May 11 - 14, 2004 - QuiltHistory

Quilt Dating, Regional Quilt History, Restoration & Conservation

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:

Gee’s Bend and the Cargo Collection Debate — Members discuss the aesthetic and historical significance of the Gee’s Bend and Cargo Collection African American quilt exhibits.
Eagle Kit Quilts: Original vs. Reproduction — Members work through dating clues to distinguish 19th-century eagle applique quilts from later 1950s-60s kit reproductions.
Removing Color Bleed and Stains — Practical tips on using Synthrapol and isopropyl alcohol to treat color-run damage on antique quilts. (see the article on stain removal)
The White Gloves Debate — Conservators weigh in on whether white cotton gloves or clean bare hands are better for handling historic quilts.

Date: Wed, 12 May 2004 12:54:53 -0500 | From: “Kathy Moore” <KathyMoore@>

Julie, could your image be the result of a process I’ve seen done using turpentine (I think)? I saw it done once on Simply Quilts and the demonstrator said it was the way image transfers were done before copiers and printers were available. I think I remember her saying it was done in the 19th century. The image is destroyed in the process, but the result was impressive.

Kathy Moore Lincoln, NE ——=_NextPart_000_0023_01C43820.51AFC840–

From: Patricia L Cummings

Dear QHL members:

With Leigh Fellner’s permission, I will share a little about her phone interview that will be broadcast tomorrow evening at 6:30 p.m., Central Time. A radio station in Jackson, Mississippi found Leigh’s website and requested more information about the secret quilt code and the Underground Railroad. Leigh would like me to be certain to say that she feels that she did not do the topic justice. I doubt that that is the case, but knowing the breadth and scope of this study, it is understandable if more could have been said.

It will be possible to hear the interview online tomorrow at: http://www.wmpr901.com/ If you are interested in hearing it, you may want to check your computer ahead of time to make sure you have downloaded the necessary components. As far as I know, the interview will not be archived online.

The host of the show, Renee Shakespeare, has tried repeatedly and unsuccessfully to obtain an interview with Serena Wilson, Ozella McDaniel Williams’ niece who goes about the country giving lectures on this same topic.

This afternoon, I posted an additional article to my website as an addendum to “Symbolism in Quilts as Part of the Underground Railroad” article. This new selection reviews some of the claims made by Clarice Boswell, both in her lecture and in her book (novel). The article is embedded within the initial manuscript and so, does not stand as a separate website entry.

Leigh is continuing her investigations of the “greater issue” and is coming up with some very astute observations. I am sure that she will be adding more information to her website, too, as soon as she has time. I applaud her efforts.

Pat Cummings www.quiltersmuse.com

Date: Wed, 12 May 2004 19:05:36 -0500 | From: “Barbara Vlack” <cptvdeo@>

I was also interested in Cinda’s take on the Gee’s Bend quilt exhibit. I did not make the time to go see it when it was in Milwaukee, but I wanted to. I just stalled too long. But I bought the coffee table book.

My take from the book is that these are ugly utilitarian quilts that someone has elevated to art status. Surely the culture that produced these quilts played a large part in that. These quilts remind me a lot of the quilts our church ladies are making to go to Lutheran World Relief. They are instructed NOT to make these quilts attractive or they would get pilfered and sold on the black market instead of going to help those for whom they were intended.

I don’t mind at all that someone is finding charm or art in these quilts, but sometimes I want to say, “The emperor isn’t wearing any clothes.” That’s probably why I’m not an art critic. VBG Why didn’t _I_ think of putting all those weird fabrics and prints together? And mount an exhibit? Another VBG

Barb Vlack cptvdeo@

Date: Wed, 12 May 2004 19:05:30 -0500 | From: “Barbara Vlack” <cptvdeo@>

Cinda asked if anyone knew how many quilts were entered in the Great American Quilt Festival/Contest of 1986.

