Subject: Re: The Chintz quilt blogger
From: CELIA EDDY <celia.eddybtinternet.com>
Date: Sun, 1 Feb 2009 10:08:42 +0000 (GMT)
X-Message-Number: 1

Where, exactly, is this magical haberdashery shop? I'll be going down to Lo=
ndon shortly and would love to visit it.
Celia



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

Subject: Re: The Chintz quilt blogger
From: Sally Ward <sallytattersntlworld.com>
Date: Sun, 1 Feb 2009 10:50:20 +0000
X-Message-Number: 2


--Apple-Mail-1--372333782
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charset=US-ASCII;
format=flowed;
delsp=yes
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http://www.prickyourfinger.com/

From DS's description and a couple of photos he took the shop is
primarily about knitting. But then again, knitting is what he went
for and he wouldn't know what else he was looking for!

Sally



--Apple-Mail-1--372333782--


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

Subject: Study Group interview this Monday
From: "Beth Davis" <bethdan533frontiernet.net>
Date: Sun, 1 Feb 2009 12:28:51 -0500
X-Message-Number: 3

Hello all,
This is a reminder just in case you'd like to listen (and
participate!!!) to the interview of Karen Parrett and Beth Davis, on
Kim Wulfert's Women on Quilts. We will talk about how small study groups
can be formed and share experiences with others who are running groups or
interested in starting one. Here is the information:

When: Monday, Feb. 2, 2009

Time: 5 PM pacific, 6 PM Mtn, 7 PM Central, 8 PM Eastern for 1 hour

Call in: 218-486-7200 & Conference ID 3627. You must call in to hear
the interview & to talk
Link for viewing the slideshow: slide show link (This will only be
available during the call. The recording of the call won't have the
slide show)
You can check this out on her website:
http://womenonquilts.blogspot.com/

If you cannot call in on Monday--you can just go the website and hear
the conversation in the Past Interviews section.

Regards
Beth Davis
----------------------------------------------------------------------

Subject: RE: Study Group interview this Monday
From: "Sharron" <quiltnsharroncharter.net>
Date: Sun, 1 Feb 2009 13:28:47 -0600
X-Message-Number: 4

Hi Beth! I am really looking forward to this as I am starting a study group
down here in Houston. I have already gotten a date, a place and sent out
flyers to as many shops and guilds as I knew of. I've gotten a good
response and even saw the flyer in a quilt shop window yesterday. I have
yet to figure out my questions but have been anxiously awaiting your
seminar. Best regards,
Sharron.........................
..........in Spring, TX where it's 71 deg. (Thank you God!)............


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

Subject: Re: Study Group interview this Monday
From: Quiltsappraisedaol.com
Date: Sun, 1 Feb 2009 14:46:24 EST
X-Message-Number: 5


-------------------------------1233517584
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Beth,

Looking forward to this!

Alma Moates
Pensacola, Fl.

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

Subject: Fw: Amish stumpwork stars
From: Laura Fisher <laurafisherquiltsyahoo.com>
Date: Sun, 1 Feb 2009 11:44:52 -0800 (PST)
X-Message-Number: 6

--0-376304133-1233517492=:61894
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

Hi Kris-- I don't recall ever seeing this posted on qhl, remember I had pro=
blems cause I sent in different format, not plain text. So here it is again=
, just in case....if I missed it, I am surprised that there were no respons=
es on QHL, so that's why I am resending. Thanks
=A0
Laura Fisher

--- On Wed, 1/14/09, Laura Fisher <laurafisherquiltsyahoo.com> wrote:


From: Laura Fisher <laurafisherquiltsyahoo.com>
Subject: Fw: Amish stumpwork stars
To: qhllyris.quiltropolis.com
Date: Wednesday, January 14, 2009, 3:30 PM







Kris - here is is, hope this looks legible! Laura

--- On Wed, 1/14/09, Laura Fisher <laurafisherquiltsyahoo.com> wrote:

From: Laura Fisher <laurafisherquiltsyahoo.com>
Subject: Amish stumpwork stars
To: qhllyris.quiltropolis.com
Date: Wednesday, January 14, 2009, 1:27 PM


Hi all - it's a new, and hopefully less stressful, year. Good wishes to all=
.
=A0
Love the subject of "stumpwork" stars as the look of those quilts is what g=
ot me started thinking about creating my menswear quilt exhibition. I have =
a little collection, and lots of questions about how these came to be, so I=
would love some research help.=20
=A0
I could try to post on eboard (but I always fail at this) or----could tempt=
you all to come see=A0the exhibition at the New England Quilt Museum this =
Fall called MASTER PIECES: Haberdashery Textiles in Antique Quilts, at whic=
h several of these charming quilts will be shown!
=A0
Most look as if they are suiting swatch backgrounds, little rectangles or s=
quares, usually charcoal, sometimes navy or black suiting wool ground, embr=
oidered with three-dimensional motifs, usually stars. I have=A0quilts with =
"openwork" stars, double outline stars, completely-filled-in stars, and als=
o arcs, moons, circles. I once had the penultimate one--3-D parrots on bran=
ches embroidered in multicolor wool, which I am hoping to borrow back for t=
he show.
=A0
I have questions, hope you can help answer:=20
=A0
wool yarn is often multicolored; was it tie dyed or a rainbow or space age-=
type=A0yarn that=A0produced in the effect of several colors within=A0each l=
ittle motif (can't image the person sewing kept switching colors so often) =
What was the source of the yarn?
=A0
where/how did concept originate/flourish--I have seen them referred to as A=
mish or Mennonite. Always have found them=A0in Lancaster/Ephrata/Adamstown =
Pa=A0area. Was this work done only there, or outside of PA too=A0?
=A0
Whose idea was it -- a single designer/person=A0whose idea caught fire; a c=
ompany/or local community paper/or a church group who promoted/published/or=
=A0sewed this work? Were there published instructions, in addition to tin t=
emplates?
=A0
When/Time frame -- I think of them as turn of the century/early to mid 20th=
century, when did this all start, is it still done today?
=A0
Why? -- I was captivated by the contrast of femme, Victorian-y embroidery o=
n menswear=A0=A0 heavy wool foundations, riotous color versus somber ground=
. Anything written about this? Is what I=A0see all there is to say?
=A0
There's another sheared embroidery form I see far less frequently than star=
s, looks like a bitch to create --- pyramid forms. I have found a scant few=
of these, usually pillow-size about 18"=A0square containing=A09 to as many=
as=A025 to 36 points. The pyramids are sooooooo high, starting out=A0at th=
e base as a square, then sloping up to a point, sheared and velvet-y all th=
e way up---fabulous. Any info about these too would be welcome.
=A0
And while I'm at it, I have a couple of graphic quilts=A0pieced with "long =
johns" -- winter woolies, underwear material in red, grey, cream. One is on=
my website www.laurafisherquilts.com =A0in the wool quilts section. Some I=
have had include even pink wool=A0fabric of the=A0same type, can't=A0belie=
ve these were men's, think either the red ran when materials were=A0boiled =
and it discolored whites, or perhaps pink was for=A0ladies winter underwear=
!! The ones I bought were all from Amish house sales from New Holland, PA a=
rea, some dated from the first=A0decade 20th=A0century. Was this type of qu=
ilt truly/only Amish, only done=A0in PA? And,=A0what companies made the=A0u=
nderwear? There's info in Sears and Montgomery=A0Ward catalogues, but would=
love more than those ads.
=A0
By the way, I=A0received=A0too few responses to my request for examples of =
menswear quilts you know of to consider for the show/book!!! -- suiting, sh=
irting, neckties, miscellaneous menswear haberdashery fabrics.=A0Surely the=
re are many more=A0interesting examples out there for us to see. Keep sendi=
ng along info, want this to be as comprehensive with visuals as possible.
=A0
Email snapshots to laurafisherquiltsyahoo.com=A0.
=A0
Thanks
=A0
p.s. If anyone is coming into NYC next week for Americana week with all the=
auctions and antiques shows, my gallery will be open all week=A0Monday-Fri=
day 10:30-4:30 and I would love to see friendly quilt list faces here.=A0I =
am not doing any show this year, and haven't moved to a new location yet, s=
o you can find me up here. Let me know......
=A0
Laura Fisher
=A0
=A0
=A0
=A0
=A0
--0-376304133-1233517492=:61894--


