fabrics in the top and its quality. My reason for asking is that pasted on this fabric is a paper label with the following printing, "Ceylon Indigo Blues". Does this ring a bell for anyone?

Thanks, Vivien (In Hot, Humid Massachusetts)


Subject: Re: qhl digest: July 22, 2004 From: Teri Klassen <teresakbloomington.in.us> Date: Sat, 24 Jul 2004 13:23:24 -0500 (EST) X-Message-Number: 11

Donna, what a cool quilt, very interesting to see how that lightning effect was achieved by the piecing. i am sorry to hear it is an import. i would have liked to think of it as a mid-1800s red-and-white...i wouldn't be surprised if the pattern is in the Brackman encyclopedia, but maybe not. thanks for sharing.



Teri Klassen, also catching my breath from QHF


Subject: Century of Progress From: louise-b <vlbequetmcmsys.com> Date: Sat, 24 Jul 2004 16:21:21 -0500 X-Message-Number: 12

Came home from a very wet auction today without knowing if I am going to be able to get a Century of Progress needle packet or not. Everything seemed to be in it when I looked and one small tear. Gave up on staying and a friend wanted the case so will wait to hear from her.

Are there many of these in existence?

Louise Bequette


Subject: Re: Century of Progress From: "Laurie Magee & Tom Blajeski" <woodmanvbe.com> Date: Sat, 24 Jul 2004 18:41:00 -0500 X-Message-Number: 13

I collect needlecases and I have several of that variety. I must admit I'm not sure that they are complete. I am more interested in the exterior design. Laurie 


Subject: Re: Century of Progress From: <chrisajetlink.net> Date: Sat, 24 Jul 2004 16:50:03 -0700 X-Message-Number: 14

I have one Louise. I bought it at an antique store in CA about 2 or 3 years ago. Mine is like new, complete and unused. The black paper is still in it. It measures 4.5 by 6.5. The front and back covers have pictures of various buildings that look like watercolor postcards popular at that time. A Century of Progress is written on a slant, laying upon the colors of red and ague. It says made in Japan in the border.Was the one you saw like this?

Speaking of Chicago- I am going soon and would like to hear about the antique quilt exhibit currently at the Art Institute? Also,for purposes of planning my time, are there other quilts and textiles on display in the museum?

Thanks, Kim Wulfert www.antiquequiltdating.com

Came home from a very wet auction today without knowing if I am going to be able to get a Century of Progress needle packet or not. Everything seemed to be in it when I looked and one small tear. Gave up on staying and a friend wanted the case so will wait to hear from her.

Are there many of these in existence?

Louise Bequette


Subject: RE: sheepish grin From: "Jocelyn Martin" <jocelynmdelphiforums.com> Date: Sat, 24 Jul 2004 22:53:03 -0500 X-Message-Number: 15

Jennifer, My mother remembers her mother carding cotton to make batts, each 'batt' being a little bigger than the palm of her hand (and fingers). The quilt was laid directly into the frame, not rolled up on take-up reels, because the batts had such a tendency to shift until they were quilted down. With that method, I'm guessing that quilting had to go from the outside end, so that one would quilt an area before removing it from the frame to be able to reach to the middle (or maybe my grandmother had long arms, and could reach the center from one side or another! <G>) The frame itself was hung from the ceiling, and raised up again once the menfolk returned from the fields at night. :)


Subject: re: "Oh Lord!" From: "Jocelyn Martin" <jocelynmdelphiforums.com> Date: Sat, 24 Jul 2004 22:52:55 -0500 X-Message-Number: 16

It raised a question I've often considered---should the finest examples of a region's material history remain in their natural context, which will illumine them for both residents of the region and visitors? Or should they be dissiminated so many people can see them?

Gail, I'm not sure about the 'finest'- but if we followed your rules strictly, no one on the North American continent would get to see medieval or Renaissance art, or the Impressionist masters. And the Louvre would have to give back the Mona Karen and the Victoire de Samotrace. :) And what about the undiscovered artists that sell their work to a museum in another area? I guess that of greater concern to me are private collectors who don't allow their collections to be cataloged.