I have the book, which indicates vaguely “thousands.” Since the quilts were judged first on a regional basis before one from each state was chosen as a “runner-up” or representative of that state, I think it would be difficult to catalog exactly how many were entered originally. The book did list the judges for each region, so perhaps only they would know the total. The book does state that 51 quilts, one from each state and one from the territories (which included the military) plus the two winners were exhibited.

I had saved an article from the Family Circle magazine for 7/8/86 (tucked it into my Festival book) that said there were “a thousand” entries, over which Monica Calvert and Charlotte Warr Andersen won first and second place respectively. I did not order the “free illustrated how-to’s” so “you can duplicate these designs,” because I learned a long time ago, when Jinny Beyer won her big contest that Good Housekeeping printed her pattern with “simply draw it up to scale with 1/4-inch 1-inch” in a graph, or something ridiculous like that. Jinny laughs that she remembers that they also added something like, “If the top doesn’t lie flat, simply quilt it out (there’s that “simply” again).”

Looking at this book, which has sat on my shelf for many years, is a walk down memory lane now. I appreciate a lot how many of these Quilters I’ve met over the years! When the book first came out, I remember feeling like I had missed a great party (I still feel that way VBG). I did not know any of the quilters whose quilts were pictured. Now I do!

Another story — when a newcomer to our church several years ago first met me, Cynthia offered that her cousin was a quilter. In fact, she thought that this cousin, Rebecca, had won something that had to do with a quilt contest and the Statue of Liberty. I ran home and found in my Festival catalog that Rebecca was Rebecca Siegel, who was the quilter representing Kentucky. I was program chairman for my guild at that time and immediately booked Rebecca to come and visit her cousin and by-the-way give a lecture to our guild. I’ve since seen many quilts by Rebecca at AQS shows, and Rebecca has taught at the MAQS several times.

Barb Vlack cptvdeo@

Date: Wed, 12 May 2004 20:45:47 -0400 | From: danabalsamo@

Hello all, Occassionally I like to browse the eBay Live auctions…there are a couple I thought a few of you would like to see:

Fantastic Hand-Painted California Quilt, entitled The Spirit of the Golden West. http://www.liveauctioneers.com/auctions/ebay/306131

And Appliqué Quilt with Eagle, ca 1860 quilt top http://www.liveauctioneers.com/auctions/ebay/306133

Enjoy, Dana

Date: Wed, 12 May 2004 22:55:26 -0400 | From: “Karen” <@charter.net>

Um, yeah. Right. Yup yup. Sure it does. Makes you wonder why so many unquilted Giant Dahlia and Double Wedding Ring tops show up at flea markets, no?

*snort*

Karen Evans

Date: Wed, 12 May 2004 19:57:59 -0700 (PDT) | From: Judy Schwender <sister3603@>

Hello- I’ve worked with the Cargo Collection of African American quilts at the Interntional Quilt Study Center, a group of quilts in the same vein as the Gee’s Bend quilts. They are not technically perfect, true. But if I can inject one-tenth of their liveliness, spontaneity, and free, fresh attitude toward fabric selection into my own quilts, I will consider myself a lucky quilter. If you are interested, search the IQSC collections at http://www.quiltstudy.org/search/index.html Use the advanced search at the lower third of the page; click on the IQSC Collection box, and select “Robert and Helen Cargo Collection.” At quilt shows, when viewers are able to vote for “Viewers’ Choice,” I’ve always voted for the quilt I’d most like to take home with me. Of all my “Viewers’ Choice” quilts from the IQSC Collection, about 10 of them are from this collection. It’s just a personal thing. And that’s the best part of quilting: it’s a big umbrella, and we can all fit under it. Judy Schwender

Barbara Vlack <cptvdeo@> wrote: I was also interested in Cinda’s take on the Gee’s Bend quilt exhibit. I did not make the time to go see it when it was in Milwaukee, but I wanted to. I just stalled too long. But I bought the coffee table book.