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

Subject: Kim's Blog & The Rose Bowl Parade
From: Jan Thomas <textiqueaol.com>
Date: Sun, 01 Feb 2009 18:48:28 -0700
X-Message-Number: 7

Kim, the Vera Bradley purse float pics in the Jan 4 Blog are an absolute
riot.
Jan

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

Subject: Ethics and Copyrights
From: linda laird <clproductsgmail.com>
Date: Mon, 2 Feb 2009 09:09:07 -0700
X-Message-Number: 1

I recently attended a two day, very expensive workshop that an art
quilter was teaching. Near the end of the class the teacher asked that
we send any completed work that used her techniques because she likes
to use student work as illustrations in her books. One of the
attendees said "You'll be proud of all the ribbons we'll win after
having taken your class." The teacher then explained that it was not
acceptable to show and have judged or sell quilts that use her
techniques.

My first thought was that I'd worked my fanny off for two days to
learn these techniques and can't use them except to hide them at home.
My second thought was that I wanted my money back since I can't freely
show the items I make using the techniques and that wasn't explained
before I paid my money. My third thought was that I'm not clear about
the copyright and ethics of techniques that are taught in public and
in her books.

I understand that the patterns I design and sell are copyrighted but
we were not copying her quilts, just using the techniques she taught
and designing our own quilts. So, are techniques included under
copyright protection?

Straighten me out here cause I'm a little bent!

Linda Laird
Still have a few flowers blooming and the hummingbirds are hanging
around just outside my window in AZ




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

Subject: RE: Ethics and Copyrights
From: "Donna" <nilrapsgmail.com>
Date: Mon, 2 Feb 2009 11:05:25 -0600
X-Message-Number: 2

Techniques aren't copyrighted. Donna

-

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

Subject: RE: Ethics and Copyrights
From: Kris Driessen <krisdriessenyahoo.com>
Date: Mon, 2 Feb 2009 09:21:04 -0800 (PST)
X-Message-Number: 3

I agree with Donna - you can't copyright a technique, thought or idea.

Kris



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

Subject: RE: Ethics and Copyrights
From: Kris Driessen <krisdriessenyahoo.com>
Date: Mon, 2 Feb 2009 09:31:21 -0800 (PST)
X-Message-Number: 4

Adding to my previous note: I was paraphrasing from Section 102(b) of the Copyright Act of 1976. This section makes clear that copyright protection does not extend to any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work.

Copyright DOES cover her written explanation of any technique, however.

Techniques MAY be patented or trademarked. That's a whole separate issue. You can apply for a patent if your technique is new, involves an inventive step, and is capable of industrial application. Betty Cotton was able to patent a method of making a French seam in her Cotton Theory quilts.

Kris



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

Subject: RE: Ethics and Copyrights
From: Kay Sorensen <kaykaysorensen.com>
Date: Mon, 2 Feb 2009 09:42:37 -0800
X-Message-Number: 5


A technique can be patented if you are willing to jump through hoops and sp=
end mega bucks showing it is new, original and your own work.

The only one I am aware of that was patented was Marge Murphy's shadow Trap=
unto with yarn.
K

My blog: http://quiltspluscolor.blogspot.com


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

Subject: RE: Ethics and Copyrights
From: Nancy Gibbs <izannah1msn.com>
Date: Mon, 2 Feb 2009 13:54:05 -0500


My understanding of copyright is that you can copyright your own specific p=
attern or design if it's truly something unique=2C not just your version of=
an old one that would be in the public domain=2C but you cannot copyright =
a technique=2C particularly not one that is not dependent on some patentabl=
e invention of the quilt teacher.=20

I could be wrong=2C but it sounds to me as though she is trying to create a=
rtificial and unenforceable restrictions (such as a patternmaker who says y=
ou cannot resell a legally purchased pattern on ebay).

Nancy

Bucks County=2C PA



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

Subject: hats (OT)
From: "Marcia Kaylakie" <marciarkearthlink.net>
Date: Mon, 2 Feb 2009 12:59:24 -0600
X-Message-Number: 7


In Austin, there was a musical at the Zachary Scott Theater called =
Crowns. It was all about the wonderful hats African American women wear =
to church on Sundays. My paternal great grandmother McAvoy was a =
milliner in Atlantic City in the late 19th-early 20th century. I also =
have a wonderful photo here in the room of my maternal grandmother at =
age 20, wearing the most stunning Borselino hat. Nanny always wore hats =
until she passed and I often wonder what happened to those glorious hats =
she had. I was away from home when she passed and didn't have any say in =
the disposition of her clothing.=20
Living as I did close to Atlantic City, I grew up walking the Boardwalk =
on Easter Sunday, with my family, in my suit, matching purse and shoes, =
matching gloves and hat! I'll bet Judy Grow remembers those times as =
well, eh Judy? Although I only wear a few styles well, I did enjoy hats. =
I suppose they went away during the 70s with the advent of more casual =
clothes and less places to wear them.=20
In Texas, it is not untoward to have a casual straw hat on (not cowboy!) =
to shade your face if you should be in the sun for anything length of =
time. One of the sayings here is that Texas sun is hard on women and =
horses.
I'm rambling...just that the hats brought up a wonderful series of =
memories for me. Thanks!=20

Marcia Kaylakie
AQS Certified Appraiser
Austin, TX
www.texasquiltappraiser.com
------=_NextPart_000_001B_01C98536.12AC26D0--


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

Subject: QHL: Mary Gasperick Quilts
From: "Susan Wildemuth" <ksandbcwgeneseo.net>
Date: Mon, 2 Feb 2009 13:58:34 -0600
X-Message-Number: 8

I'd like to share something wonderful that was just forwarded to me.

Mary Gasperick Quilts

http://www.quiltindex.org/gasperik.php

The quilts:

http://www.quiltindex.org/search_results.php?collection=Gasperik%20Collection

Bertha Stenge did beautiful quilts, but so did Mary -- take a look at these.
There is also an essay by Merikay Waldvogel --

Enjoy!

Susan Wildemuth
www.illinoisquilthistory.com




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

Subject: QHL Mary Gasperik
From: "Susan Wildemuth" <ksandbcwgeneseo.net>
Date: Mon, 2 Feb 2009 14:24:08 -0600
X-Message-Number: 9

Typo -- my apologies

Should be Mary Gasperik
instead of Gasperick


Sue




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

Subject: Re: Ethics and Copyrights
From: Patricia Cummings <quiltersmusegmail.com>
Date: Mon, 2 Feb 2009 16:10:05 -0500
X-Message-Number: 10

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I'll take a leaping guess and say that I do not believe that techniques can
be copyrighted any more than a shape such as a square, a rectangle, or a
circle can be copyrighted. Just a wild, wild guess. Now, I hope an "expert"
will chime in.