Subject: Re: Chicago quilts From: patkyser <patkyserhiwaay.net> Date: Sun, 25 Jul 2004 05:54:52 -0500 X-Message-Number: 1

Kim, I was in Chicago last fall and heard AFTER I got home that Marshall Fields has an 1885 crazy quilt in their Archive Collection at 111 N. State Street. They sell an imported quilt based on it for $129 now. I would love to have seen the original one, do have photos the curator sent me. Pat Kyser On Jul 24, 2004, at 11:00 PM, Quilt History List digest wrote:

> Speaking of Chicago- I am going soon and would like to hear about the > antique quilt exhibit currently at the Art Institute? Also,for > purposes of > planning my time, are there other quilts and textiles on display in the > museum?


Subject: For the record From: Patricia L Cummings <quiltersmusecomcast.net> Date: Sun, 25 Jul 2004 08:06:09 -0400 X-Message-Number: 2

Dear friends at QHL:

So many of you have written to me, both privately and publicly. Thank you. I treasure you and all of your letters.

For the record, I feel the need to share a few things with you. A little background: I read the book, Hidden in Plain View when it first was published. I then followed all of the comments in this forum and also did a lot more reading on my own, about African and African-American history.

In January 2004, I was contacted by the editor of the newspaper in which I have a column related to antique quilts. She thought that a meeting she had heard about, which was happening in my home town which was about"quilts", sounded interesting. She stated that she would go herself but she had other commitments that day and so, would I please consider "covering" the meeting. So, I put on my reporter's hat and headed to the NH Historical Society to hear L'Merchie Frazier give a talk.

Drawing on my previous readings and study of the Underground Railroad and in consultation with my good friend, AQSG member, Sandra Munsey, who provided more suggested reading, I pulled together the article that is available now online. Gathering up some antique quilt blocks in my collection, I created others, for purposes of illustration.

This file was read by the Embroidery Editor of NeedleArts and she asked me if I would donate the article to the magazine for re-publication. In her hands, this became a 10 page article in the June 2004 issue.

At that point, the editor of The Quilter magazine offered me space if I would like to add anything else. The result of that request is the four page article in the September 2004 issue, just now on sale.

At no time, was I seeking to be on talk shows like Oprah, or to otherwise draw inordinate attention to myself. As a serious scholar, the goal was to share my thoughts in a public venue that would reach many people. My words have reached hundreds of thousands of people.

In almost seven months, I have received one, not so pleasant, but impassioned letter from someone who has a "different point of view". I am thankful for that letter. Sadly, I have a distinct feeling that the thoughts and opinions voiced in Barbara's letter reflect the same ideas of many others who have not spoken out.

Yesterday, I received a very kind invitation to speak publicly in a forum. I had to decline, for a number of reasons, the most compelling of which is that I do not care to get into confrontational, knock down, drag out, situations. My brain is taxed enough as it is. I have long since left this subject as an active research topic and have moved on to other areas about which I am currently writing. However, at the same time, my reading of Black American studies and slavery continue, as time permits.

My published writings seem to have spurred a renewed interest in the subject. Meetings are being planned from coast to coast to discuss this issu. For those of you who feel that in bringing up the topic, we are beating on an old dead horse, just wait. There are many people who have not even heard of this discussion, or the points that I and others, have made. So, as something new to them, they want to talk about it and they want to understand this all better.

Thank you all for your patience.

My involvement with the topic of UGRR issues has been from the standpoint of a scholarly investigation, but from an informed observer's viewpoint. If anyone thinks that I don't know what I'm talking about, I would invite them to study quilt history as thoroughly as I have for the last twenty years. Collect old quilts. Take a graduate course in the "History of Quilts". I would suggest that they undergo the rigors of passing the master craftsman program, which for me took nine years; for someone else, fourteen. I would strongly urge them to pick up as many books, attend as many classes, and otherwise educate themselves, before telling me that I am all wet, not thinking clearly, or somehow violating a cultural heritage that did not exist in the first place. I'm an old gal, you know, and I've served my time, and gotten my education at the school of hard knocks and elsewhere.

At the University of Navarra in Pamplona, I had friends of many ethnic backgrounds and nationalities. I have always embraced other people, different than me. My roommate was Australian and I had friends from Nigeria, Germany, Puerto Rico, and Japan. So, you see, the "race card" does not work, in attacking me for my views. Anyone can take one look at my website and come to the swift assessment that I am "color blind". I am interested in HISTORY, and that comes in all colors. :)

That's my rant on this early Sunday morning. I guess Jim is right about it being an impossibility to silence me. Yak, yak, yak. Oh well, better than talking to myself! (very big grin).

