Subject: Folk Art Basket Quilt Stamp 1978
From: Karan Flanscha <sadierosecfu.net>

Starting with a note in Quilter's Newsletter Magazine, Jan. 1975 Issue 63
pg. 4:
"Wynona D. Lurie, quilt lover from Nashville and a QN reader, recently sent
the
Postmaster General a letter. She wrote "The 1970s are witnessing an
enormous
revival of interest in the age-old craft of patchwork and quilting. I would
like to see
a U.S. postage stamp commemorating the hard, tedious work and patience that
we women have put into making quilts down through the years." She received
this reply. "...the Citizen's Stamp Advisory Committee makes the
recommendations
as to the persons and events to be honored, based on national interest,
historic
perspective and other criteria. This Committee includes historians,
artists,
businessmen, stamp collectors and others who are keenly interested in
American
history and culture. This subject (the issuance of a stamp to honor Quilts )
will be
considered at a future meeting of the Committee..." Mrs. Lurie suggests
that if
other QN readers add their letters to hers, there might be a stronger
possibility
that a quilt stamp would be issued. The American patchwork quilt should be
eligible for it has played an important part in both the history and culture
of this
country. If you are interested in the idea of a quilt stamp, write to
Gordon C.
Morison, Director, Office of Stamps, United States Postal Service,
Administration
Group, Washington, D.C. 20260."

Quilter's Newsletter Magazine February 1978 Issue 99 pg. 2. from "The
Needle's
Eye" column: "Remember our comments several issues back about the merits
of the Postal Service issuing a commemorative quilt stamp? It is finally
being
done, with February being the release date. A block of four square stamps,
48
per pane, will feature American quilt designs. The Post Office says, "When
the
block of four is rotated 45 degrees, a near-diamond shape is achieved for
individual stamps." No photos were available as this issue went to press,
but
watch for more information-- or ask you local post office about the stamp's
availability." (Bonnie Leman)

Quilter's Newsletter Magazine March 1978 Issue 100 pg. 3, from "What's Ne w
and News in Quilting" column:
"Charleston, West Virginia... The U.S. Postal Service is issuing a
commemorative
13=A2 quilt stamp with first day cancellations in Charleston on March 8.
Thereafter
the stamp will be available at all post offices. Artist Christopher Pullma n
of
Boston, MA executed the stamp's design from a Basket Quilt, circa 1875,
owned
by America Hurrah, New York City. The design is presented in block of four
stamps, as shown in the photo left. If you wish to order first day
cancellations,
ask your local postmaster the procedure. Orders must be postmarked no late r
than Mar. 23." (black and white photo of 4 stamp/baskets shown).

Quilter's Newsletter Magazine May 1978 Issue 102 pg. 5. from "What's New
and News in Quilting" column:
"Charleston, West Virginia... Holice Turnbow, quilt maker and teacher from
Shepherdstown, WV, was asked by the Postal Service to act as consultant to
the Department of Culture and History of the State of West Virginia to make
ready for Quilt Stamp Day, March 8, 1978, He, along with Christopher
Pullman,
Gov. John D. Rockefeller IV and Senator Jennings Randolph, was an honored
guest at the opening ceremony. Mr. Turnbow's report of the event follows:
"What began several weeks ago as a telephone call from the U.S. Postal
Service ended on March 8 with applause, signing of autographs, and lunch
with
the First Lady of West Virginia. What happened in between could be
described
as the 'biggest thing to happen to quilting since the Bicentennial-- the
issuance
of a stamp to honor quiltmaking".
"Quilts with basket designs and postage stamp types were exhibited
throughout
the Cultural Center in Charleston. Fifty-seven quilts were on exhibit from
the Great
Hall to the Museum. Three quilts have prominent spots in the Center: Baske t
Quilt from America Hurrah Antiques in NYC from which artist Pullman designe d
the stamp, a quilt designed and made by Cabin Creek of the New River Gorge
and Bridge done in one-inch squares, and the Rockefeller Quilt in reverse
applique made by Mountain Artisans."
"For sale in the Craft Shop of the Center were a framed, quilted block of
the
stamp quilt design, note cards of the block design, and stained glass
hangings
and casheted envelopes."
"Forty-six quilters demonstrated the art of quilting, and two panels of
samples
of quilting were made to add to the educational aspect of the exhibit. One
panel
shows the steps required in quiltmaking, the other shows types of quilting. "
"Twenty-one counties were represented, and 4100 people attended the day's
activities. The quilt which inspired the design is being shown by Mrs.
Rockefeller in the photograph." (black and white photo shown).
"The exhibit will remain on view until June 1, 1978."

