May 21 – 26, 2000
These restored messages come from the Quilt History List, an online forum where quilt historians, collectors, researchers, appraisers, and enthusiasts discussed antique quilts and related textiles. The archive dates from 1996 through approximately 2016 and is being restored gradually. Sign up in the form at the bottom of the page if you want to know when a new page is added. Original spelling, opinions, formatting, and inactive links may remain unchanged.
Primary topics of this QHL Digest:
- Deaccessioning and Acquisition Terminology — A long-running debate over the correct museum terms for removing objects from (deaccessioning) versus adding objects to (accessioning) a permanent collection, sparked by a segment on Antiques Roadshow. (see the article on cotton and textile terms)
- Identifying a Stamped Redwork Fabric Mark — Members help identify a printed stamp on the muslin back of a 1913 Redwork quilt, tracing it to a fabric bolt-end marking convention. (see the article on redwork and outline embroidery)
- Small Museum Collection Practices — Continued discussion of how small, under-resourced museums handle donated quilts, storage, and collection stewardship. (see the article on quilt museums)
- Quilt Expo 2000 in Strasbourg — A member shares impressions of the quilts on display at Quilt Expo 2000 in France, prompting reactions about jurying standards for antique versus contemporary quilts.
- Welcoming New Subscribers — New members introduce themselves to the list and are welcomed by longtime subscribers.
Date: Sun, 21 May 2000 22:21:08 PDT | From: “Anne Copeland” <anneappraiser@>
Yes, you are right. When a museum gets an article donated into its collection, it is acquisitioned–a number or identifier is assigned to it. Unless an object is on loan to a museum, they can in fact, de-acquisition it, which happens more frequently than most people realize because a) it costs money to maintain a decent collection, something many museums are having difficulties with these days; b) it may not be in their area of focus; c) they may have more than enough items in their collection; d) they may not have adequate storage space or personnel to care for the items, which again harks back to a). They sell off or auction off the items they cannot use because it does in fact provide them with an income. However, people should not feel too disheartened about that, because the items end up in private collector’s collections or other museums with such a focus. The sad part is however, that you don’t know where they end up. But whether they are in the hands of a private collector or a different museum, they have a better chance of receiving the care they need.
All quilters and quilt historians should make the same kind of effort that was made for the original state projects, and learn what museums, historical societies (really at the bottom of the food chain money wise), and other such organizations exist in their areas, find out what they have and document what is had, and find out the kinds of things they need to help them with their quilts. Quilters, guilds, and other similar organizations could provide a lot of help for the museums. They have many needs, and it would be wonderful to help the quilt heritage they do hold to make it to the next century.
Cheers, Anne Copeland, AQS Certified Appraiser
Date: Mon, 22 May 2000 10:37:37 -0400 | From: Beth Donaldson <quilts@>
Beth,
I’m just curious how you are storing the quilts you’ve taken for the lady who doesn’t want to give them to a museum. Are you providing archival boxes, tissues, etc? What happens to the quilts when you pass away? Are they in your will? Will your children promise to carefully care for this other families utility quilts? Do you have any legal responsibility? Have you any plans to display them? How many quilts from other families can you accommodate safely? Are your windows, UV protected? Is your house humidity and temperature controlled? I admire your willingness to rescue these quilts, but just wonder how many you can rescue.
I’m a little worried about the way museum’s are being protrayed here. Rather that paint all museums with a bad reputation, remember there are some who take quilts very seriously. At the Michigan State University Museum we have over 500 quilts in our collection, we house the archives for the Michigan Quilt Project (state-wide quilt documentation), we write a quartely newsletter called Great Lakes Quilting, our Curator of Folkarts is Marsha MacDowell, president of the American Quilt Study Group and we just started the H-net Quilt digest for quilt research. There are other museums who love quilts and take good care of them, too.