Do something nice for someone day.



Subject: correction From: Patricia L Cummings <quiltersmusecomcast.net> Date: Sun, 25 Jul 2004 08:16:08 -0400 X-Message-Number: 3

The ending to the last letter should have read: "Do something nice for someone today". Typos galore, too. Aargh..... I can't win. It's like trying to say something eloquent, while having a black char from the barbeque stuck in a front tooth.



Subject: Chicago Art Institute Quilt Exhibit From: "Barbara Vlack" <cptvdeosbcglobal.net> Date: Sun, 25 Jul 2004 07:54:39 -0500 X-Message-Number: 4

Kim mentioned that she was coming to Chicago and wondered about the current exhibit of "antique" quilts at the Art Institute.

The exhibit is called "Exploring Quilts: Art, History, and Craftsmanship." There are many antique quilts, but there are some contemporary ones, too. There is a nice color printed free brochure for the exhibit that shows 18 examples of the quilts. One quilt is from Gee's Bend.

The exhibit is on until September 12.

I can't say about other textile exhibits at the Art Institute at this time. You have to take your chances about what's out at the time of your visit. They rotate exhibits of textiles, so all are never on display at the same time.

Barb Vlack cptvdeosbcglobal.net


Subject: re: "Oh Lord!" From: Gail Ingram <gingramtcainternet.com> Date: Sun, 25 Jul 2004 08:35:15 -0500 X-Message-Number: 5

> It raised a question I've often considered---should the finest examples of a > region's material history remain in their natural context, which will > illumine them for both residents of the region and visitors? Or should they > be dissiminated so many people can see them? > > > Gail, > I'm not sure about the 'finest'- but if we followed your rules strictly, no > one on the North American continent would get to see medieval or Renaissance > art, or the Impressionist masters. And the Louvre would have to give back > the Mona Karen and the Victoire de Samotrace. :) > And what about the undiscovered artists that sell their work to a museum in > another area? > I guess that of greater concern to me are private collectors who don't allow > their collections to be cataloged. >

For me, this is an unresolved question, and I understand that unbending rules would be difficult to apply to individual situations. There is also the issue of private ownership involved.

Yet many nations have laws regarding the placement or export of their national treasures. Greece, for instance, wants the Elgin Marbles back---enough to take legal action. Some limit strictly, others limit proportionally and based on individual merit.

I consider Browning and Samuel Johnson and Jonathan Swift, et al "national treasures" that were obtained bag and baggage by superior American wealth and that ought to be in England. Johnson, for one, would not rest easy knowing his papers were lodged in an American University, and i dare not think what Swift would say.

As always, I think the individual initiative of local communities and states will determine whether, 20 years from now, any state has enough of its material culture on its own soil to provide its citizens with a sense of their past. Our American consciousness and conscience needs to be raised about the issue. It should be discussed.

As for quilts, while they are important to us and to a segment of the public, I doubt their importance as aesthetic, historical, or cultural documents is widely understood. That is true of most "utility" objects.

There is the policy of long-term loans followed routinely by museums.

It merely seems to me that if thought is not given to this issue, we will someday regret it.



Subject: IA/IL Quilt Study Group From: Litwinowaol.com Date: Sun, 25 Jul 2004 10:01:04 EDT X-Message-Number: 6

Good Morning, Ahhh to be with the Ringo Gang (remembering Judy's find in TX. last year at AQSG). Saturday, Aug 7, 2004, The Iowa/Illinois Quilt Study Group will be meeting for the 3rd time at the Kalona Historical Village-Quilt and Textile Museum. Hanging there will be fabulous Amish Quilts, many never seen by the public. The quilt show and share has been eye-poppingly super and this time will be no different. We will post pictures and words about our day. The willingness of sharing these family treasures make any gathering of quilt sisters a bit of heaven (Is this Heaven? No, It's Iowa) (Dr. Kim if driving to Chicago I'm only 4 miles off I-80) Ours in quilt herstories.