Quilter's Newsletter Magazine January 1979 issue 108, ran a color photo o f
the inspiration quilt on the front cover. From page 2 "On the Cover:
Basket
Quilt, circa 1875, America Hurrah Antiques, New York City, courtesy Joel
Kopp.
This is the quilt which was the prototype for the American Folk Art Stamp
postage stamp honoring American quiltmakers. See an article about the
stamp's designer on p. 20- 21 and the pattern for the block on p.18."


I had been meaning to put this info together, as I found the matted fou r
13=A2 Folk Art USA: Quilts stamps... which had been hiding in my downsta irs
sewing storage room for years! I had saved 3 fabrics that were pretty
close
matches to the basket fabrics on the stamps. Now I need to see if I can
condense this info to fit on the back of the matt board (7" x 7")!

Karan from NE Iowa

---

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

Subject: re Pottery Barn and AFAM
From: Laura Fisher <laurafisherquiltsyahoo.com>


Hi all - I believe that the American Folk Art Museum gets a (small) royalty from the sale of the quilts modeled on their collection, the quilts are n ot necessarily line for line copies as were the Smithsonian quilts.

AFAM did collections with QVC also; I don't know if that relationship still exists, but that's how it works...a royalty basis for using the imprimatur of the museum (otherwise the Museum would have to pay for and store all th e items to be sold; royalty means the company manufactures and handles all aspects of production and distribution, and pays the Museum to use their na me, and presumably their design input.

Winterthur does a collection on QVC too, inspired by quilts and objects in their collections.
I sold Marseilles to a company that copied them, and we did hang tags expla ining their historic provenance to increase their allure.

On air QVC would have a segment devoted to Folk Art Museum quilts eve ry so often, hosted with a museum person like Liz Warren, and I was told th ey would be able to sell a million dollars worth of product in a 24 hour pe riod! Country Living Magazine does this too

This is the new reality....new products are labelled antique without regard to the actual meaning of the word. It's rampant.

I remember when I first learned quilts were sold on QVC- I was channel s urfing and saw they had quilts! and my heart sank when I heard the astonish ingly low prices, and sank even further when I heard the QVC host speaking words that sounded incredibly familiar--because they were lifted from my in troductory chapter in America's Glorious Quilts, and QVC was waxing eloquen t with them (without attribution I might add!) to tout those Chinese made c heap imports.

But, I understand why it is so appealing to have royalties from products ba sed on one's collection, it sure helps raise revenue, and in this case atte ntion to the Museum as well.

I now make room size hooked rugs on a custom order basis, that emulate anti que designs I have or have sold. I had been working with QVC to do a mass m arket line, but so far, it has not come to fruition as the economy has chan ged. QVC dropped many of its quilt lines, so I wonder if that explains why the Museum is working with Pottery Barn now. Personally, I would love to se ll thousands of rugs of attractive historic American and Canadian design (t hough made in India, yeah, I know) without having to lift and roll and drag and show them in a shop, and every quarter have a nice royalty check to co mpensate for the years of back breaking work finding and selling them! I ha ven't given up the thought, if anyone knows anyone at Home Shopping Network or SHop NBC, do let me know!!!

Laura Fisher at
FISHER HERITAGE
305 East 61st Street,5th floor
New York, NY 10065

212/838-2596
www.laurafisherquilts.com

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

Subject: Really No One Knows?
From: "Karen Musgrave" <KarenMusgravesbcglobal.net>
Date: Tue, 28 Sep 2010 22:13:48 -0500
X-Message-Number: 4

I am truly surprised that no one has studied early photo transfer. Is this
really true? Of so, why is no one interested? I've been contacted by
numerous people who say that they have asked the same questions I have and
not one person has answered. Is this truly an unexplored area?

