This month , April, Americans for the Arts organization released the findings of their study into six creative industries: museums and collections; performing arts; visual arts and photography; film, radio, and TV; design and publishing; and arts schools and services. These creative industries range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and advertising companies.
The 50 most populated cities were studied combining Dun & Bradstreet data and geo-economic analysis to ascertain that arts-centric businesses represent 4.3 percent of all businesses and 2.2 percent of all jobs in the United States and that the arts are a robust and formidable economic growth sector:
There are more than 612,000 arts-related businesses employ 2.98 million people in the U.S.
Arts-centric businesses grew 12 percent from 2007 compared to the growth of 10.7 percent for all U.S. businesses.
Employment growth by arts-centric businesses since 2007 was 11.6 percent, more than four times the rise in the total number of U.S. employees of 2.4 percent.
“This study supports our mantra that the arts play a significant role in building and sustaining economically vibrant communities,” said Robert L. Lynch, president and CEO of Americans for the Arts. “It further supports the need for arts education to fuel the creative industries with arts-trained workers and arts consumers.”
The ten states with the most creative industries, in descending order are no surprise really, NYC is first, then Los Angeles, followed by Chicago, Houston, San Francisco, San Diego, Dallas, Seattle, Austin, Phoenix. On a per capita basis, it changes it up since NYC and LA have such large populations. (Thank you to the Americans for the arts for this information.)
I think this is very good news for everyone! The arts have been pushed off the plates, along with music, in schools and on parents minds as a worthwhile college degree to pursue or business to work in. Perhaps the increase in employment opportunities will change some thinking. We can dream.
Wednesday, April 16, 2008
Thursday, March 27, 2008
Judy Breneman Quilt Article in Textbooks
Congratualtions to quilt history enthusiast and historian, Judy Breneman, who has been honored with a request from a major educational book publisher, HoughtonMifflin Company, to include one of her website's articles in their 2008 print and audio learning program for the 10th grade.
Imagine yourself receiving an email from a publisher you have not had contact with. You read it and see they are referencing an article you originally wrote 10 years ago (and have updated a few times) about African-American Quilting. What?..... they want to put it into their elementary school textbook literature, audio and in print, for 10th graders? They are requesting nonexclusive rights and will pay you! This just happened to my girlfriend and website publishing buddy, Judy Breneman.
Judy writes three quilt history websites, and http://www.womenfolk.com/ is the website on which the publisher found her article. You can read the full article "African-American Quilting: A Long Rich Heritage" at http://www.womenfolk.com/quilting_history/afam.htm They shortened it for their purposes, but it's not short.
Her other two websites are Quilt Patterns Through Time and America's Quilting History She writes on many different events in our quilting heritage past, about quilts and their makers, offers free patterns and gives the origins of the block, and so much more.
Judy was early to the website publishing world, late 1990s. She had been an elementary school teacher, but illness prevented her from continuing the demanding job of working with children. She turned to the internet to teach. It was a couple of years after, in 2000, that I met her online via the Quilt History List. She posted info about her website and said she'd help anyone who wanted to start one. I did not have a clue what I was getting into at the time, but I wrote her and she encouraged me to go for it and I did, but I couldn't have done any of it without Judy's help. Not just at the beginning, but through the years she has mentored me in the mechanics of websites, Google, meta this and that, Adsense and Amazon. Judy finds this interesting and challenges herself to improve all aspects of her websites as new ways become available.
As luck would have it, she received the publication invitation a couple of days after she had purchased a gorgeous leather jacket at an Art Fair near her home in southern Arizona. She bought it on a whim and was about to take it back, purely out of guilt, when the contract and request arrived. The amount they paid her just covered the cost of the jacket. How cool is that! As Judy told me "This was just blind luck for me. Like money falling from the sky." After all Judy has given to the quilt history community over the past 10 years, she certainly earned it, and the honor of having her words teach young students about quilting in the Africa-American community.
We can all rejoice in knowing that textbook publishers are including quilts and quilting in their textbooks, and that women's daily life activities are being included in their literature programs. Oh, lest I forget, the first edition is 500,000 copies, audio and print, for worldwide distribution. They said they'd contact her again for any further editions.
May this be evidence to all of us putting our words online, it is worthwhile. Women are always making history!
Piece,
Kim
Imagine yourself receiving an email from a publisher you have not had contact with. You read it and see they are referencing an article you originally wrote 10 years ago (and have updated a few times) about African-American Quilting. What?..... they want to put it into their elementary school textbook literature, audio and in print, for 10th graders? They are requesting nonexclusive rights and will pay you! This just happened to my girlfriend and website publishing buddy, Judy Breneman.
Judy writes three quilt history websites, and http://www.womenfolk.com/ is the website on which the publisher found her article. You can read the full article "African-American Quilting: A Long Rich Heritage" at http://www.womenfolk.com/quilting_history/afam.htm They shortened it for their purposes, but it's not short.