Barb Vlack cptvdeo@

Date: Thu, 13 May 2004 | From: “Judy Kelius (judysue)” <judysue@>

The “1860” top is a kit from the 1950s or 1960s, often confused for an old= one (based on a real 19th century quilt in the Philadelphia Museum of Art).

Date: Thu, 13 May 2004 12:53: | From: Margareta.Faust@

I remember at a seminar Bobbie Aug showing us hers, which was from the Bicentennial (i.e. 1976). But is the one Judy mentions in Philadelphia unique – maybe the pattern spread already in the 1800s? Just a thought.. Margareta

Date: Thu, 13 May 2004 08:00:04 -0400 | From: sewsewsarah@

Barb wrote: “My take from the book is that these are ugly utilitarian quilts that someone has elevated to art status.”

I was so glad to see your post because I was beginning to wonder if I was the only one who felt that way about these quilts! 🙂

Sarah

From: Dana at Material Pleasures <danabalsamo@>

Hello all, I saw the exhibit when it was at the Whitney Museum in NYC. I went with a few ladies (I think there were 6 of us) from my guild. When we went, we realized we were not going to see “Quilt Show” quality quilts, so we didn’t have those kind of expectations. I think what made us appreciate the exhibit was all the history and background of the quiltmakers that we were given (a widow’s deceased husband’s overalls, so she could always be close to him). Yes, they are primative. They made do with what they had, like many other quilters before them. They used what we might consider unconventional materials (corduroy, bed ticking, knits, used overalls, etc). Some of them are outstandingly graphic…I remember a red, black, and white one, with circles, that I could not take my eyes off of. I think what is wonderful about the exhibit is it opened people up to quilting who were not yet exposed to it. The exhibit at the Whitney Museum had a line out the door…in the rain…it was so nice to see so many people, young and old, take an interest in these quilts. Maybe it inspired someone to start quilting. Would I pay $10k for a reproduction, heck no! Do I think they are an art form? Of course! And that opinion should be left to the beholder. Do I think that these quilts represent typical African Amercian Quilts? No! I enjoyed the exhibit for what it was. It’s quilt history. My best, Dana

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

Date: Thu, 13 May 2004 05:39:49 -0700 (PDT) | From: Ark Quilts <quiltarkmv@>

There is another Eagle kit quilt on Ebay right now too, just like the one on live auction.

And Appliqué Quilt with Eagle, ca 1860 quilt top http://www.liveauctioneers.com/auctions/ebay/306133

“Mint 1940’s Eagle and Shield Quilt” Ebay item # 3723108019 Starting bid: $825 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2221&item=3723108019

Date: Thu, 13 May 2004 | From: “Judy Kelius (judysue)” <judysue@>

Eagle quilts were very popular in the mid 19th century, but this one is definitely a mid 20th century kit . . . I did a quick search and here is another identical one on eBay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=3D2221&item=3D3723108019&rd=3D1

Date: Thu, 13 May 2004 06:52:38 -0700 | From: “Judy Anne” <anne_j@>

A local African American quilt artist discussed this to me. She finds that since the Gees Bend publicity many people think all African American quilters make quilts like that. She is planning to write an article for my site along the lines of “Not Just Gees Bend”. I find utilitarian quilts fascinating and enjoy them for what they are. But somehow publicity on things like this blows it all out of proportion.

Judy Anne

Date: Thu, 13 May 2004 07:42:32 -0700 | From: “Julia D. Zgliniec” <rzglini1@>

Dear QHL, Isn’t the applique eagle top the American Glory Quilt No 1147 from Paragon and published in Good Housekeeping? Ebay has one of these from time to time.