Thanks,
Karen


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

Subject: photos and old quilts
From: Laura Fisher <laurafisherquiltsyahoo.com>


Hi - I don't know about contemporary photo transfer (however that is done) but I do know that photo printing on fabric dates into the 19th century, wh en people were experimenting with printing on various surfaces, including m ilk glass, silk, cotton. I have seen photo prints as either cyanotypes-- re cognizable by its blue tone, similar to a blueprint -- or in sepia (in phot o portrait handkerchiefs). Google cyanotype for facts about the process.

I always like to buy interesting ones to sell. My most spectacular was the full size quilt pieced with Nantucket, Massachusetts cyanotype kerchiefs , each one depicting a different historical aspect or landmark on the islan d, all still recognizable today. When I found it and tried to acquire info on it, no one at the historical associations there could find info about wh ether a commercial photographer might have made them to sell as souvenirs, perhaps it was someone not located on island. (I think the quilt is in a 19 80s quilt engagement calendar).

Mostly 19th c photos on fabric are made up as smaller pieces for pillow fro nts or to frame. I have had many snapshot type groupings joined or else pri nted together in a large square 20" or more in size, combining several imag es--for example, town buildings in Biddeford, Maine; snaps of an Edwardian biking journey through New England woodland pathways, long skirts, boater h ats and everything, and even some 20th c souvenir pillow covers from touris t places like Washington D.C.

Also there are great 1940s - 50s photo prints on rayon--I cherish my long s carves with NYC landmarks, and my cowboy western scenes rayon 1940s shirt, mmm, mmm, mmm. So, what went around comes around again, or something like t hat.

Have fun searching for this stuff, it is becoming much scarcer and costlier . I have to confess I just framed and took home a cyanotype grouping of Edw ardian circus ladies in classic regalia-.teeny black boots, big white stock inged calves and elaborate costumes, fun to look at, given how I like to co llect vernacular photography..

Laura Fisher at
FISHER HERITAGE
305 East 61st Street,5th floor
New York, NY 10065

212/838-2596
www.laurafisherquilts.com

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

Subject: Postage Stamp
From: Edwaquiltaol.com


Karen reported very well about the stamp. I had forgotten that much had
been written about the issuance of the stamp. I will reread and perhaps add
a bit of trivia related to the event that was not reported.

Holice Turnbow


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

Subject: Quilt Index gets $100,000 grant to study going global
From: MegMaxCaol.com

Dear QHL List:


The Quilt Index received a major grant to fund a plan to add quilts from outside the U.S. to its online archive. The grant of about $100,000 comes from the Institute of Museum and Library Sciences (IMLS), the primary source of federal support for American libraries and museum.
The current archive of 50,000-plus quilts on the much-lauded site come entirely from domestic sources, mostly museums and state documentation projects. On the Index, the fully documented quilts are easy to view, study and compare, and have been studied by a diverse audience that includes historians, curators, journalists, collectors, appraisers, quiltmakers and others.
The Index is operated in partnership by the Alliance for American Quilts, Michigan State University Museum and MATRIX: The Center for Humane Arts, Letters and Social Sciences Online, a digital research center also based at MSU. All three partners work to preserve and share the stories of quilts and their makers using the latest high-tech tools. For this project to internationalize the Index, they are joined by a fourth partner, the International Quilt Study Center at University of Nebraska-Lincoln.
Considering the global nature of quilting today, this is an exciting project, one that will allow those interested in quilt history to study quilts across cultures and nations, as well as comparing vintage and modern quilts.
The one-year planning grant will allow the partners to study the challenges of making the Index truly international, including the language translation issues. The IMLS believes this important project will help other institutions, including museums, who wish to work with international partners.
This partners on the Index project are now creating an advisory board of 12 representatives knowledgeable about quilt collections in Australia, Canada, China, France, Germany, Ireland, Italy, Japan, the Netherlands, New Zealand, South Africa and the United Kingdom.
Among those countries expected to add quilts to the Index as early as this year are South Africa and Canada.
To read the full press release, go to www.AllianceForAmericanQuilts.org.
gratefully, Meg Cox, president, Alliance for American Quilts


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

Subject: Re: Really No One Knows?
From: pollymellocomcast.net

Karen,

I have a photo transfer piece that has the date 1886. It looks like a small table cover.