So when you are looking for a home for your quilts, it doesn’t matter whether you sell them to a dealer, donate them to a museum or find an interested quilter; it comes to who you think you can trust to find the best home for them. It may be a museum, a family member, a close freind, a collector or a dealer. I think the best sign is the enthusiasm and the knowledge of the person you want to pass them on to.
Beth Donaldson
Quilt Collections Assistant
Michigan State University Museum
Date: Mon, 22 May 2000 11:59:08 EDT | From: Qltldy10@
Thought I’d send this to the list, as well as to Beth- Hope I can figure out how to do this. My fear is that it will show up on the list in Mime. If folks are interested, I think I can send the contract we used as an attachment to an e-mail. Be advised, though, that I can only figure out computer stuff to a certain extent, then I’m lost and frustrated… Beth in Maine
Date: Mon, 22 May 2000 18:53:38 EDT | From: QuiltFixer@
On the back of one of my 1913 Redwork Quilts is the stamp in very large letters in blue Finished soft for the needle. Have any of you found this on anything before? Any information. This quilt came from PA.
Toni Baumgard
QuiltFixer@
The Redwork Lady redworkldy@aol www.redworklady.com
Date: Mon, 22 May 2000 20:53:19 -0400 | From: Barb Garrett <bgarrett@>
Hi Toni –
I’ve seen that type of writing on the ends of vintage fabric bolts — I think it’s the equivalent of our markings on the selvage, except they tended to put more information — but still of an advertising nature — why someone should buy their fabric. I have some pieces of fabric with paper labels with similar sentiments. When documenting we often find those on the backs of quilts in my southeastern PA area. Found a nice one in York County — big and easy to see — but I don’t remember the exact writing. I think the thrifty quilters just didn’t want to waste any fabric, and it was on the back, which wouldn’t be seen, so why not use it. I’ve never seen one where they reversed the fabric, hoping to hid the imprint, or make it less bright, so my guess is it wasn’t a problem for them..
Barb in southeastern PA
<bgarrett@>
Date: Mon, 22 May 2000 19:34:39 PDT | From: “Anne Copeland” <anneappraiser@>
Dear Beth,
I think it is not to say that there are no dedicated quilt museums that are fully prepared to take care of your quilts, but as we both know, even those have their limits as to what they can and will accept into their collections. I don’t think this is negative–it is realistic. Even a museum with 500 quilts may find it hard to take another Grandma’s Flower Garden quilt that looks like every other Grandma’s Flower Garden quilt. I think the key is that people should do their research before they make a decision one way or another, and if they really think the quilt will remain on display in any museum forever, or for a long time, they need to be realistic and learn how museums really work. Although I do not work in a museum, I have a degree in Archaeology, and have curated exhibits in several museums, and also have performed appraisals in several museums, including a dedicated quilt museum (I am a certified quilt appraiser), so I have had an opportunity to see first-hand the very good side of museums and the not-so-good side. But it is really not the fault of the museums, and no one should ever believe that. You can’t operate effectively when you have no tools, and no money to buy tools, and no money for properly trained people to deal with the quilts and other artifacts. I am very glad that your museum has the money to operate effectively, and I know that indeed there are others.
I think overall this discussion has been very valuable because it has brought out once again the need for quilters, quilt historians, guilds and other quilting organizations to get involved with the museums. There is a need for education of the quilting public, and the need for interaction and involvement between museums, historical societies and other organizations that might house quilts and related materials.
Cheers, Anne Copeland
Date: Tue, 23 May 2000 01:55:01 EDT | From: Demsing@
Re the terms “de-accessioning” and “de-acquisitioning”. I just watched the Antiques Roadshow from Des Moines and an appraiser refered to “de-acquisitioning” regarding sales by museums and libraries of their donated/acquired items. So what is correct??
Lenna/AZ
Date: Tue, 23 May 2000 01:59:52 EDT | From: KennaleeM@
Interesting coincidence to the discussion Tonight on Antiques Roadshow one of the appraisers used that exact word speaking to a man who bought some wonderful pottery from a library that was remodeling. He paid $12 for 2 pots that were worth much, much more. (Of course, I forgot to tape it, so don’t remember the exact value.) Kennalee
Date: Tue, 23 May 2000 05:58:31 -0400 | From: “Judy Kelius (judysue)” <judy@>
I sold some yardage once that had that wording and emblem printed on it – it was really neat! I thought it would be a nice thing to frame all by itself.