Regards, Julia Zgliniec

Date: Thu, 13 May 2004 | From: Ark Quilts <quiltarkmv@>

Found an interesting quilt on Ebay labeled from 1820-1830. Has woven tape binding on it as discussed recently on this list. “1820-1830 Lone Star Quilt With Satellites” from vtlarry #3723947928

Date: Thu, 13 May 2004 14:05:20 -0400 | From: “Lucinda Cawley” <lrcawley@>

Yesterday I gave a talk on 20th century quilts. One of the ladies had an absolutely smashing quilt that I think was made from a die cut kit. It’s a Lone Star with smaller stars and partial stars between the blades in solid blue, pink, yellow with a triple border of strips of those colors. The diamonds of the star are arranged, not in blades, but as echoing outlines of the star shape. In other words the outside of the star is shocking pink, inside that is a blue star, then yellow and so on into the middle. Hope this is clear. Can anyone enlighten me about this? Cinda on the hot and sunny Eastern Shore

From: “Julie Silber” <quiltcomplex@>

I so appreciate the feedback on the silkscreened woman’s image on our Crazy quilt. I have added your (brilliant) ideas to the listing and will hope to hear more. I’m betting on Lily (also called Lillie) Langtry! Thank you (s) ! Julie Silber

Date: Thu, 13 May 2004 22:48:54 EDT | From: KareQuilt@

Anyone know a good source for inexpensive white gloves for use at quilt shows?

Karen Alexander

From: “Patchwork Secrets”

First thanks to everyone for the info on cataloguing all these local quilts!..

I notice the discussion on “ugly” quilts and am curious. Here we have what are called “tobacco quilts”. These quilts are often just big pieces of fabric or scrap string type quilts that were used to wrap tobacco in before people could afford to purchase large pieces of burlap or heavy duck to tie up tobacco for market. My mother and I have a couple of these quilts and while not valuable hold a special place in the history of quilts in the south (at least in our opinion). I know this is historically accurate since Mom can remember her Dad doing this specific thing with one of the quilts that she managed to salvage..lol.. My grandmother told stories of making them as a young child during the winter to prepare for the upcoming summer. Most of this originated during the depression I believe since the majority of quilts are from that era.

Do other parts of the US besides the south have a history of these types of quilts being made for specific uses?

I think I will include many of these so called “ugly” quilts in the cataloguing since they do have significance overall. Could the ugly quilts everyone is referring to have some such history?

Sharon in NC Final Sue in Kitty Hawk blocks now available

Date: Fri, 14 May 2004 | From: PatKoerner@

14 May 2004

I want to thank Judy Schwender for her comments on the quilts of the Cargo Collection at ICSC. The phenomena of the Cargo Collection and the Gee’s Bend quilts is hard to understand. I viewed the Gee’s Bend quilts in Washington, DC and the Cargo exhibit at the Textile Museum there. Maybe because I had read every word of the Gee’s Bend book prior to seeing this exhibit especially the comments from the quilters themselves, I had a better understanding of what their quilts expressed. I was very emotionally touched by the Gee’s Bend quilts and the Cargo collection.

Not everyone in our group agreed with my assessment and found them lacking. I think it was the spontanaity and unrestrained creativity that appealed to me. They touched my heart. Although I have never had as humble a life as the Gee’s Bend quilters, I have sponge painted the linoleum and made do with a couch left out for the trash and cheap fabric for a slipcover. And so you try and make something as attractive as you have resources available. I am sure many of you have had similar experiences. I thought it was amazing how wonderful the images looked as rugs or graphic prints where the crude workmanship wasn’t apparent. Our trip also included a visit to the Baltimore Art Museum and a chance to see the exquisite Baltimore Album Quilts, and wonderful quilts at the DAR Museum and the Montgomery County HIstorical Society. Quite a contrast to be sure. I would like to know others response to the Gee’s Bend or Cargo quilts for those who have had the opportunity to see them. Pat Moore

From: MargaretFahey@

changing the topic A friend has a tragedy on her hands. She decided to wash her quilt, one that had been washed before without problem. Her quilt is a red and white which won first place in Houston for hand quilting. needless to say it is, or was, exquisite. After washing, the previously non-running red dye is now all over her queen size quilt in the white areas. She has no idea how to remove the red. She thinks it transferred when the red and white fabric were “smooshed” together in the washer. Any help out there?