To do this study you would need to study early photography and film develop ing. Maybe the person with the combined interests has not surfaced, Maybe i f you looked at the history of photography you might find that someone has looked into this process and it's history from that angle.

Polly Mello

Drippy in Maryland

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

Subject: TLC needed in Denver
From: "Kim Baird" <kbairdcableone.net>

Hello, list.



I'm looking for someone in the Denver area who might want to work on a blue
and white quilt from the 1880's.



The owner would like to put the quilt on a bed. The fabrics are worn thin,
cracked in quite a few places, and the binding is gone from some of the
edges.



It doesn't need a few spots "repaired," it needs some stabilization and
perhaps an added binding. She is willing to put some money into the quilt.



Feel free to reply directly to me.

Kim Baird


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

Subject: Re: Really No One Knows?
From: "Candace Perry" <candaceschwenkfelder.com>
Date: Wed, 29 Sep 2010 14:31:18 -0400
X-Message-Number: 6

Yes -- Polly has an excellent point. Technologically this was not possible
until after 1850 -- and it may be slightly later than that. Think of, for
example, the little souvenir photographs called carte de visites that were
made by the 1000s during the Civil War era. That same kind of technology
was required for photographs to be made on fabric...meaning you had to have
a negative that could be used to make multiple prints.
There's several good history of photography websites, and though they won't
cover what you're looking for specifically, you will be able to draw some
conclusions by studying the history.
Candace Perry


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

Subject: Pennsylvania Photographs
From: Mary Persyn <mary.persynvalpo.edu>
Date: Wed, 29 Sep 2010 13:33:47 -0500
X-Message-Number: 7

Possibly of interest since we've been talking about photographs on
fabrics. I don't know what is in the collections other than the
information given here.

Mary

http://groups.yahoo.com/group/Net-Gold/message/33903


--
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: Is this a quilt that appeared in Lady's Circle Patchwork quilts?
From: Karen Alexander <karenquiltrockisland.com>
Date: Wed, 29 Sep 2010 12:18:16 -0700
X-Message-Number: 8

Didn't a quilt from this pattern appear on a cover of Lady's Circle
Patchwork Quilts in the 1980s?

http://tinyurl.com/2dt39zn

Karen in the Islands

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

Subject: Re: qhl digest: September 29, 2010
From: LinusDonnaaol.com

Subject: photos and old quilts

I studied the history of photography when I was at Temple University, a
long time ago. I was surprised to find the subject fascinating, considering
how scientific these methods are, and how scientifically minded I am NOT.

I vaguely recall some early images done first on paper and then on fabric
by Bayard, called direct positives. I believe he used some sort of bleach.
His work predated 1849, as did Daguerre's.

The most skilled and erudite people that I know on this subject-- who know
the most about 19th century photographic processing and actually use these
processes in their work--are Mark Osterman and France Scully Osterman.
Last I heard, Mark was teaching at the George Eastman Institute in Rochester
NY. They have a website >
_Scully & Osterman collodion.org Main Page_ (http://www.collodion.org/)

This is an interesting area of research. Bright blessings!
~Donna Laing

_www.northstarqualityquilting.com_
(http://www.northstarqualityquilting.com)


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

Subject: Betsy Ross exhibit at Winterthur
From: "Candace Perry" <candaceschwenkfelder.com>
Date: Thu, 30 Sep 2010 11:29:51 -0400

www.winterthur.org <http://www.winterthur.org/>



A must see - if you can make it to the east this fall put this on your list
- Linda Eaton and her wonderful team put together a fascinating look at the
woman and myth, Betsy Ross. It's a terrific blend of superb scholarship,
pop culture, and TEXTILES! There are only three quilts but two are killer.
There are of course many wonderful flags, and the exhibit text is extremely
well written and accessible. I would encourage people to take their kids
and grandkids - even though it's not a "kid" exhibit, it covers an essential
aspect of American history that we all know; I expect even kids today have
heard of Betsy Ross and the exhibit will promote a great dialogue with them.