Date: Tue, 23 May 2000 06:26:51 EDT | From: QuiltFixer@
In a message dated 5/22/00 7:01:53 PM Pacific Daylight Time, xecord@ writes
<< Hi, Toni – I have some examples of muslins with stamps like this on the remnants. Will try to check my stash and get back to you if no one else comes up with an ID.
Xenia >>
Thanks Xenia, if you have more information, that would be great and I will share with the list. The date 1913 is embroidered inside a center wreath and the quilt is not put together haphazardly as many were. Very planned, so I believe that the top was put together about that time. What would be interesting to know, is what the time period for the backing with such lettering is. With that information, I would have a clue as to when it was quilted. So far my research is indicating that most Redwork Quilts were quilted in the 1930’s, but perhaps this one was earlier. Thanks to all who have posted to say that they have seen this sort of thing.
Toni B.
QuiltFixer@
The Redwork Lady redworkldy@aol www.redworklady.com
Date: Tue, 23 May 2000 07:36:28 EDT | From: Chyral@
> Re the terms “de-accessioning”and “de-acquisitioning”. I just watched the Antiques Roadshow from Des Moines and an appraiser refered to “de-acquisitioning” regarding sales by museums and libraries of their donated/acquired items. So what is correct??
“De-accession” is correct.
Date: Tue, 23 May 2000 06:47:07 -0700 | From: Denise Clausen <nadyne@>
Thank you Anne for the remarks regarding museums. Funds, space, and staff time, are usually limited resources for a museum. Its great to hear about those who are volunteering their time in their local museums. There is an opportunity for northwest folks to help in a similar manner at the Latimer Quilt and Textile Center. We have a facility that exhibits old and new textiles and a climate controlled storage facility in which to store the collections. There are many jobs within the collections that we could use help with so give us a call if you are interested. 503-842-8622. or visit our web site at http://www.oregoncoast.com/latimertextile.
Denise Clausen
Director LQTC
Date: Tue, 23 May 2000 18:06:16 +0400 | From: Xenia Cord <xecord@>
Toni’s question about printing on the muslin back of her 1913 quilt sent me looking for an assortment of similar pieces of fabric in my stash. I found the following, which may not date her piece any more thoroughly, but which may be of interest
1. muslin marked “No 175, EXTRA QUALITY MUSLIN SOFT FINISH”in blue letters one inch high. The”No 175″ is in heavier print than the rest. At the edge of this piece is a squared octagon about 1.5″ x 2” with the words “Bleached & Finished by the Pacific Bleachery” (in all caps). In the center of this figure is a circle with Pacific in the center, and curved wedges coming off, like rays of a sun. It is 36″ wide. 2. An outrageously expensive piece of muslin with 2 lithographed labels; one is in red, blue, and gold and says “Woodbury Extra Fine Shirtings”, and the label design is very Egyptian looking. It is 7.5″x 9.5″. Along the bottom edge it says “Litho. Geo. Schleg—(torn paper) — 77 Duane St. New York.” The second label is 5.5″ x 7.5″ and shows a crowd of people in Victorian costume iceskating. There is a bridge and pavilions on either side of the pond, in the background. A vaguely Swedish flag is flying from one building, and also what looks like a red striped shirt.. These labels are pasted so they read from selvage (top) to selvage (bottom), 34″wide. Between them there is a blue imprinted phrase with embellishments and”Soft Finish.” At the lower selvage is a gryphon, printed in blue.
3. Coarse muslin, 36″wide, with a very large, dark blue and heavily printed (from selvage as above)”Pride of Dixie, LL , Sheeting.” There is a blue printed illustration above the wording showing 2 black children in shorts, shirts, and bare feet, leaning against a bale of cotton and supporting another upright between them. Lettered on the upright bale it says “Made in U.S. A.”