Subject: Kansas City Star Quilts Shine Again From: "Louise" <ltiemannstny.rr.com> Date: Sun, 25 Jul 2004 11:02:15 -0400 X-Message-Number: 7

Hello, I just got the first 8 issues of the Kansas City Star Quilts Shine Again, a self-published magazine from the early 1980's, by James and Betty McAdams. The magazine provides the KCS quilt patterns alphabetically - redrafted in many cases to correct errors from the originals and to give the readers different size options. Has anyone out there heard of this publication? If so, did it ever complete the alphabet? In the 8 issues I have, she only got up to the "B's", so I am assuming there are many more issues out there. Thanks, Louise 


Subject: re: "Oh Lord!" From: Judy Kelius <quiltsptd.net> Date: Sun, 25 Jul 2004 

At 09:48 AM 7/24/2004, you wrote: >It raised a question I've often considered---should the finest examples of a >region's material history remain in their natural context, which will >illumine them for both residents of the region and visitors? Or should they >be dissiminated so many people can see them?

There needs to be a balance. When I started to work at the PA Quilt Museum in Lititz, one of my goals was to bring some outstanding PA quilts back to PA. It seemed to me that most major quilt collections and museums (even those in other countries) featured Pennsylvania quilts, but at the time there was no museum in our state devoted to them. Of course, the various historical societies have examples but as we saw at Norristown, these donated pieces are often in sad state, fragile, stained, etc. - although they are marvelous and well worth studying, few of the quilts in that collection are in display condition. And even when an historical society has good quilts in its collection, they rarely have the space to display many of them and or the funds to acquire other good quilts when they became available. So I saw this as an opportunity to teach the residents of our state and other visitors about the amazing quilting traditions found in Pennsylvania. All of the quilts in that collection were purchased, and several had been published before the museum acquired them.

If the report on the quilts going to the Smithsonian is true, it is sad that once again there will be no museum in PA devoted to quilts other than the new Lancaster Quilt & Textile Museum, which concentrates on Lancaster County quilts and brought back to their origins an important portion of the Esprit collection of Lancaster County Amish quilts. (Although the PA Quilt Museum is also located in Lancaster County, we made an effort to acquire quilts from other areas of the state as well.) And as you say, most of the Smithsonian acquisitions will never be on public view.

I am not surprised that the Smithsonian would be interested in the general store museum - it is an amazing collection, probably the best example of a traditional American general store anywhere. The store opened in the mid 19th century and closed in the 1950s, and until the current owner purchased it several years ago, nothing had been touched. If something didn't sell, it was not discarded, just put in storage, so the collection spanned a century! The museum's founder acquired everything, including the rest of the Kready family possessions (there were no descendants to inherit any of it). So the museum became not just a recreation of the general store (which was rebuilt almost exactly like the original under the supervision of the store's last owner) but also a glimpse into the life of a Pennsylvania German family - many of the household possessions are also on display, and parts of the house like the old kitchen were rebuilt within the large building that houses the general store and quilt museums.

About a dozen quilts made by the grandmother of the last general store's owner became the nucleus for the quilt museum along with clothing, aprons, and other textile and household items, all of them in pristine condition. Three of the quilts are breathtaking - multifabric medallions with political handkerchiefs in their center, beautiful fabrics, great color sense, worthy of any museum . . . the remainder are excellent examples of more typical Pennsylvania quilts with exceptional workmanship, design, and condition. I hope these family quilts always stay together. It is so rare to have any provenance for an antique quilt, let alone the opportunity to study a group of family quilts within the context of the other possessions of the family. (By the way, some of the Kready quilts were apparently sold off over the years while they were still in family hands . . . there is a nearly exact duplicate of one of the Kready medallion quilts in the Chicago Art Museum, part of Shelly Zegart's collection acquired by them a couple of years ago. It has been published in a number of books and was obviously created by the same hand or at least a sister, mother, etc.).

I have mixed feelings about this . . . I would like to see the quilts stay in their home state, but it is also an honor to have them in the Smithsonian. Sadly, it is doubtful that many people will see them there unless a special exhibit is planned. On the other hand, they should be properly cared for there and preserved for future generations.

So I think there needs to be a balance . . . and sadly once again it seems like there will be insufficient locations within Pennsylvania to study Pennsylvania quilts.