Patricia Cummings
http://www.quiltersmuse.com


I understand that the patterns I design and sell are copyrighted but we were
> not copying her quilts, just using the techniques she taught and designing
> our own quilts. So, are techniques included under copyright protection?
>
> Linda Laird
>

--002215046c6f92a8ed0461f5fa4e--


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

Subject: Re: hats (OT)
From: Judy Schwender <sister3603yahoo.com>
Date: Mon, 2 Feb 2009 14:05:59 -0800 (PST)
X-Message-Number: 11

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EXCELLENT play.
Market House Theatre here in Paducah did it.=A0 WONDERFUL.
Judy Schwender
=A0
=A0
=A0
=A0

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

Subject: Re: hats (OT)--equally OT
From: Gaye Ingram <gingramsuddenlink.net>
Date: Mon, 2 Feb 2009 16:16:32 -0600
X-Message-Number: 12

Marcia K., you were meant to be a Southerner! A Roberts and a MacAvoy and a devotee of hats!

I researched sun hats for an article in a gardening magazine last spring, and I am surprised you did not mention the brand Tula, which is made in Austin, TX. They are mid-price range in woven sun hats (hemp, linen) and they received the best UV protection rating in a test of all major sun hats by Cal Tech. They got a 0 on the Australian scale, which is perfect. They come in sort of stylish and serious-gardener broad brim styles and are far less costly than the Tilley hats for women. Inspired by their attractiveness, last summer I purchased both a "Ranch" style with nice leather string band and tie and a "Brook," a bent-brim more stylish number. I have no finacial interest in Tula, but they produce superior hats at reasonable prices that make people say, "Oh, where did you get THAT?" And people who are out in the sun should protect their faces.

Like yours, Marcia K., my great-grandmother loved hats. She was a country woman, living on a farm, but hats were her weakness or strength, depending on one's viewpoint. She ordered some from Paris but also patronized a New Orleans milliner. I'm talking gorgeous----yards of silk tulle, ribbons that were still lovely in the late fifties, brims and exotic feathers and floaty stuff all fine. I suppose she wore them to church on Sundays, though they must have been a little over the top in her little country church.

My grandmother said that in her fifties, her mother donned one of those hats one Monday morning in late spring and repaired to the broad front porch and her favorite rocking chair. No one knew what to make of that behavior. She was supposed to be cooking and washing and lots more. Moreover, when asked, she offered no explanation. Everyone said she looked calm and collected, just rocking and surveying the green fields and long dirt driveway. When the lady who helped her with washing arrived, my g-grandmother said merely, "I don't think we'll wash clothes today" and added "Or cook today." That gave everybody hope that she had not had a stroke. At least she could talk. But it also gave them concern, for she was a woman with many duties, and cooking was a critical one of those.

She "took no food" all day, although she was pleased to have her usual afternoon coffee. Sometime in late dusk, she left her outpost and prepared for bed, seemingly happy and exchanging pleasantries with her husband and others in the household. But the next morning she was on the porch again, this time in another hat. She commented on the fragrance of a climbing rose that grew along the porch rail, but had little else to say. Someone sent for a sister and also for a doctor.

The latter seemed unable to ask, "Why are you sitting out on this porch all dressed up on a Tuesday afternoon?" Instead he made small talk and drank coffee. So he was next to useless and could render no medical opinion other than her "color" was good, she spoke courteously and behaved hospitably. Her sister, a woman never without words, noted they had not sought an etiquette review, but a medical diagnosis. She herself was able to ask the question. My ggrandmother replied that she was just enjoying the place on such a nice day. No, she was not tired. Nor sick. Felt just fine. She was just enjoying the place, by which we mean the house and land surrounding it. And she was wearing the hat because it was pretty and felt good. My aunt is reported to have thrown something of a tantrum and said, "This is unnatural. Now you tell me what is wrong with you." My ggrandmother suggested she take a chair and another cup of coffee.

She went through five hats and five fine spring days, seemingly unruffled or even mindful of her considerably ruffled family. Minister, husband, children---none had been able to figure out what was wrong.

On Saturday morning, everyone awoke to the smell of bacon frying in the kitchen. They found my ggrandmother in a cotton housedress and apron and occupied by the work at hand, but cheerful, as she always seemed to be. As soon as breakfast was over, she started the bread for Sunday dinner. All day, she was her old self--cooking, dusting, tidying, watering pot plants, and so on. And before she went to bed, she laid the table for Sunday after-church dinner. Sunday morning, she fried two chickens before getting dressed for church. Monday found her at her laundry and cleaning tasks. In short, she was "at herself" again.

The funny thing is that nobody in the entire family dared ask her about the preceding week and the hats and the rocking chair. Everybody said she looked much refreshed and rested. Because she mentioned to her husband that a small grove of trees near the main road needed cutting, some theorized that had been the object of her "sit-in," but nothing gave much weight to that. Out of her hearing the children referred to "Mama's little breakdown," though all confessed she didn't look broke down. The mystery was still being debated when I was a child, sitting on the same front porch. My own theory is that she just got tired of that bunch of boys and company always in the house and workworkwork and decided to take a vacation and survey her lawn and garden in the nice spring weather. One week out of an entire lifetime, just to survey her surroundings.Whatever the cause, the event was said to have lasting impact. People treated her with a little more deference.

My grandmother got the hats and my cousins and I had our names in each of them as eventual inheritors. Instead, an uncle collected them and gave them a woman who worked for his family before anyone knew they were missing.

If you like hats and find yourself in New Orleans, there is a lovely millinary shop called Fleur de Paris that is a joy just to behold.

gaye


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

Subject: Re: hats (OT)
From: "Stephanie Whitson" <stephaniestephaniewhitson.com>
Date: Mon, 2 Feb 2009 16:50:16 -0600
X-Message-Number: 13

I just perused a hard back book at Barnes and Noble the other day title
Crowns. Stunning black and white portraits of African American women in
their church hats. Maya Angelou wrote the forward. It's wonderful. Made me
laugh, smile, cry, and remember my own mother's collection of church hats.
We aren't African American, but Mother didn't feel dressed for church
without a hat.

Stephanie Higgins




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

Subject: Batt Manufacturing
From: Jan Thomas <textiqueaol.com>
Date: Mon, 02 Feb 2009 15:44:37 -0700
X-Message-Number: 14

Can anyone explain how poly-batting is manufactured? What should I be
aware of, chemically
or otherwise, when using it for storage of my collections?

Jan



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

Subject: History As It Is Happening
From: Patricia Cummings <quiltersmusegmail.com>
Date: Mon, 2 Feb 2009 19:18:29 -0500
X-Message-Number: 15

--000325574c3e5bba0b0461f89c00
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For those of you who do not know, Mark Lipinski's latest issue of *Quilter's
Home* magazine has been banned from both JoAnn Fabrics and Walmart. This
issue is wrapped in a clear cellophane that is sealed. He offers an article
by Jake Finch that features "Shocking Quilts." With all the hoopla
surrounding this news, I expected to see blatantly pornographic quilts. I
have written a review of Finch's article and that is on my blog.