Margaret

From: Gail Ingram

Judy Ann, I am glad to see you are encouraging such research.

The Cargo Collection, when I saw it as it was building, was far more representative of what I’ve seen of ordinary African-American quiltmaking, which in some regards is much like a certain economic class of white southern quiltmaking.

Our eyes have been trained to appreciate the quilts of PA, the eastern seseaboard,the Germanic quilts that spread to the Midwest, the Baltimore Album quilts, among earlier quilts. And then there are the finer Depression quilts.

For much of that time women, esp in the South, were making “utitaria n’ quilts from their sewing remnants, quilts that were lively and which taught many of us to love quilts.

Too little has been studied about this clsss of quilts, just as too little has been done on the whole body of Afrian-American quilts, esp in the South–IMHO.

Gail

From: Babette Moorleghen

I would like to get in on this conversation regarding “utilitarian quilts”, if I may. I come from a pretty traditional background in quilting, however, when I married my mother-in-law, who was also a quilter, did some of the most unusual quilts I had ever seen. I have come to know these for what you are calling “utilitarian”. No, we are not African-American, but a Caucasian family. Mom purchased and used those fabric scraps from Sears to make her quilts and did so for years. I have some wonderful examples of them left to me after she passed away in 2000. They were made with cordoroy, with wool and flannel, and just about anything that was in those scrap bags, which could be purchased by the pound. Not all pieces are uniform and some were just long strips. Yes, she had other fabrics to choose from, but I believe received real enjoyment out of what she could create from those “rag bags” as the rest of the family called them! All of her grandchildren, as they went off ! to college, received a “dorm” quilt that was made from those scraps. Most of the kids, now entering their late 30’s and early 40’s still have the quilts. Hmmmm, wondering if I could do an article, with pictures, of what she did? It would definitely be interesting. And, yes, she did made some wonderful quilts in the very traditional style and did some extremely beautiful applique. She drew many of her own patterns, some of which I also have. I am, more and more, seeing what an innovative quilter she was! Hugs, Babette in Illinois

Gail Ingram <gingram@> wrote:Judy Ann, I am glad to see you are encouraging such research.

For much of that time women, esp in the South, were making “utitaria n’ quilts from their sewing remnants, quilts that were lively and which taught many of us to love quilts.

Too little has been studied about this clsss of quilts, just as too little has been done on the whole body of Afrian-American quilts, esp in the South–IMHO.

Gail

From: “Judy Kelius (judysue)” <judysue@>

Here’s an internet store: http://www.whitecottongloves.net/

There are more sources on the internet as well. They are often sold by coin or stamp dealers. You can get cheaper ones from food suppliers that you can use once and throw away.

Date: Fri, 14 May 2004 | From: Joan Kiplinger <jkip@>

Did anyone listen last night to the interview with Leigh on UGRR? I gave up after 10 minutes when something called a buffer deleted sound every several seconds resulting in a hopscotch conversation. So I am curious about the discussion.

Date: Fri, 14 May 2 | From: Midnitelaptop@

you might try your local photography shop jeanL

Date: Fri, 14 May 2004 | From: Laurajbr@

We were able to get ours from a school cafeteria food service supply company. An elementary school cafeteria manager helped us.

Date: Fri, 14 May 2004 | From: sadierose@

Margaret, I have had good luck with Isopropyl (rubbing) alcohol removing color that has run. Soak in about half water/ half alcohol… then rinse, repeat if needed. Do Not dry or use heat until the color is gone, as this may set the color. Good luck!! Karan

Date: Fri, 14 May 2004 | From: “avalon”

I have had good luck with Synthropol in removing color that has bleed. One item had even been through the dryer before I noticed the errant fuchsia color on the white.