4. High grade muslin with a lithographed label in green, saying”36 inch, 100, An I.W.G.D.A .Product, 2189″and inkstamped on the label the words”ceiling price” and a line on which is written .23 (23 cents) in pencil. Above the label in blue ink it says “Fabrics of Quality,” and below the label, near the selvage, is a blue ink design that looks like a medal, and says “Sayles” in the center, and “finished by Biltmore Bleacheries, Inc.” around the edge.
Hope this may be useful to someone –
Xenia
Date: Tue, 23 May 2000 23:03:53 EDT | From: StanfieldA@
Museums most often use “acquisition” as a noun–referring to the object itself. You will often see exhibitions of “Recent Acquisitions.” We use”accession” as a verb referring to the act of taking in the object. So, as someone else already stated, “deaccession” is correct when referring to releasing the object. By the way, it is proper museum procedure to have all funds from deaccessioned objects go back into the collections fund (for future acquisitions and care of collections). It is unacceptable for funds to go to any other part of the budget (such as operations, programs, etc.).
Alyson B. Stanfield
Director of Education
Wichita Art Museum, Kansas
Date: Wed, 24 May 2000 08:32:51 +0200 | From: Ady Hirsch <adamroni@>
Hi, everyone
Here in Israel we have no textile museums, hence no quilt problem. However, archaeology we have plenty of. Excavations (official ones carried by the Antiquities Authority and various univrsities) come up with findin enormous quantities. While the “star” finds are prominently places in museums such as the National museum in Jerusalem, the remainder (mainly pottery finds – whole jars, pots etc.) are doomed to lie forgotten in some storage basement (naturally, having first been recorded for research purposes). I’ve always been of the (minority) opinion that having served their (scientific) purpose, these finds (and again, I stress, only the ordinary, plain vessels found by the hundreds in any dig) should be auctioned off to the highest bidder, and thus help replenish museums’ ever dwindling funds. I think the same holds true for textile museums – even though it sounds a little heartless, I see no harm in selling quilts of no particular distinction. My only caveat is, this practice should be made crystal clear to the donors, to prevent unpleasant surprises in future.
Ady
BTW, maybe I shouldn’t be saying this, but I’ve been to Quilt Expo 2000 in Strasbourg, and IMHO the only quilts worth looking at were the antique ones -the Amish quilts from the Esprit collection, Barbara Horvath’s fabulous collection and some gems in the vendors’ malls. Made me wonder what will people think of all the modern pieced-in-a-day quilted-in-three-days quilts a hundred years from now…
Date: Tue, 23 May 2000 22:13:27 -1000 | From: “Laurie Woodard” <lwoodard@>
Toni–It’s my understanding that the 1930s mark the end of the Redwork craze, having been replaced by polychrome embroidery. Brackman and others mention that new dye technologies developed in the mid-1920s, broadened the range of colorfast cotton dyes beyond Turkey red and indigo blue. There are exceptions, but as the new pastels of the 1920s and ’30s become the rage, redwork becomes a thing of the past. The dates usually given as marking the heyday for redwork are c. 1880-1920.
—
Laurie Woodard
Researcher
Hawaiian Quilt Research Project http://openstudio.hawaii.edu/hqrp/default.html
> So far my research is indicating that most Redwork Quilts were quilted in the 1930’s, but perhaps this one was earlier.