--
Patricia Lynne Grace Cummings

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

Subject: Study groups Interview reschedule?
From: "Kimberly Wulfert, PhD" <quiltdatingjetlink.net>
Date: Mon, 2 Feb 2009 21:48:05 -0800
X-Message-Number: 1


Marlene, Polly, Sharron and Alma,

I just got the digest and read your posts. You guys are the best. Sharron
said it all when she said "Kim had all kinds of problems on the conference
call tonight," but the presentation was still great thanks to Karen and
Beth!

Please go to the addendum blog post I put up this evening if you want to
hear the details. Based on the emails we all received after, we are
interested in scheduling the discussion part of the call for the same night
and time later this month if there is enough interest and if that date will
work for most of you. We are flexible. Email me privately if you are
interested and available then.

Tomorrow we'll see what we can piece together from the call, and then make
it available to everyone with the slide show included. No needle and
thread will help here, just editing software and a patient editor.

Piece,
Kim

Kimberly Wulfert
www.womenonquilts.blogspot.com
www.antiquequiltdating.com
www.antiquequiltdatingguides.com
www.quiltersspirit.blogspot.com





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

Subject: Re: Batt Manufacturing
From: Joan Kiplinger <jkipncweb.com>
Date: Tue, 03 Feb 2009 08:16:21 -0500
X-Message-Number: 2

This is a multi-part message in MIME format.
--------------010504030804090100020303
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit

Jan -- this may help somewhat. There's not much difference between
natural fiber and MF fiber batting; they are made mostly the same way.
http://www.fabriclandwest.com/quilters%20corner/how_batt_made.htm

Perhaps Linda Pumphrey from Mountain Mist can help out here.
Perhaps

Jan Thomas wrote:
> Can anyone explain how poly-batting is manufactured? What should I be
> aware of, chemically
> or otherwise, when using it for storage of my collections?
>
>

--------------010504030804090100020303--


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

Subject: New England Regional Quilt Day
From: Anita Loscalzo <aloscalzyahoo.com>
Date: Tue, 3 Feb 2009 05:32:39 -0800 (PST)
X-Message-Number: 3

The 5th Annual New England Regional Quilt Day will be on Saturday,
April 4, 2009 at Historic Deerfield, MA. The committee members hope
that many AQSG members will join us. The website for Historic
Deerfield is=20
http://www.historic-deerfield. org

Here's some of the
information about the day:

8:30 =E2=80=93 9:00 Registration
9:00 =E2=80=93 11:00 Guided tour of quilts & textiles (two groups, rotate)
11:00-11:30 Antique darning eggs, Stephanie Drake
11:45 Catered lunch at White Church
1:00-2:15 Road show: Participants please bring one textile item or an
antique sewing tool of interest to be shared with the group.=20
2:30-3:30 "Quilts in Context" at historic houses
3:30 - Adjourn

There is priority registration for AQSG members before March 1st.
Attendance is limited to 50.

In order to receive an attachment of the brochure and information to
register , please contact:=20

Anita Loscalzo: aloscalzyahoo.com=20
or Marge Farquharson: mfarquharsondcds.net
=0A=0A=0A


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

Subject: Hats
From: Judy Knorr <jknorroptonline.net>
Date: Tue, 03 Feb 2009 11:18:25 -0500
X-Message-Number: 4

This is a multi-part message in MIME format.

--Boundary_(ID_3RIaVz3PMCXP9sRhNvDSVA)
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Although I love the hats African-American wear to church, I am sure that women of all ethnic and social backgrounds loved hats. My mother loved hats of all kinds and always wore one to church. Not being a family of any great means and with four daughters to clothe she had little extra funds for purchasing hats. But, a hat shop in a nearby Ohio city held a wonderful sale for the local Dollar Days promotion every year and all the hats were either $1, $2, or $3. during the sale (1950s). That store was always our first stop on sale day and what fun it was for all of us to try on hats and select our purchases.
About 12 years ago my mother sold her house (it had been my grand parent's house and included a two story barn in addition to the Victorian house in the middle of a small town.. Emptying that property was another whole story including the quilts!). My mother packed up all her hats and delivered them to a thrift shop in another nearby small city. The thrift shop workers told Mother that her hats were the "hit" of the store. Apparently they flew right out the door, so there are still hat lovers looking for bargains out there.
Judy Knorr

--Boundary_(ID_3RIaVz3PMCXP9sRhNvDSVA)--


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Subject: history as it is happening
From: carylschuetzcomcast.net
Date: Tue, 3 Feb 2009 17:16:01 +0000 (UTC)
X-Message-Number: 5

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The decision of Joann's not to sell the latest issue of "Quilter's Home" magazine has been a heavily discussed topic on the QuiltArtList. I was not aware that Walmart was also banning the issue. Many on the QuiltArtList have written to Joann's about the decision. Yup, history as it's happening!

--
Caryl Schuetz
Woodhaven Studio
Professional Association of Appraisers -
Quilted Textiles
Certified by The American Quilter's Society
www.quiltvalues.com
http://woodhavenstudio.wordpress.com
http://aboutquilts.wordpress.com




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Subject: Re: history as it is happening
From: Patricia Cummings <quiltersmusegmail.com>
Date: Tue, 3 Feb 2009 12:22:25 -0500
X-Message-Number: 6

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An Update from Mark Lipinski, editor - Quilter's Home

In his own words, in a personal note to me:

Early last year, Walmart caused a publishing house catastrophe because, like
their fabric and crafting sections, the company decided to prune their
magazine section quite drastically -- about 1,000 magazine titles were
removed from their shelves. QH was brand new at the time and didn't have
legs (now it's one of the most successful subscriptions stories in recent
industry history -- I think we got something like 12,000 subscribers in just
a one month period last year). So Quilter's Home was kicked out with the
best of them (much to my regret). LOL But it was a Walmart/Distribution
House issue.

Pat
--
Patricia Lynne Grace Cummings
http://www.quiltersmuse.com

--00221532cf6c39c0ad046206ea92--


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Subject: Re: Hats
From: Gaye Ingram <gingramsuddenlink.net>
Date: Tue, 3 Feb 2009 12:31:06 -0600
X-Message-Number: 7

Re: I am sure that women of all ethnic and social backgrounds loved hats. =
My mother loved hats of all kinds and always wore one to church. Not being =
a family of any great means and with four daughters to clothe she had littl=
e extra funds for purchasing hats.=20

Re hats: African-American women are simply part of a more defined and conse=
rvative society. Traditions change more slowly there. In the Deep South, wo=
men's hats have never entirely gone out of style. It is revealing that in t=
he "HeyHeyLBJ" days, college girls here still wore hats to religious servi=
ces, homecoming games, teas, lawn parties, etc. An Easter hat was still de =
rigeur for most. Once when I was in high school, I wore one of those wide-b=
rim "belle" hats to church services, and after the sermon the gentleman who=
had sat behind me asked me to wear it again the next Sunday. Said he'd nev=
er before gotten such a peaceful snooze, protected from disapproving minist=
erial eyes. My own daughter walked around the house in my old hats for year=
s. Sat at the piano practicing with a lovely wool pillbox that was accented=
with pin. In the 1990s, I knew a toddler who refused to take a bath or eat=
without a "crown." Her mother had a tiara from some past misdeed, and she =
had discovered it. Her relatives thought it such an amusing habit that they=
contributed to her stash of hats and bonnets and tiaras. That child grew u=
p with abundant self-esteem, I assure you. Hats can do that. Is there a mil=
liner on our list?
Gaye Ingram


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

Subject: Re: Hats
From: "Candace Perry" <candaceschwenkfelder.com>
Date: Tue, 3 Feb 2009 14:21:23 -0500
X-Message-Number: 8