Mary

Date: Fri, 14 May 2004 08:50:51 -0500 | From: “Barbara Vlack” <cptvdeo@>

When I use the term “ugly” to refer to a quilt, I say it somewhat reverently. I think “ugly” has a special kind of charm. I use the term to describe some of the prints from the 30s. Now you have to understand that I am in the midst of a love affair with quilts from the 30s. I have vintage fabrics from the 30s that I am using along with reproduction 30s fabrics to create new quilts, I own several finished 30s quilts, and I also own even more unfinished 30s tops. I am starting to finish some of these 30s tops as if I were the second quilter in the Round Robin. I am trying to be somewhat true to the style of the 30s, but I am using 21st century technology and design skills.

I do think that throwing in the ugly 30s prints along with the darling 30s prints gives a contrast that is delightful. I designed a 63″ square quilt in the style of the 30s and made it using vintage and reproduction fabrics. I used blocks that had been published in the 30s and I used some vintage block pieces that never made it into quilts. It’s a medallion style, with four center blocks and borders. The outside border is wide and allows space for an elaborate quilted feather vine. The edge is scalloped. I machine quilted this quilt and used a Mountain Mist 100% cotton batt. I had not prewashed any of the fabrics and I quilted the whole thing rather densely. Then I could hardly wait to wash it to see how the shrinkage worked for me. Fantastic! I love it.

Now getting back to ugly utilitarian quilts having a certain charm. From several years ago there is a book, Old Swedish Quilts. I don’t know the author. I bought it for my mother and hope some day to get it back. My 100% heritage is Swedish, and I’m proud of it. These quilts in the book are ugly utilitarian quilts, though they have more structure to them, for the most part, than the Gee’s Bend quilts. Many are Log Cabin made from clothing scraps. In my family, we have two quilts that were made by my Swedish maternal great-grandmother, who was an immigrant in the 1880s. I think they were made in America. My sister has the one made from pieces of woolen men’s clothing, and it’s either a Log Cabin style or a Crazy Patch style, I don’t remember which. I have the cotton Log Cabin top. I think it was once finished with a woolen batting and a backing and tied, but that was taken apart perhaps by my grandmother. My mother put a plain border around it and started to hand quilt it with a polyester batting but didn’t get very far. I’m tempted to undo what she had done and redo with a cotton batt and a different backing. It will be a four-generation quilt: pieced by my great-grandmother, stored by my grandmother, initial quilting attempted by my mother, and (hopefully in this lifetime) finished by me (perhaps by machine rather than hand quilting). For me it is a family treasure.

The Swedes had a Great Immigration to the US that started in the 1840s. I couldn’t believe it, but in the late 1990s the king of Sweden actually came to the US to participate in celebrations of that mass immigration. Do you think he was thanking us????? VBG They came because living conditions in Sweden, especially rural living conditions, were very poor. My family came and settled around Chicago in what technically could be called a ghetto — not a slum, but rather neighborhoods with ethnic concentrations. They intermarried. It was a mild shock in my family when I did not marry a Swede, though I gave every opportunity to attract my attentions to all those Swedish boys at the Swedish college I attended. So I married a Bohemian I met a few years after I graduated from college.

Maybe I should mount an exhibit of the Quilts from Andersonville. Problem is, the Swedes didn’t organize or have the marketing prowess that we see in the Gee’s Bend project. Nor were the Swedes subjected to being slaves. They were just very poor. But proud.

We do have utilitarian quilts in our quilting history for many reasons. They were made to sleep under. They were made from recycled fabric. They were made to keep warm at night. They were not made to be expressions of latent creative artistic talent. But they were made, and we appreciate them for what they are/were. We study the fabrics. We are impressed by the construction, no matter the quality.

I like better the fact that they were made without any kind of attention to marketing value. They were not made with the intent that they might some day bring big money on eBay or in a museum gift store.