Date: Wed, 24 May 2000 06:59:39 EDT | From: QuiltFixer@
In a message dated 5/24/00 1:14:06 AM Pacific Daylight Time, lwoodard@ writes
<<
Toni–It’s my understanding that the 1930s mark the end of the Redwork craze, having been replaced by polychrome embroidery. Brackman and others mention that new dye technologies developed in the mid-1920s, broadened the range of colorfast cotton dyes beyond Turkey red and indigo blue. There are exceptions, but as the new pastels of the 1920s and ’30s become the rage, redwork becomes a thing of the past. The dates usually given as marking the heyday for redwork are c. 1880-1920. >>
While all the above agrees with my research, many Redwork spreads or coverlets were brought to the surface in the 30s and quilted and used. Perhaps because of the Depression and the need to “use up and make do.” My interest in this quilt is to determine, if possible, if this was the case with this quilt. If I could determine the date of the backing material with the stamp, it would help in my research. To restate, the question of age is not with the top, that has the date 1913, but rather is the stamp on the back in line with that date, or much later? I’ll keep looking for the answer and if I find it, I will share with the list. Thanks for your reply.
Toni Baumgard
The Redwork Lady redworkldy@aol www.redworklady.com
Date: Wed, 24 May 2000 06:56:22 -0700 | From: “mfm” <treetop@>
I too have heard the term “de-accession” and know first hand that museums do this. Our local historical society museum had a sale ~ I was able to purchase a sweet little side chair and a set of 12 oversized damask napkins. There was lots of stuff at this sale ~ nice furniture, wacky object d’art, and textiles. At that time, I figured the museum didn’t have storage for all this “extra.” They did raise $$$$ ~ for equipment? for a climate control system? for the purchase of an item that would round out their collection? for another year of rent? =20 Did any of you see the TV program last night “live from Egypt” and the opening of a tomb. I could only stand a total on about 10 min. because after a few minutes I felt like I was following grave poacher/robbers. Speaking to all you musuem folks on this list. Is it good archeology to have 8+ people running around a what~6,000 yr tomb~with bright lights & cables? Was our Dr.TourGuide for real? When the lid was off the sarcophagus this guy immediately digs into the sand to pick up the small “guarding” scluptures that have not been disturded for milleninum. I was appalled ~ no photographs are taken to document placement, no measurments. During another shot ~ they are at the mummys ~ someone actually lifts up a small mummy and whisks it away in his arms. I am beside myself with how unprofessional this is looking ~ no gloves, no documentation, just a lot of plundering. I couldn’t watch any more.
The event showed me bad science. =20 molly in oregon
Date: Wed, 24 May 2000 07:15:12 -0700 | From: “mfm” <treetop@>
Dear All,
I’m offering a link to Rabbit Goody’s textile history event that will happen in Cooperstown, NY on July 7th and 8th, 2000. It will prove to be a wonderful weekend of learning, chatting, seeing and doing. And ALL ABOUT TEXTILES. =20 http://www.rabbitgoody.com/Textile%20History%20Forum.htm so if your in the neighborhood ~=20 see you there, molly=20
Date: Wed, 24 May 2000 09:16:20 -0500 (Central Daylight Time) | From: Mary Persyn <Mary.Persyn@>
In libraries we used to stamp accession numbers in books and record the numbers(some libraries probably still do so). Anyway, when we withdrew a book, we were reversing the process so we were de-accessioning the item. The term has stayed around even if accession numbers haven’t. At my current library we tend to talk about withdrawing items rather than deaccessioning them.
A little piece of library lore that probably also applies to museums since they use accession numbers.
Mary (in her librarian’s hat)
Date: Wed, 24 May 2000 14:15:06 -0400 | From: Newbie Richardson <pastcrafts@>
Hi Guys,
Before we embark on whether deaccessioning a museum collection is good or bad, remember the context and climate in which so many of our museums were set up. Many of them were started as a result of the Colonial Revival movement and “antiquarians” back in the last quarter of the 19th c. There was a real dearth of information for curators to go by – which has since been alleviated. But they were accepting many items that they THOUGHT would be representative.
When a museum reasses its mission and the items that it has in inventory – with the help and guidance of its board of directors – it is usually a good thing. However, no institution can dispose of an item unless the terms of the donation allows for it to be sold/traded. I was just involved in a deed of gift to a major museum. The family wanted a guarrantee that if the museum no longer wanted the items then they would go back to the family. Well, no museum is the business of tracking down scattered heirs 75 to 150 years from now…! So we compromised and agreed that if they should want to to adeccession the donation then the museum would be responsible for finding another, suitable, museum to take the gift.