I was reminded not of hats but shoes (my fave ) by this discussion.
In the 80s I worked for a marvelous shoe and dress boutique in Cincinnati on
the ground floor of the fab Omni Netherland Plaza (it was fab then at
least...the whole Cincinnati life was a different story) right across from
Saks. We had the very good fortune to have a ginormous Baptist Convention
in town, and the ladies would go to their meetings and services and then do
the town. They were dressed to the nines -- glam dresses, suits and pants
outfits and the accompanying hat-- but inevitably would be wearing what I
call a slipper but my southern ex always called "house shoes." Mostly
scuffs and those fuzzy slippers...
So they'd come in and I realized why they wore these house shoes -- they
wanted the most painful stilettos and pointy toed numbers we had -- and it
was the 80s, so we had some killers. And the ladies were not petite flowers
(I can get away with that because neither am I!) They'd apparently wear them
to whatever meeting or service then promptly remove them and break out their
slippers.
I'll never forget that. It was really cute.
Candace Perry
Who did not relish Cincinnati in the 80s


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

Subject: Re: Hats
From: Cindy Claycamp <muddyforkfarmshotmail.com>

My real life job( you know=2Cthe one that supports my quilt habit) is as a =
certified fitter for post-mastectomy patients. In our little boutique you w=
ould be amazed at the number of hats we sell=2C and especially heartened at=
the effect thay can have on a cancer patient's well being.Hats=2Cturbans a=
nd scarves are the first thing the friends and family come to buy. We carry=
a railroad cap in a dozen colors with sequins that made an 80 year old lad=
y giggle and glow! She was in a wheelchair and had no hair. I love my job! =
My hat's off to HATS! Cindy Claycamp>
----------------------------------------------------------------------

Subject: hats, sit-ins and such
From: "Kathy Moore" <kathymooreneb.rr.com>
Date: Tue, 3 Feb 2009 15:45:28 -0600
X-Message-Number: 10

Gaye's lovely story of her grandmother's "little vacation" reminds me of the
year I did something of the same sort. I think I understand what was going
on with "granny".

My youngest daughter was in junior high school, I think. The older daughter
was in high school. It was summer and someone in the household asked me what
we were going to do about something or other. The details have all escaped
me all these years later. But I distinctly remember replying, "I don't know.
I'm on vacation."

You should have seen the looks on their faces. They exchanged looks and
huffed and puffed, "What do you mean you're on vacation? Who'se going to
cook our meals? Who'se going to clean the house? You can't just go on
vacation just like that!"

Well, I could and I did. The entire week, I wasn't available to do anything
I didn't want to do.

They still talk about the year I "went on vacation".

The funny thing is, I didn't plan it. I didn't even think about doing it
before I did it. It was a complete surprise to me, too...one of those things
that just unexpectedly pops out of your mouth. But, boy I sure enjoyed it. I
felt refreshed by my little rebellion and the rest from all those
responsibilities.

I think Gaye's granny did, too.

Don't think about it, just do it!

Kathy Moore
Lincoln, NE



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

Subject: Silber lecture, Bowers Museum, Feb. 22
From: "Julie Silber" <quiltcomplexhughes.net>
Date: Tue, 3 Feb 2009 14:07:10 -0800
X-Message-Number: 11

Hello Friends,

I will be giving a talk (on ... QUILTS!) at the Bowers Museum in
Southern California (Santa Ana) on Sunday, February 22, 2009 at
1:30 p.m.

My talk with be in conjunction with a quilt show, "American
Quilts: 200 Years of Tradition" -- at the Bowers since last
September. That show ends March 15, 2009.

I see on the Museum's calendar that they will be showing Pat
Ferrero's film, "Hearts and Hands" on Sunday, February 14 at 1:30
p.m. -- and her other wonderful film, "Quilts in Women's Lives"
on Tuesday, February 17 at 1:30 p.m. Highly recommended!

All three events are free with paid admission to the Museum.

More info at quiltcomplexhughes.net or lkahnbowers.org

Julie Silber
www.thequiltcomplex.com



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

Subject: Re: hats, sit-ins and such
From: Gaye Ingram <gingramsuddenlink.net>
Date: Tue, 3 Feb 2009 17:01:49 -0600
X-Message-Number: 12

---- Kathy Moore wrote of a decision to go 'en vacation'" that her family had said
You can't just go on vacation just like that!"
Well, I could and I did. The entire week, I wasn't available to do anything
I didn't want to do.

The funny thing is, I didn't plan it. I didn't even think about doing it
before I did it. It was a complete surprise to me, too...

Kathy, I bet you are right. Really, I do. The timing always made me think it was purposeful, whether my ggrandmother recognized that or not. She got back in the kitchen in time for Sunday, when folks went to church and the family gathered at her place. Church and visiting kin mattered to her. My grandmother said her father treated it as if it had never happened, even among the children who were still home and saw it happen.

You have to admit it would have been more dramatic had you had a front porch and closet full of wonderful hats. As a good Texan, you should equip yourself with a Tula hat----just in case it happens again.

I admire you for this episode. And thank you for sharing it. I always wanted to do something like that, rue that I didn't.

gaye


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

Subject: Re: Batt Manufacturing
From: Jan Thomas <textiqueaol.com>
Date: Tue, 03 Feb 2009 16:05:29 -0700
X-Message-Number: 13

Thank you Joan. My question stems from reading a description of batt
for sale at an archival site. It is described as Thermal Bonded
which relieves you of any problems with resins. After reading the
excellent descriptions on the site you sent, logic tells me that I don't
want the Thermal Bonded product because of fiber migration or bearding
onto and into my collection. That would leave me with the
choice of Heat Sealed/Glazine Finished.....I'm e-mailing Linda today.
This is getting out of my comfort zone. Jan

Joan Kiplinger wrote:
> Jan -- this may help somewhat. There's not much difference between
> natural fiber and MF fiber batting; they are made mostly the same
> way. http://www.fabriclandwest.com/quilters%20corner/how_batt_made.htm
> Perhaps Linda Pumphrey from Mountain Mist can help out here.
Can anyone explain how poly-batting is manufactured? What should I be
aware of, chemically
or otherwise, when using it for storage of my collections? Jan



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

Subject: Batt Manufacturing
From: Joan Kiplinger <jkipncweb.com>
Date: Tue, 03 Feb 2009 19:17:01 -0500
X-Message-Number: 14

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Jan -- Also keep in mind that batting in each of these categories will
vary depending how the manufacturer enhances the fiber to improve
performance. Let us know what you find out.


Jan Thomas wrote:

Thank you Joan. My question stems from reading a description of batt
for sale at an archival site. It is described as Thermal Bonded
which relieves you of any problems with resins. After reading the
excellent descriptions on the site you sent, logic tells me that I don't
want the Thermal Bonded product because of fiber migration or bearding
onto and into my collection. That would leave me with the
choice of Heat Sealed/Glazine Finished.....I'm e-mailing Linda today.
This is getting out of my comfort zone. Jan


--------------030602070605030808050100--


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

Subject: Re: Hats
From: "Lucinda Cawley" <lrcawleycomcast.net>
Date: Tue, 3 Feb 2009 20:10:45 -0500
X-Message-Number: 15

My mother said "No lady leaves the house without a hat and gloves." She
always favored small, elegant numbers made by a local milliner named Ceil
Clarke. I loved going to that shop with Mom. My sisters and I always had
new hats for Easter (I, being the oldest, always had a complete new outfit.
Dodo and Franny got hand-me-downs.).
But it's not those pretty hats that I remember best. Part of the
Catholic schoolgirl's uniform in the 1950s was the dreaded beanie, always
kept handy for visits to church where women were required to cover their
hair. We spent a lot of time in church: benediction, stations of the Cross,
daily mass during lent. The uniforms were uniformly awful, but the beanie
added insult to injury. How I loved Jackie Kennedy for introducing the
mantilla!
Cinda on the Eastern Shore





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

Subject: QHL: Slaves at a quilting
From: Susan Seater <seatermindspring.com>
Date: Tue, 03 Feb 2009 21:42:13 -0500
X-Message-Number: 16

Historians are doing real research into conditions on plantations using
contemporary accounts. Here's an example I found about a "working
social" to quilt a quilt.