Barb Vlack cptvdeo@

From: “Nancy Roberts”

Check your local drugstore for dermatological cotton gloves. They cost about $2 for a pair. We found them in the pharmacy area where disposable gloves were displayed. Nancy Roberts

Date: Fri, 14 May 2004 | From: Margareta.Faust@

While we’re on the subject: what are the pros and cons of using white gloves? I’ve heard that some people prefer their (antique) quilts being handled with clean hands rather than gloves that have been around for a time…. Margareta

From: “Karen Quilts Texas”

No matter how clean your hands seem to be, unless they just come from sink with non-perfumed, detergent cleanser (no perfumes or oils? … all hand soaps have those these days!), then every touch of a quilt will leave behind the natural oils, sweat, bacteria, sloughed skin (it is ALWAYS shedding little particles), and whatever else is on your hand. Even moments after washing, the tiny glands in your skin react quickly to restore the protective oils that protect you from bacterial attack!

I would hope that clean gloves are supplied at all shows, and that they are washed frequently! I still think a glove that’s been used all day still is cleaner than your hands… as the oils in the hand are going to be primarily on the inside layer of the glove… rather than outside making contact with the quilt.

My mother always said “your hands can never be too clean”… there is more truth in that statement than she ever dreamed!

Karen Spring, TX

Date: Fri, 14 May 2004 11:14:59 -0500 | From: Sylvia Adair <piecethepastwi.@>

Like so much in life, it’s all in how you look at it. When the Gees Bend quilts were at the Milwaukee Art Museum, some quilter friends and I went to see them. I had read about them before hand, and I confess I had thought the “Art World” had once again got the wrong end of the stick. I went to see the quilts not as art, but as quilt history. I wanted to know why the women made their quilts this way, instead of using the traditional patterns. And because so much of quilt history is women’s history, I wanted to learn about the lives of these rural people. Well, I did learn those kinds of things, mainly from the excellent video that was running during the exhibit, and from the signage near the quilts. But what I didn’t expect was the visual impact these homely quilts had when hung on the gallery walls. It was much more impressive than seeing them in print. Some of the members of our quilt guild had no interest in going with us to see the exhibit. The primitive quality of the stitching, the mismatched materials, the irregular patterns, all put them off. You can’t look at the Gees Bend quilts as though they were at Paducah–it’s not that kind of exhibit. You can look at them as a kind of every day art, something made for function but made with creativity and joy. You can also look at them as part of the quilt history continuum, another way people expressed themselves in cloth. I was very impressed with the satisfaction and happiness the women had about their quiltmaking. And that’s something we can all relate to. Just my opinion, for what it’s worth. Enjoy the day. Sylvia Adair in Germantown, Wisconsin

From: “J. G. Row” <JudyGrow@>

I think that today’s conservators are more concerned with the abrasive action of the gloves than what comes off onto the quilts from freshly washed smooth hands. The gloves are rougher than your skin usually is — but, after working out in the garden I sometimes wonder 1, if I will ever get my hands clean, and 2, what alligator magically transferred his skin to mine.

Judy Ringo

From: “Candace Perry”

I won’t use anything but clean hands when I’m handling quilts in the collection. The gloves are too “picky.” HOWEVER, I think to make a ‘do not touch’ statement at a show, the gloves are great. A dramatic device! (and I’m a drama queen) And also good when you don’t know where all the hands have been. www.gaylord.com for a dozen gloves at $9.09 pkg. Candace Perry

Date: Fri, 14 May 2004 | From: “avalon”

I had the privilege of viewing the Gee’s Bend quilt exhibit in Milwaukee. The lasting impression that I have after viewing the quilts, listening to the narrated tape, hearing the gospel singing, and watching the video, is the human spirit finds a way to overcome overwhelming adversity.

Viewing photographs of “cabins” with newspaper on the walls for warmth, porches looking as though they would fall off at any moment with only a cement block to use as a step, but hearing the interviews with some of the ladies relating the “joy” they experienced while sewing/quilting even after working/sewing long hours for a much needed job.

I was also struck with the longevity of the makers of many of the quilts in the exhibit. The greater majority were in their 70’s -80’s which I found remarkable considering their living conditions and lackk of exposure to medical care.

It was a good “reality check” for me to put things in perspective. To not take so much for granted, but to appreciate my sewing “stuff” et all.

Mary