Subject: The Music of Slavery- slightly off topic, but related From: Patricia L Cummings <quiltersmusecomcast.net> Date: Sun, 25 Jul 2004 14:09:03 -0400 X-Message-Number: 9

The other night, we attended a concert held by the NH Historical Society/Museum of NH History in Concord, NH. The music provided was that of President Franklin's Pierce's life and times. Franklin was New Hampshire's only native son who became our (14th) president.

Now, we are interested in quilt history here. However, the fellow who provided the concert is a music historian. He sang and played on period instruments: a banjo without frets, and a guitar.

What a fantastic concert! You all would have enjoyed it. Among the tunes that he played was one written by B.R. Hanby, circa 1856, "Darling Nelly Gray". Bob Killam, the performer, told us that there is a little known verse to the song that he discovered which makes the rest of the song make sense. The chorus is: "Oh, my poor Nellie Gray, They have taken you away, And I'll never see my darling any more. I'm a sitting by the river, and I'm weeping all the day, For you're gone from the old Kentucky shore." Nelly or Nellie was a slave. The unknown verse has to do with how she was bound and taken away in chains. The tune is haunting me.

The running commentary, placing songs within the time period of current events and trends of the day, and within the context of social and political statements, this deft musician made it clear to all of us that he is as fully committed to music history, as we are to quilt history.

There were a number of songs that Bob played that are related to the abolitionist movement and to slavery. Most of the music was new to my ears and I don't remember any other titles other than the familiar ones like "Camptown Races", "Old Dan Tucker", etc. The period in question, he said, was 1840-1862. The Civil War changed everything, including music, so he does not reach beyond it in his renditions.

Back to my endless appliqué block that has taken two days of my time so far.

Pat Cummings www.quiltersmuse.com


Subject: Gail's trip comments From: "Kathy Moore" <KathyMooreneb.rr.com> Date:

Gail, you've written a wonderful description of your fantastic trip. = It's like a small dissertation. Thank you for that. Your literary = references always lure me into wanting to read whatever you're talking = about. Keep it up. I might just become literate yet!

And thank you for your comments about AQSG and small study groups. I've = thought about forming one in Lincoln but can't do anything till I'm = finished with my graduate work in quilt studies. How would you structure = a study group if you lived in Lincoln? This is intended to be a leading = question and I'd be interested in comments from others on the list.

Kathy Moore ------=_NextPart_000_0010_01C4724F.BBD99C00--


Subject: Gail's comments on museums From: "Kathy Moore" <KathyMooreneb.rr.com> Date: Sun, 25 Jul 2004 14:28:48 -0500 X-Message-Number: 11

This is a multi-part message in MIME format.

------=_NextPart_000_0019_01C47253.B2CC4500 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable

Gail, your questions and comments about keeping artifacts in their = original setting are very relevant. From my recent studies in museum = issues and practices it seems these are questions museum professionals = deal with every day and they don't have any better answers than the rest = of us.

Regarding the Smithsonian, I am just as frustrated as you are with the = way it operates. I wish there was a way to create regional facilities = funded under separate funding but overseen by the Smithsonian which = could relieve some of the pressure on the Smithsonian to collect = everything and stash it in a warehouse somewhere. The national archives = does something like that. Why can't our museum professionals figure out = a better way that would allow things to stay in context, yet be properly = housed and cared for? At the same time, we need to be mindful of how = badly broken the British system is. The system is probably similar to = what I have described as regional in nature, but it is administered by = rigid bureaurocrats with very little funding and is subject to meddling = by politicians. The result is bad for the future survival of many = irreplaceable artifacts.

Alas, some things never change. Without well-heeled benefactors we = probably wouldn't have much of what we see in our museums. I think it = has always been thus.

Kathy Moore ------=_NextPart_000_0019_01C47253.B2CC4500--


Subject: My Darling Nelly Gray From: "sue reich" <suereichcharter.net> Date: Sun, 25 Jul 2004 15:39:27 -0400 X-Message-Number: 12

Every summer evening of my youth, my Pennsylvania Dutch Grandma used to sing "My Darling Nelly Gray" along with "Mocking Bird Hill," Stephen Foster songs, and WWI era songs. We would swing and sing on her porch in Crawford County, PA for hours and watch the lightening bugs. It was a most comforting song, even though it speaks of loss and death. The melody is very sweet and memorable. Each one of my 5 siblings could sing it again today. How times change, my daughter is a new mother and she cringes each time I sing "Rock-a-bye Baby." Her initial response was did you ever listen to those lyrics! Wait till she hears me singing "My Darling Nelly Gray."