“Swing the Sickle for the Harvest Is Ripe: Gender and Slavery in
Antebellum Georgia” by Daina Ramey Berry, 2007, Univ IL Press. See
excerpts on Google books.

http://books.google.com/books?id=4VLQ5pbJ0lAC&printsec=frontcover&source=gbs_ViewAPI

Read in the introduction on page I about a quilting evening in the late
1840's on a Georgia plantation. The enslaved guests came knowing that
they, men and women, would work on the quilt and then eat "deliciously
prepared" chicken and ham, drink fine tea and coffee with pastries, and
dance. The visiting northern teacher wrote in her account that "the
women can hoe as well as the men and the men can sew as well as the
women..."

Susan Seater in Raleigh NC
----------------------------------------------------------------------

Subject: Re: QHL: Slaves at a quilting
From: Gaye Ingram <gingramsuddenlink.net>
Date: Wed, 4 Feb 2009 1:06:01 -0600
X-Message-Number: 1

Re=20
> =E2=80=9CSwing the Sickle for the Harvest Is Ripe: Gender and Slavery in=
=20
> Antebellum Georgia=E2=80=9D by Daina Ramey Berry, 2007, Univ IL Press. S=
ee=20
> excerpts on Google books.
http://books.google.com/books?id=3D4VLQ5pbJ0lAC&printsec=3Dfrontcover&sour=
ce=3Dgbs_ViewAPI

Susan, thanks for calling this piece to our attention.=20

A lot is being done now on the difference on the lowland plantations, usual=
ly large with many slaves, and those in the upland South. The differences a=
re often great, especially in diversity of work and gendered tasks.

I note that Berry uses the term "bondsman," rather than "slave." I rather f=
avor this term, which is being used more, because I think it makes open dis=
cussion simpler and perhaps is less likely to result in hurt feelings, espe=
cially among younger people. Of course, it has the concomitant danger of ob=
scuring the terribleness of the "special arrangement."

I am amused that she devotes an entire page to trying to determine if a per=
son who boasted that as a child, he had been a "pet" of the plantation hous=
ehold considered the term one of derogation. Obviously not if he were "boas=
ting" of it. And obviously it was cross-racial. A search of specialized dic=
tionaries would have saved what is a wasted page. Probably the mark of a th=
esis turned book. One reviewer recommends it for "undergraduates."

I did not find the detailed treatment of slaves whose skills permitted them=
to work for wages on smaller establishments. This practice was commonplace=
among upland, "sufficiency" farmers, and the exchanges occurred both betwe=
en families of the same economic level and between the very wealthy large p=
lantation owners and small farmers. Sometimes services were bartered for go=
ods.

Holidays that inclued quiltings were routine among slaves on most large pla=
ntations in the South. They often occurred after the crops were laid by and=
cotton picked, cane or rice harvested. Sometimes they were accompanied by =
hog-killings and a feast on the product of that. Depending on the season an=
d the section, barbecue was the main food event. They are mentioned in the =
slave narratives (used by Berry) and in numerous letters and diaries and pl=
antation record books. MESDA once had two paintings depicting such events. =
The Fourth of July was also a time these sometimes occurred. They were rar=
e holiday "frolicks."=20

However, some records do show quilt making being done individually, usually=
by enslaved women too old to work in the fields or during the long winter =
nights.=20

On large plantations there simply was a lot of sewing that had to be done t=
o keep everybody in clothes. They were like factories.

Rarely, however, are patterns mentioned in the records I've seen. Just the =
generic term "quilt." Given the time in which each quilt must be completed =
and the hands available to work on them, I've always suspected these were g=
enerally solid tops and backs or the remains of the "Negro cloth" distribut=
ed for clothing.

These were times when kegs of whiskey were sometimes brought out and fiddli=
ng and dancing took place. Some records from Louisiana sugar cane plantatio=
ns suggest the dances were variants of the Scottishe or the Irish jigs. Fol=
k paintings in the Ogden Collection (N.O.) and MESDA also suggest that. It =
will be interesting to see if new sources of information are turned up as m=
ore and more women mine university archives. As anyone who has worked in th=
ese knows, many remain unorganized and unindexed.=20

The unfortunate thing is that the descriptions are likely to be life as vie=
wed from what is called called an "elite" point of view (the chapters avail=
able in this book rely heavily on Fanny Kemble, for instance), since many o=
f the small independent farmers either could not write, could not write wel=
l, or were too busy struggling with constant pioneering and moving to leav=
e such records. Those are the voices--black and white---we have to seek in =
church records and legal proceedings or indirectly rn the letters of elite =
in the neighborhood. They are still to be heard en masse, but they account =
for the larger population of the South.

Thanks again Susan for calling attention to this book. The University of Il=
linois is publishing some fine things in this line.=20

Gaye


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

Subject: Massachusetts book
From: "Lucinda Cawley" <lrcawleycomcast.net>
Date: Wed, 4 Feb 2009 13:17:56 -0500
X-Message-Number: 2

My copy of "Massachusetts Quilts: Our Common Wealth" arrived yesterday.
It's beautiful! I haven't had time to do anything other than look at the
pictures so far. The photography is excellent. Wait until you see how well
they did the wholecloth quilts. Congratulations to editor Lynne Bassett and
the other contributors: Dawn Adiletta, Marjorie Childers, Helen Ewer, Anita
Loscalzo, Marla Miller, Aimee Newell, Pamela Parmal, Paula Richter, Vivien
Sayre and Laren Whitley.
Cinda on the Eastern Shore



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

Subject: Re: Hats
From: Gaye Ingram <gingramsuddenlink.net>
Date: Wed, 4 Feb 2009 12:34:57 -0600
X-Message-Number: 3

Cinda wrote,

The uniforms were uniformly awful, but the beanie
> added insult to injury. How I loved Jackie Kennedy for introducing the
> mantilla!
-----------

And Cinda, don't forget Deborah Kerr in "An Affair to Remember"! When she and Cary Grant visited his grandmother, the grandmere presented Kerr with a smashingly beautiful mantilla from her wardrobe---black Alencon lace (not the stuff of U.S. lingerie counters!!!) It was a clue to all of us aspiring Deborah Kerrs who were looking for our own Cary Grants that the match would be made. Like the mantilla Jackie Kennedy wore, close-up photographs showed that piece to be finely made. The drape was something to behold. Of course, a dusty window curtain would have looked good on Jackie Kennedy. What a model of quiet taste she was. I think her active interest in restoring the White House to its historic beauty created an interest in the preservation of all things Americana long before the Bi-Centennial.