Also remember, it frequently makes sense to sell some stuff if the proceeds will benefit the museum or/and the items are now so valuable that the institution can no longer afford the insurance or to properly care for it. Lets face it, textiles are VERY high maintenance!
Cheers,
Newbie
Date: Wed, 24 May 2000 15:14:10 EDT | From: KareQuilt@
Someone wrote and asked me
<>
I emailed her about the Cory/McKelvey book about Signature Quilts. does anyone know of a website dedicaated to Signature quilts?
Karen Alexander
Northern VA
Date: Wed, 24 May 2000 23:17:20 -0400 | From: “J. G. Row” <Judygrow@>
>IMHO the only quilts worth looking at were the antique ones -the Amish quilts from the Esprit collection, Barbara Horvath’s fabulous collection and some gems in the vendors’ malls. Made me wonder what will people think of all the modern pieced-in-a-day quilted-in-three-days quilts a hundred years from now…
Ady,
I agree with you totally. After going to 3 shows this year that draw nationally, I wonder the same thing. So many of the quilts made today are all “flash and dazzle” — lots of bright colors, lots of surface thread, but no design sensibility. There is nowhere for your eye to go, to travel. It either stops dead in the center of the quilt, or is lead off in all directions. In many, when you get up close and look, the craftsmanship is really shoddy and perhaps they won’t even last for 100 more years. I am so tired of looking at fuchsia and turquoise! and the same clones of the same patterns.
But now I’m going to contradict myself — weren’t the late 19th century quilters tired of looking at brown? I guess the Pa quilters were — so many of theirs are pink, green and yellow. Didn’t they get tired of seeing the same color scheme everywhere too? Didn’t they think that there was one too many “Rolling Stone” quilt?
On the other hand, I’ve been buying those really expensive paperback books of quilts from Japan. And I think that they will be the quilters whose work is revered in 100 years. Time means nothing to them — they seem to revel in spending years on each masterpiece, and it shows. The craftsmanship is nonpareil! Designs seem to spin off of our own 19th century classics. I can’t get enough of them!
Judy in Ringoes, NJ judygrow@
Date: Thu, 25 May 2000 06:38:22 EDT | From: CToczek@
“BTW, maybe I shouldn’t be saying this, but I’ve been to Quilt Expo 2000 in Strasbourg, and IMHO the only quilts worth looking at were the antique ones -the Amish quilts from the Esprit collection, Barbara Horvath’s fabulous collection and some gems in the vendors’ malls. Made me wonder what will people think of all the modern pieced-in-a-day quilted-in-three-days quilts a hundred years from now…Ady”
Dear Ady and QHL,
I’ve wondered the same thing, especially since, although I’ve handquilted a couple of large quilts over a year, I’ve also made pieced-in-a-day, quilted-in-three-days items, too. I figure that the quilts like those on the cover of Quilters’ Newsletter Mag. each month will be regarded as the “Baltimore Albums” or “Rose Kretsingers” of our era, while our quickies will be considered, perhaps, the “utilities” of the time. Quickies or not, I feel sure the sheer volume of quiltmaking in the 90’s and 00’s will speak for something in the history books. And while I’m on the subject, Think of all the categories future historians will have to sort, art quilts folk art quilts, i.e. Patek, Gervais, Pandolph and others time span quilts, hopefully labelled as such (to borrow a phrase from Becky Herdle)
kit quilts, examples showing up across the country (i.e. McCall’s Quilting has offered the Quilt for a Cure kits….remember the blue and white one last year?)
challenge quilts, i.e. Hoffman and others block of the month quilts offered by designers and shops, (you know, where you pay
$XXX for one quilt pattern, better if you at least get the fabric! what a great marketing ploy! <G>)
reproduction quilts, hopefully labelled as such (hey this should have been first here!)
and I won’t even begin with the many fabric crazes like watercolor and batik, etc…
Hmmmmmm, let me go ponder on this some more…
Carla
West Point
Date: Thu, 25 May 2000 08:00:29 -0400 (EDT) | From: Lydia Hamessley <lhamessl@>
Hello all,
I’m a new subscriber to the list, and I’m enjoying all the discussion and learning a lot!