My Grandma' version was;

There's a low green valley on the old Kentucky shore, There I've whiled many happy hours away, A sittin and a singing by the little cottage door, Where I lived with my darling Nelly Gray.

Oh! my poor Nelly Gray, they have taken her away, And I'll never see my darlin any more, I am sittin by the river and I'm weeping all the day, For she's gone from the old Kentucky shore.

When the moon had climb'd the mountain, and the stars were shining too. Then I'd take my darlin Nelly Gray, And we'd float down the river in my little red canoe, While my banjo sweetly I would play.

Oh! my poor Nelly Gray, they have taken her away, And I'll never see my darlin any more, I am sittin by the river and I'm weeping all the day, For she's gone from the old Kentucky shore.

My eyes are getting blinded, and I cannot see my way; Hark! there's somebody knocking at the door---- Oh! I hear the angels calling, and I see my Nelly Gray, Fare thee well to the old Kentucky shore.

Oh! my darlin Nelly Gray, up in heaven there they say, And they'll never take you from me any more, I am coming ---- coming ----- coming, as the angels clear the way, Fare thee well to the old Kentucky shore.

This web site has the complete song along with information about the composer. http://www.bluegrassmessengers.com/master/darlingnelliegray1.html

sue reich


Subject: Re:study groups From: "J. G. Row" <JudyGrowpatmedia.net> Date: Sun, 25 Jul 2004 15:45:58 -0400 X-Message-Number: 13

>How would you structure a study group if you lived in Lincoln? >Kathy Moore

Gee Kathy,

Lets assume that your study group will not meet regularly around the conservation tables in the collections rooms with access to everything in those boxes on those sliding shelving units. That would be too much to even dream of. So, let's assume that you will find a large room somewhere else and will put out a call to locals to join with you in informal study.

I belong to 2 study groups in the same area. One of them is formal in that it has a leader/teacher with a seemingly endless 19th century collection. She sets the curriculum for each quarter, gives out assignments for study and although we are invited, urged, to bring in our own examples for show, most of our learning experiences center around her collection.

The second study group meets at my house. With input from all the members we set a style theme for each meeting which in no way keeps anyone from bringing anything for show that they want to share.. The "tell" portion is non-structured. If anyone would like to do a study on a particular facet of quilt history they may do that to share, or they may bring a "show" to get answers about it from the rest of the group.

The first group uses white gloves, the second group uses clean hands -- unless someone asks for gloves to be used when handling a particular piece.

The first group meets in a quilt shop for only 2 hours a month for about 9 meetings a year, and we pay a quarterly fee. When we have to give up the room for the day we are all loath to end the conversation and so we usually go to lunch together, but we go our separate ways after lunch. Many of us spend lots of money at the quilt shop.

The second group meets 6 times a year, on the third Tuesday of the odd numbered months. You can't forget -- the schedule is unchanging. We meet from 10 AM to about 3:30 or 4 with a 1 hour break for lunch -- delivered pizza or BYO with contributions of chocolate dessert and salads every month. This group has a wide range of members, from contemporary quilters to antique quilt collectors of long standing; from those who ask which is the first book to buy to learn about quilt history to collectors/historian/authors on quilt history.

Both of these study groups have folks who travel well over an hour to attend meetings. Study Group at my house also has folks who come so far that I put them up overnight for at least one night, sometimes 2.

Both groups have done field trips. Studio quilt study group has done 3 field trips in two years, and we are already planning one for July 05. Most historical societies with regional collections will welcome you with open arms. But don't be surprised if a curator somewhere thinks of the collection as her personal property and won't share.

I've made some of my most intense and lasting friendships through quilt history study groups. The sooner you get started inviting others to share your passion the sooner you'll enjoy the camaraderie and friendships that study groups bring.

I'm rethinking my first paragraph, and in your situation I think the opportunity to get a group together to volunteer to open and refold quilts in the IQSC collections is absolutely ideal for study.

Judy Ringo judygrowpatmedia.net


Subject: Kris' quilt top is at the quilter's From: "Christine Thresh" <christinewinnowing.com> Date: Sun, 25 Jul 2004 12:59:44 -0700 X-Message-Number: 14

Great news. I took Kris' quilt top (the chimney sweep friendship blocks) to the quilter today. It should be finished in five weeks, or if the quilter can't get it done before her vacation, it will be ready in mid September.