I was not RC, and I think I assumed Catholic schoolgirls had one of those peasant scarves at the ready in their desks for the times when they entered church for masses. Certainly not beanies! No wonder so many folks hated Catholic schools.

Back in 1430, when I was a freshman at a state university, freshman initiations were still held. Part of the freshman women's ritualized humiliation was wearing that most dreadful of hats, the green beanie. We had to wear it at all times from 8 AM till dorm Lights Out. A single failure to comply brought an automatic Saturday-night "campus." Of course, those felt babies puckered up and shrunk in odd ways in rain and weather, and there was just no disguising or redeeming them. How we hated the junior and senior leaders of the Associated Women Student board, the sources of our ignominy. There we were, studying Tolstoy and Aristotle and invertebrates---in our green beanies. Definitely not sophisticated, and we wanted sophisticated.

At our college, the custom was that freshman women might remove the things if the school's football team won a late-October football game with its traditional rival. In our freshman year, they won the game. I guess "the times they were achanging," because our class's supposed rebelliousness and cheekiness struck the Powers-that-Were as particularly noteworthy and disrespectful. So when we gathered for the long-anticipated post-game meeting, planning to toss our beanies into the air and become free human beings again, we were instead told the multitude and magnitude of our bad attitudes ware such that we would not be permitted to remove them, victory or no victory.

That is when we got seriously disrespectful, refusing to step aside for upperclass women on sidewalks and devising clever and terrible---and utterly untraceable---limericks about AWS board members. Thanksgiving holiday came and went, and we wore our beanies still. By then, we were resigned to wearing them all year, and our attitudes were really bad. Corporate wrath.

It was custom that our tormentors throw a Christmas party for freshmen women in an old gym located behind the freshmen women's dormitories. A bonding time. A kiss-and-make-up moment. There were skits and such, meant to be humorous, but we maintained a blank-eyed cynical affect. Finally, in what they regarded as a post-dream Scrooge gift, those wretched women told us we could remove our beanies. We sat there, beanies on our heads, refusing to rejoice at something that was far too late in coming and refusing to remove our green stars of David.

Thus, we got another lecture on manners and gratitude and our bad attitudes, and we were dismissed by an irate Dean of Women, who said she despaired of our ever appreciating the sacredness of the university's traditions. Nevertheless, it was Christmas and they were already prepared, so each of us received a paper basket filled with fruit as we departed the gym, fruit that included spoiled oranges, wouldnt you just know. We repaired to our separate rooms, turned off our lights, and as the AWS board members passed beneath our windows, they encountered a torrential shower of spoiled oranges and green apples and peppermints. The gesture was not organized, had not been planned, but sprang full-blown in our individual beanied heads. Divinely inspired by the God of the Old Testament as retribution for those who had tortured his children----that was our interpretation, anyway.

I'm sure inquiries were made, but they came to naught. By that time, even the Baptist Student Union girls had become part of the solid wall of resistance. The next day we wore our beanies as if nothing had happened. We wore them as we left campus for the long Christmas holiday. They were ugly as sin by then and shriveled into mere shadows of the things with which we had been crowned in late September, but they proved beyond a shadow of a doubt that we, not our captors, had overcome.

In the end, our class taught the university what President Truman and Generals MacArthur and Bradley and Marshall had already taught the nation after WW II----that real victories include magnanimity and rehabilitation. No doubt schools in other sections of the country had already learned that. Cinda, I cannot imagine God was terribly pleased at the sight of sweet little Catholic girls in beanies. Now Alencon-lace mantillas.........

gaye


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

Subject: Re: Hats NQR
From: Mary Persyn <mary.persynvalpo.edu>
Date: Wed, 04 Feb 2009 13:09:55 -0600
X-Message-Number: 4

Cinda wrote,
> The uniforms were uniformly awful, but the beanie
>
>> added insult to injury. How I loved Jackie Kennedy for introducing the
>> mantilla!
Oh, yes, thank heavens for the mantilla. We didn't have beanies with
our uniforms, but for a short period of time we had tams, really ugly tams.

Mary

----------


--
Mary G. Persyn mary.persynvalpo.edu
Associate Dean for Library Services
School of Law Library
Valparaiso University
656 S. Greenwich St.
Valparaiso, IN 46383
219-465-7830 FAX 219-465-7917



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

Subject: Three quilts for sale
From: "Stephanie Whitson" <stephaniestephaniewhitson.com>
Date: Wed, 4 Feb 2009 14:35:20 -0600
X-Message-Number: 5

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Three quilts in my private collection need to find new homes. One =
pink/brown album quilt with signatures, one pink/brown double irish =
chain with a terrific madder print on the back, one Victorian era made =
from a salesman's sample book from Eddystone Mfg. Co.(Can tell anyone =
interested how *know that). I'm posting here because the album quilt and =
the Eddystone one would make great research projects. That's why I've =
kept them all these years, but life is short and I'm getting too old. =
Time to downsize.

Contact me for photos/details if interested.
They'll also be on ebay in the next few days but I don't know how to =
post links.

Stephanie Higgins
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Subject: Massachusetts Quilts: Our Common Wealth
From: Patricia Cummings <quiltersmusegmail.com>
Date: Wed, 4 Feb 2009 16:07:14 -0500
X-Message-Number: 6

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Massachusetts Quilts: Our Common Wealth is a new book that is, to my
thinking, the best state documentation book ever published! Although it has
just arrived, and I have not had time to fully digest its contents, I am
impressed by the quality of content and photos. I like the play on words, in
the title. As many of you may NOT know, Massachusetts is often referred to
as the "Commonwealth" of Massachusetts. The quilts, however, are our "common
wealth," especially now that they are shared.

Lynne Zacek Bassett's scholarship will not disappoint you, nor will her
fantastic rendering of line drawings to represent the designs in whole cloth
quilts, of which the state seems to have many. I know that I enjoyed seeing
the exhibit that features some of them at Historic Deerfield, Inc. (museum),
a few years ago.

The inclusion of the photos of quilters always help to make their work seem
even more real. I could go on, more, but I was so happy, I have even written
a blog entry about the book already. I can't wait to sit down and read every
word. Speaking of words, there is only one mistake that I have spotted so
far, and that is the spelling of the last name of my good friend: Sandra
Munsey of Cape Cod. The book has it as "Muncey." These things happen, but I
know that Sandra had a lot of input into the early years of state
documentation for Massachusetts, and I ALWAYS believe in giving credit where
credit is due.

Congratulations to all who worked on this fabulous compilation of materials.

--
Patricia Lynne Grace Cummings
http://www.quiltersmuse.com
http://quiltersmuse.com/blog/

--00221532cf340ca83304621e2ce6--


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Subject: melancholy evening, but comforting in some ways
From: "Linda Heminway" <ibquiltncomcast.net>
Date: Wed, 4 Feb 2009 21:09:05 -0500
X-Message-Number: 7

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Dear friends:

This afternoon I had the sad task of attending calling hours for a =
friend and quilter named Phyllis. She was not a well known quilter who =
is in magazines and had many quilts at local quilt shows. She was a =
woman who worked hard as a teacher and after retirement volunteered to =
make quilts with the group of women that I lead that make quilted =
sleeping bags for The Homeless. We also make comfort quilts for =
children with cancer. Phyllis came, sat quietly and worked with us. We =
actually knew little of her life as she was rather quiet.

But, we in her quilt group were shocked to hear of her passing. It was =
sudden (thankfully for her) and we didn't even know she'd been ill.