Can't say enough. I was really impressed and I fear I'm a jaded old museum
person.

Candace Perry


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

Subject: Folk Art Basket Quilt Stamp 1978
From: ikwlt <ikwltyahoo.com>
Date: Thu, 30 Sep 2010 09:41:07 -0700 (PDT)
X-Message-Number: 3

> Subject: Folk Art Basket Quilt Stamp 1978> From: Karan Flanscha <sadie rosecfu.net>> Starting with a note in Quilter's Newsletter Magazine, Ja n.> 1975 Issue 63 pg. 4: "Wynona D. Lurie, quilt lover from Nashville and a QN reader, recently sent the> Postmaster General a letter...<S NIP>  > Now I need to see if I can> condense this info to fit on t he back of the matt board (7"> x 7")!> Karan from NE Iowakaran, this info is so great, thank you for sharing. i still have several of the se stamps left from a project i did for friends. i simply matted and frame d 4 stamps and gave them to quilting friends as a small gift. i bought the gees bend stamps when they came out to do the same thing, but never did ge t around to it. i'm going to copy your info and put them with the basket s tamps for future reference. i couldn't believe it was 1978! my how time f lies.patti


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

Subject: Award & Individual Artist Project Funding
From: Gwendolyn Magee <gmageemindspring.com>

Want to share that I am honored to be named the recipient of the 2011
Governor's Award for Artistic Excellence in the "Artistic Excellence"
category. More importantly, this is the first time the award has been made
to a textile artist. For more info:
http://www.arts.state.ms.us/special-projects/governors-awards.php

Additionally, I am pleased to announce that I have been selected to
participate in a new online community of America's artists
called Project Site ( http://projectsite.unitedstatesartists.org ), created
by United
States Artists to expand its mission of investing in America's finest
artists.

The exciting news is that I've been asked to join as a pioneer member!

Project Site is still in an Alpha stage in which a very few artists have
been selected to participate. My Profile and Showcase are already up, and
I've just launched a new project called Katrina Narratives: Caught Between a
Rock and a Hard Place in which I will be creating a series of greatly
oversized tunnel books using textiles as my primary medium.
My project page has just gone "live" and can be viewed here:
http://projectsite.unitedstatesartists.org/project/katrina_narratives_caught_between_a_rock_and_a_hard_place
It can also be accessed via Tiny URL: http://tinyurl.com/283gasu
There are perks available for anyone interested in supporting me in
this effort, but even if you can't, you can still follow its progress.
Please
help to spread the word about it.

The main Project Site is a community where you can discover new artists,
share their latest work,enter into a dialog with each other, as well as make

direct donations (of any size - all of which are tax deductible) to new
projects
created by each artist. This is the first website in our knowledge that
allows
direct public donations between art patrons and accredited artists on the
Internet.

Thank you so much for your continued interest in, dedication to and support
of textile art.
Gwen
http://gwenmagee.com

Project Site via Tiny URL: http://tinyurl.com/283gasu

--


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

Subject: block history
From: "Brenda & Roger Applegate" <rbappleg1comcast.net>
Date: Sun, 3 Oct 2010 20:06:49 -0400


Someone told me that a book on the history of blocks and their names has been printed lately. Does anyone know if this is true and what is the name of the book.

Brenda Applegate
----------------------------------------------------------------------

Subject: Pulleys for Hanging Quilts
From: Gail Hurn <gailhurnyahoo.com>

Does anyone know of a pulley system to hang quilts in a staircase??


Gail Hurn



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

Subject: Re: Pulleys for Hanging Quilts
From: "Christine Thresh" <christinewinnowing.com>
Date: Sun, 3 Oct 2010 21:56:51 -0700
X-Message-Number: 2

This Canadian quilter blogged about her quilt hanging high on a wall (I
think it was over a staircase). There are two blog posts about her project.
She used fishing line.

http://renskehelmuth.blogspot.com/2009/10/way-up-there.html

http://renskehelmuth.blogspot.com/2010/02/one-job-done.html

Christine Thresh
on an island in the California Delta
http://winnowings.blogspot.com <-- my blog
and
http://www.winnowing.com <-- website


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

Subject: Re: block history
From: "Marlene Royse" <marleneroysenc.rr.com>
Date: Sun, 3 Oct 2010 22:25:57 -0400
X-Message-Number: 3

Brenda,
Jinny Beyer has a fairly recent book called The Quilter's Album of
Patchwork Patterns. It is a beautiful book and it may be what you are
looking for.