I’m traveling to Williamsburg, VA & Annapolis, MD this weekend, and wonder if anyone has any suggestions for where I might see any early quilts. There is one exhibit I know of in Williamsburg at a Folk Art Museum. But other than that, I’m just hoping to see quilts within the many historic homes we’ll visit. So if anyone has any other tips for places to see quilts, I’d appreciate it!
Thanks so much,
Lydia Hamessley
Lydia Hamessley, Associate Professor
Music Department
Hamilton College
Clinton, NY 13323 office (315) 859-4354 lhamessl@
Date: Thu, 25 May 2000 22:06:59 -0500 | From: “Karen S. Bush” <Birdsong@>
future quilts (pardon the pun)…
I’ve always wondered, in my years of quilting and my few on quilt Making…(((why))) are the people hassled (I was going to say baraged, but, didn’t know how to spell it)…with the ‘fads’ of the week to invest a small Fortune on fabrics, classes, books…
I don’t know how many times I’ve gone to the quilt shop and have seen models on the walls for the new classes, and people lining up for ONLY that fabric that’s in the model. ?????
I know a lot of people need help with color and putting it together, but,…who made the “Rules” of color? I like to just ‘wing’ it. Test it out with my trusty little digital, put it up on my monitor and then make changes or whatever. If I like it, it’s a keeper. But,
There are SO many saying ‘this is the right way/no, this is wrong’ kind of thing, I think it’s intimadated and stunted the creative growth of a lot of quiltmakers out there.
Am I stepping on toes?? I DON’T mean to! There are GREAT classes out there, and Thankfully so. 25 years ago, you couldn’t even find Muslin much less all these gorgeous fabrics out there. But, what’ s the Hurry on getting the quilt made and on the bed or …in the show..??
I used to get quilts in to be hand quilted QUICK for a show for quilts that weren’t ‘show’ quality to begin with and they depended on the Quilting to pull it through, flatten it out, give it a spark….ugh. It’s supposed to be a relaxing, creative out-let for the artist in All of us. Isn’t it? “self expression” seems to have gone down the tubes in some cases. It’s whatever is the ‘flavor’ of the month now. Maybe a support group for the intimidated should be a class. ??? a Short class…One sentence… “Do your Own Thing, there ARE no rules”…ummm wonder if that would fly…??
Sorry, I rambled and hope I didn’t offend anyone, it’s just been a mystery to me for a long time. / kb http://members.ebay.com/aboutme/karenbush
Date: Thu, 25 May 2000 23:55:38 EDT | From: EGinebaugh@
Hi Karen & all,
You said exactly what I teach in my beginning quilting classes <One sentence… “Do your Own Thing, there ARE no rules”.> I emphasize this many many times in my class. When I hand out the supplies list, I give quantities, and light, medium, or dark values of fabrics. We’ve had all sorts of combinations of colors, and they all look beautiful. We learn how to “fudge” minor errors, and I also reemphasize how beautiful the old, imperfect, points-don’t-match-and-colors-everywhere quilts are. Creativity and individuality are points I stress subliminally throughout. I have never seen an ugly quilt yet, old or new! I love them all. I really hope that this “different is good” approach will catch on in other areas of the world, too.
Liz G
Date: Fri, 26 May 2000 00:12:29 -0400 | From: “J. G. Row” <Judygrow@>
A Collection of Indian Textiles
Was it only 2 days ago that this show at the Johnson Museum of Art at Cornell University was mentioned? I did an Internet search immediately after I read the note on the list, and e-mailed a request for the catalog. It came today with a nice note from Catherine Davidson, Publications Coordinator. Her e-mail is cmd15@.