I arrived to greet her sister with a quilt over my arm. My group, =
coincidently, had our regular work session this morning and at that =
meeting we agreed that one of our comfort quilts would be given to =
Phyllis's sister in recognition of the hours her sister volunteered and =
worked to help the needy. We felt that having a quilt from the group =
that her sister worked with would be comforting to this woman's sister. =
I think it was a nice touch and I am so glad we brought it.

We knew from the death notice in the paper that Phyllis worked for about =
four other charitable quilt groups. So, she was giving and spent a =
great deal of time working with her needle skills to help others.
When I walked into the funeral home, there was another quilt there =
draped over a chair. It looked rather like an Irish Chain quilt with =
batiks and a lovely secondary pattern to it. I asked about the quilt, =
of course. Her sister informed us that the quilt was the last project =
Phyllis had done and it was a teaching project, teaching her daughter =
how to quilt. Phyllis had expressed a desire to see it done. The =
daughter finished it the night before her mom died and it had been laid =
on her death bed, even without it's binding done. I was struck by the =
quilt and it's meaning. I was also struck by the meaning of the quilt =
that I had carried with me to the calling hours to leave behind. So, in =
one small funeral home, there were two quilts there in tribute to this =
woman.

I am glad that, as a quilter, our mark remains after we are gone. We =
who love quilting and the history of it are often shown what may lie =
ahead for us after we leave this earth. Today, I was shown. One day, =
when I am gone, I hope that more than one quilt shows up that I have =
laid my hand on and that people have warm and comforting stories to tell =
of the work I did. What a fitting tribute it is to any quilter if =
people walk into their wake (or whatever is done for them) with a quilt, =
either one that is a gift or one that is there for showing and =
remembering and will go back home again with it's owner. My work, and =
yours, will live on when we are gone, one day. =20

I just felt compelled to write to you all this evening and share this =
story of a simple woman named Phyllis. She was a mom, a quilter, and a =
person who shared her talents to help others.

So, as we look back upon quilts of the past and see names on signature =
quilts made to aid needy and sold at church raffles, and see quilts like =
those, in particular, made for Soldiers who fought in our Civil War, we =
must reflect on the many quiet women, like dear Phyllis who made them. =
Their love and the meaning of what they did does not die with them, the =
quilts live on and it's up to us to tell their story.

Thanks for "listening". When you pick up a needle and work, next time, =
salute it in the air to Phyllis and a daughter whose name is Susan who =
hugs a quilt on a cold winter's night. She has this warm and comforting =
memory of her mom.
Linda Heminway
Plaistow NH
Leader of My Brother's Keeper Quilt Group with one less member that we =
had a week before.
------=_NextPart_000_0206_01C9870C.CFE1AA40--


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Subject: Re: melancholy evening, but comforting in some ways
From: "Stephanie Whitson" <stephaniestephaniewhitson.com>
Date: Wed, 4 Feb 2009 20:51:23 -0600
X-Message-Number: 8

Touching that you took time to share. It sounds to me like Phyllis was a
great woman in her own way--she served mankind. I can't think of a more
needed kind of greatness.

Stephanie Higgins



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Subject: Re: melancholy evening, but comforting in some ways
From: Gaye Ingram <gingramsuddenlink.net>
Date: Wed, 4 Feb 2009 20:54:03 -0600
X-Message-Number: 9

Linda, I think your thoughtful posting re Phyllis emphasizes the need to broaden our historical perspectives to include what many have avoided as more suited for poetry than history---the "Aunt Jane" aspect of quilts. To do otherwise, I think, is to denature them.

Whatever we invest in money in our quilts, we invest more of our personal selves. When one does needlework, she thinks---sometimes of the result, sometimes of what is going on around her, sometimes of those who will know her only through the piece at hand. Quiltmaking is a sensuous process that anchors all these thoughts in our being through color and smell and even sounds. All the events that occur during our work find their way into that quilt. I've often thought it is time quilt historians apologized to Aunt Jane of Kentucky. She wasn't a sentimental old lady. She was a realist.

In memory of Phyllis, your quilting friend, I send along a sonnet he wrote some years ago. I am also thinking too of Lynn Gorges and Lynn Bassett, who lost their mothers this past year. Hope I'm not overstepping the boundaries of the list. Apologies if I am.

Gaye Ingram


Perfection Wasted

And another regrettable thing about death
is the ceasing of your own brand of magic,
which took a whole life to develop and market -
the quips, the witticisms, the slant
adjusted to a few, those loved ones nearest
the lip of the stage, their soft faces blanched
in the footlight glow, their laughter close to tears,
their warm pooled breath in and out with your heartbeat,
their response and your performance twinned.
The jokes over the phone. The memories packed
in the rapid-access file. The whole act.
Who will do it again? That's it; no one;
imitators and descendants aren't the same.

"Perfection Wasted" is taken from John Updike's Collected Poems 1953-1993


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Subject: Re: melancholy evening, but comforting in some ways
From: "Shari Spires" <skspiresbellsouth.net>
Date: Wed, 4 Feb 2009 22:20:38 -0500
X-Message-Number: 10

Linda,
Your story embodies the reverence I feel for every old top that I find at
quilt shows and antique stores and garage sales. It is the story of women's
hands, their thoughts, their dreams and their love.
I love to finish an old quilts. Yes, I see you very smart and wise quilt
authories wincing, but I feel a connection in finishing and using or
displaying these works started so optimistically by other women.
I hope someone will finish my 75 UFO's one day. LOL
Anyway, thanks for sharing your experience.
Shari in NC



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Subject: Re: melancholy evening, but comforting in some ways
From: mendofleuraol.com
Date: Wed, 04 Feb 2009 22:52:28 -0500
X-Message-Number: 11


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Linda,
I enjoyed your sharing this with qhl.? I love hearing or reading stories that have this kind of connection.? So often in our lives we hurry and miss the value of these "quiet" people.? I am sure there are other stories similar to this, but more often than not, we will not be given the chance to hear or listen. ? With your story we can all feel some comfort and joy in knowing Phyllis lived her life with such quiet dedication.? Thank you.


Phyllis


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Subject: RE: melancholy evening, but comforting in some ways
From: "Sharron" <quiltnsharroncharter.net>
Date: Wed, 4 Feb 2009 22:12:12 -0600
X-Message-Number: 12

Thank you for sharing your thoughts. Quilters are such special people.

Best regards,
Sharron......................
........Spring, TX..........



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Subject: Re: Massachusetts Quilts: Our Common Wealth
From: "Lynne Z. Bassett" <lzbassettcomcast.net>
Date: Wed, 4 Feb 2009 23:44:18 -0500
X-Message-Number: 13

Argh!! My sincere apologies to Sandra Munsey for misspelling her last name
in the acknowledgements! I know how she must feel--my name is misspelled
more often than not.

But thank you, Patricia and Cinda, for your lovely comments on the
MassQuilts book so far. David Stansbury of Springfield, Mass. was our
photographer, and he was a joy to work with. He has a wonderful
understanding of how best to light a quilt to bring out the stitching.

I am so proud of all the authors who worked (and worked very hard) on the
book. They were also a joy to work with--and I would do it again in a
heartbeat (NOT something I say for every project I undertake, believe me).

I am also very grateful to the University Press of New England, which did
not cut a single word from the manuscript and gave us more pages and more
photographs than the contract allowed for.

And I also have to state our deep appreciation to the Coby Foundation of New
York, which funded the book with a very generous grant.

I hope the book is as satisfying for you to read as it is to savor the
photographs!

All best,
Lynne