Karen Erlandson set all the blocks with black sashing and a colorful, wide piano keys border using fabric sent along with the blocks. Karen supplied a nice red backing and good cotton batting.

I am so pleased that this quilt will be completed soon. Thanks to Karen for all her work.

Christine Thresh http://www.winnowing.com


Subject: re: preservation of regional material culture From: Gail Ingram <gingramtcainternet.com> Date: Sun, 25 Jul 2004 17:52:26 -0500 X-Message-Number: 15

>> >> I guess that of greater concern to me are private collectors who don't allow >> their collections to be cataloged.

I am not sure I understand the meaning here. Clarification?

I understand that public bodies are under obligation to disclose holdings, but why would private collectors be obligated to catalog or have cataloged their personal holdings?

Curious in LA, Gail


Subject: Frame quilting From: Joe Cunningham <joejoethequilter.com> Date: Sun, 25 Jul 2004 17:32:20 -0700 (PDT) X-Message-Number: 16

It has become a sort of law that you must baste a quilt and start in the middle, but that law was created in the 20th century. Before that, for hundreds of years, quilts were quilted on the full-size frame from the outside in, with no basting. I have quilted many dozens of full-size quilts this way. I quilt with a group at a local church sometimes and they use a frame just like mine, have been quilting for 60 years and have never had a pucker in the middle. It is the way all of the quilts we love from the 18th and 19th centuries were quilted. The three layers are held taut throughout the process, so no fullness can accumulate. It is fascinating to see the extent to which this recent "law" of quilting from the middle out has taken hold.

In fact, I have a frame at my exhibition in San Francisco in which I have just completed a quilt. But if you come by before August 8 I will be happy to show you how to use the frame, how to quilt away from you and anything you want to know about hand quilting.

Joe the Quilter in San Francisco


Subject: Re: Frame quilting From: "Patchwork Secrets" <patchworksecrets2earthlink.net> Date: Sun, 25 Jul 2004 22:17:47 -0400 X-Message-Number: 17

I have always quilted on a frame just like the 4 generations before me quilted. Baste the backing on the frame by using a large needle and thread and sewing in a barber pole fashion to attach the backing to the frame. Then lay on the batting and then the top. Lightly stretch and pin the top to the backing around the outer edge, squaring and straightening as you go.

The frame set I have that were from my grandmothers all have holes drilled in them about 2 inches apart the complete length of the frames. The frames were then joined by running a carriage bolt through the holes and adding a nut to hold together. As you roll the sides and work towards the center you just insert the bolts to hold them. My great-grandfather worked at the local buggy factory and sold sewing machines off of a wagon on the side. My grandmother said she can remember him drilling holes in one set of the frames for her mother with a hand drill. The frame was a gift for Christmas one year.

The only difference that I use when quilting on my old style repo frames I made is I stapled fabric around the edges so I can pin instead of basting on the frame like my grandmother's did. Also I have stands that hold each corner since DH doesn't want me putting pulleys and ropes on the ceiling in our living room like granny had....VBG I never knew there was such a thing as basting a quilt and finishing it in your lap or on a small frame until I hit my 30's...lol... Now I use the old style frames ( I have 10 sets of different sizes) or my grace ratchet frame depending on the quilt. Recently I finished off three quilts for a local lady that her mother had made the tops back in the mid 50's. Per her request I could not take apart the tops to correct gathering or square it up. To do these types of quilts and be able to deal with the odd shape and size I find the easiest way is the vintage frames. And yes I really can quilt out a lot of the problem areas with a lot of patience and a little creativity.....lol...

I find more and more of my recent customers who want a top finished into a quilt prefer you make no corrections to the top because it loses its character from the original maker. The customers mother had quilted for years but in her later years her eye sight started going and Alzheimer's reared its ugly head. Lynn said she wanted to remember the way her Mom fought with all she had and kept sewing up until her last days. Correcting the flaws would have lost the importance those tops have for her and her family.

There was a frame put out by Sears in the mid 30's/40's time frame I think. I have thought about adding one to my collection but haven't gotten around to it. It would be interesting to find one with original directions to see exactly what was recommended in that time period.


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