I am sure that if you also drop her a note you too will get this lovely 14 page, 8 1/2 x 11, color catalog.
How I wish I could get to Ithaca to see the show. It’s where all our printed textiles started.
Judy in Ringoes, NJ judygrow@
Date: Fri, 26 May 2000 00:55:49 EDT | From: EllynLK@aol.
In a message dated 5/25/2000 6:55:42 PM Pacific Daylight Time, Judy writes in response to Ady
<< After going to 3 shows this year that draw nationally, I wonder the same thing. So many of the quilts made today are all “flash and dazzle” — lots of bright colors, lots of surface thread, but no design sensibility. There is nowhere for your eye to go, to travel. It either stops dead in the center of the quilt, or is lead off in all directions. In many, when you get up close and look, the craftsmanship is really shoddy and perhaps they won’t even last for 100 more years. I am so tired of looking at fuchsia and turquoise! and the same clones of the same patterns. >>
I went to a quilt show, briefly looked over the new, modern things I call “Ugly Quilts With A Message” and where did I end up? In front of an 1890’s Churn Dash with lots of cadet blue and turkey red. I spent more time on that one quilt than the rest of the modern ones!
I recently checked a book out of the library, recently done and enjoyed looking at the pics… but I just passed over the photos that were more like paintings than quilts. I can get lost in a Tumbling Blocks. I love optical illusions. I love the patterns you suddenly find in a pattern that you missed before. I love the graphics of old fabrics. But a quilt that’s really a painting or collage of sorts, with slogans or political statements laid out– well, I can certainly appreciate the work. I don’t know that I would ever care to own one.
But I’d buy that Churn Dash in a minute if I could….
Lauri Klobas
Pacific PaKarendes, California
Date: Fri, 26 May 2000 13:10:16 -0500 | From: “Karen Erlandson” <quilter@>
Hi all,
I have been off of QHL for over a year, but am back. I have a question and would like as many opinions as possible.
I am putting together a program on quilt blocks & their history – why they were named such, etc.
I have many, many blocks, but there are some I don’t have a sample of. I was thinking that as a visual aid, a mock-up of the block – enlarged, maybe fabric on posterboard or something like that might be more visible to the audience than just a 12 inch block would be.
What are your feelings on that. If you were in the audience for this program, would you be offended if it “wasn’t real”? or would you be glad you could actually see what was being discussed?
Just shoot me an email at quilter@ and let me know. I will be more than happy to report the results to the list.
Thanks,
Karen
Date: Fri, 26 May 2000 20:05:51 EDT | From: JBQUILTOK@
> I’ve always wondered, in my years of quilting and my few on quilt Making…(((why))) are the people hassled (I was going to say baraged, but, didn’t know how to spell it)…with the ‘fads’ of the week to invest a small Fortune on fabrics, classes, books…
>But, what’ s the Hurry on getting the quilt made and on the bed or …in the
show..??
I think some of the pressure comes from ‘the show’. Our guild of about 500 members tries to put on a fantastic show every two years. It is rapidly degenerating into a mass of minis. There are some members out to collect fame & ribbons by putting together the Wow! quilts. There are a lot of others who think if they can make the style that won the last Paducah or Houston show, they’ll walk away with our show. We’re so pressured for time & hungry for accomplishments that the pleasure of the process tends to get lost. Why use templates if you can rotory cut? Or better yet, paper piece? The guild issues a President’s challenge almost every year & they’ve gone from a 36″ square project to bed sized. We do a block of the month that turned into a quilt of the month this year.
Maybe we should organize a ‘historic methods’ show somewhere & only allow completely hand made quilt to be entered as an encouragement to quilters to s….l……o……w…….d……o……w…….n!
As for buying every new fabric, book & gadget in the store, I think the quilt shop is one of the few places a working mother/wife can go & what ever she spends her money on is for herself. No temptation to do without what she wants because she thinks someone else in the family needs something more than she does.
Janet