Marlene Royse

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

Subject: book
From: "Brenda & Roger Applegate" <rbappleg1comcast.net>
 


I have access to Jinny Beyers book and that wasn't exactly what I had in mind. I wanted information about how blocks share names or how their names evolved. I am not sure that there is a book out there other than the children's book that I currently own.

Jinny's book is an excellent book - a book to drool over with all of the different ways that she has used fabric!

Brenda Applegate
----------------------------------------------------------------------

Subject: Re: book
From: "Marcia's Mail" <marciarkearthlink.net>
Date: Mon, 4 Oct 2010 10:38:48 -0500
X-Message-Number: 6

Brenda, I haven't seen one of those types of book yet, so I'm not sure it
exists, but I'd live to know if there is one out there. Marcia Kaylakie,
(not at AQSG but happily playing with first grandbaby here in Austin!!)



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

Subject: Re: book
From: "Stephanie Whitson" <stephaniestephaniewhitson.com>
Date: Mon, 4 Oct 2010 11:04:08 -0500
X-Message-Number: 7

My sense of things is that the history of block names and how they evolved
is something we all want and can't find in primary sources ... hard as we
try.

For example, I find a letter where a pioneer woman talks about making an
Ocean Waves quilt. The problem is, unless she drew the block she was talking
about, or unless there are pattern pieces in her papers that say, in her
hand-writing "Ocean Waves Quilt," we don't know if what she is talking about
is what I picture when I read those words.

Stephanie Whitson
www.stephaniegracewhitson.com
www.footnotesfromhistory.blogspot.com



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

Subject: Re: book
From: Mitzioakesaol.com


Just a bit of fun here - I have spent the summer at the Shelburne Museum
trying to explain to visitors that what we know as Bears Paw is named Ducks
Foot in the Mud on one of the quilts on display....Also had visitors ask if
the Museum had any Hitler quilts which I assumed was the block that looks
like the Swastika.
Mitzi from Vermont
----------------------------------------------------------------------

Subject: FW: Photo transfer
From: resmarcomcast.net
Subject: Photo transfer

As a collector of historic photographs before quilts grabbed me, I've had a
chance to do some photo transfers using 19th century methods. The basics
are quite simple. A base material--piece of cloth, leather, glass,
whatever-is coated with light sensitive chemicals, sandwiched together with
a negative, exposed to light (either natural or artificial) then fixed.
From around 1850 until 1900 negatives were glass, so the light exposure was
usually done in a glass frame that fit the negative. The resulting images
were usually sepia colored, but could be toned to look purplish or black.
As Laura mentioned, blueprint (cyanotype) images were a big fad in the later
19th century. They are produced with the same methods as sepia colored
images, just using a different chemical mix for the light sensitive coating.
Twentieth century negatives, produced on flexible film, made the transfer
process easier.
Debby Cooney



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

Subject: Re: book
From: barb.whiteheadroadrunner.com
Date: Mon, 4 Oct 2010 10:05:58 -0400
X-Message-Number: 10

Hi Try Barbara Brackman's new book "Encyclopedia of pieced quilt
patterns". She also has one for applique. I have not seen them but it may
be what you are looking for. Fairly reasonalbe on Amazon.com Barb
Whitehead in Maine
----------------------------------------------------------------------

Subject: Re: book
From: Kris Driessen <krisdriessenyahoo.com>
Date: Mon, 4 Oct 2010 11:27:58 -0700 (PDT)
X-Message-Number: 11

I bought a quilt top at an auction once, which had a piece of paper attached stating "Made this bow tie quilt during snowstorm Jan 23-24, 1898". (I am actually paraphrasing as I don't have the top in front of me.) I would take that to be direct evidence, although you could make the argument that the paper was added later to tell a family story.

Kris