Her other two websites are Quilt Patterns Through Time and America's Quilting History She writes on many different events in our quilting heritage past, about quilts and their makers, offers free patterns and gives the origins of the block, and so much more.
Judy was early to the website publishing world, late 1990s. She had been an elementary school teacher, but illness prevented her from continuing the demanding job of working with children. She turned to the internet to teach. It was a couple of years after, in 2000, that I met her online via the Quilt History List. She posted info about her website and said she'd help anyone who wanted to start one. I did not have a clue what I was getting into at the time, but I wrote her and she encouraged me to go for it and I did, but I couldn't have done any of it without Judy's help. Not just at the beginning, but through the years she has mentored me in the mechanics of websites, Google, meta this and that, Adsense and Amazon. Judy finds this interesting and challenges herself to improve all aspects of her websites as new ways become available.
As luck would have it, she received the publication invitation a couple of days after she had purchased a gorgeous leather jacket at an Art Fair near her home in southern Arizona. She bought it on a whim and was about to take it back, purely out of guilt, when the contract and request arrived. The amount they paid her just covered the cost of the jacket. How cool is that! As Judy told me "This was just blind luck for me. Like money falling from the sky." After all Judy has given to the quilt history community over the past 10 years, she certainly earned it, and the honor of having her words teach young students about quilting in the Africa-American community.
We can all rejoice in knowing that textbook publishers are including quilts and quilting in their textbooks, and that women's daily life activities are being included in their literature programs. Oh, lest I forget, the first edition is 500,000 copies, audio and print, for worldwide distribution. They said they'd contact her again for any further editions.
May this be evidence to all of us putting our words online, it is worthwhile. Women are always making history!
Piece,
Kim
Wednesday, March 26, 2008
Indigo & White Applique Quilt
Mia K. is sharing her beautiful indigo and white appliqué quilt in hopes of getting information from readers. She shared this info:
" The pattern I have learned is known as "Lover's
" The pattern I have learned is known as "Lover's
knot" or Oak Leaf and the border is made up of weeping willows and love birds facing each other with a blue vine serpentining around the border with curlicues. All of it is beautifully quilted with 10-12 stitches to the inch and it fits over my queen size bed with plenty of room."
" I believe it to be from the 1800 but it has no wear on it or the binding. As you might see, the blues are not solid and I have found 4 different patterned blues. The white is more cream colored like unbleached muslin. Purchased in our town from a man who inherited it from an antique dealer who told him it was the best she ever owned and she told him the age to be 100 to 150 years old. I have searched dozens of books and web sites and have never seen this border pattern any where. I collect blue willow patterned English china and it reminds me of it.Can you help me? I would love to explore its origins and age." My first impression was that this quilt copied a woven coverlet pattern precisely because of the willow tree and bird border. I would date it to the 2nd or 3rd quarter, 19th century, made in the northeastern US, such as NY, PA, VT, or MA. Mia since said it was bought in an antique shop in Roscoe, NY, and sold to them by a man from Livingston Manor, NY. Roscoe is in the foothills of the Catskills. I'd say this narrows it down to a NY quilt, which produced many indigo and white applique quilts.
The main block is Oak Leaf and Reel. Is it a lover's quilt, perhaps for a wedding, if indeed those are love birds? Willow trees are often associated with mourning and grief, but this quilt just doesn't imply that to me, the willows are not sad looking...but maybe this is not the case?
I would also love to receive any links to photos of woven coverlets with this same overall pattern and border. Post them, won't you?
Thank you Mia!
Kim
I would also love to receive any links to photos of woven coverlets with this same overall pattern and border. Post them, won't you?
Thank you Mia!
Kim
Yuwa Fabrics
Many people have emailed me since I posted info about Yuwa fabric , asking how they can get in touch with the company. They have prooved hard to find. Thanks to Patty H.,a thread has been found.
Patty writes "I was Googling Yuwa to see their newest fabric and found the same results..Nothing..
I m a designer and I have purchased many Yuwa Fabrics..the only contact you can really make with them is generally at Spring or Fall Markets...I do have an email address however and perhaps this will be of some help.
Email: etsuko@kowa.com
U.S Distributor: Kowa American Corp
20001 S. Vermont Avenue
Torrence, CA 90502
If you want to read more about the fabric line generating these questions -http://www.antiquequiltdating.com/Fabrics_&_Dyes.html and click on Reminiscence
Piece,
Kim
Patty writes "I was Googling Yuwa to see their newest fabric and found the same results..Nothing..
I m a designer and I have purchased many Yuwa Fabrics..the only contact you can really make with them is generally at Spring or Fall Markets...I do have an email address however and perhaps this will be of some help.
Email: etsuko@kowa.com
U.S Distributor: Kowa American Corp
20001 S. Vermont Avenue
Torrence, CA 90502
If you want to read more about the fabric line generating these questions -http://www.antiquequiltdating.com/Fabrics_&_Dyes.html and click on Reminiscence
Piece,
Kim
Saturday, March 15, 2008
Ricky Tims, art quilter, on TV News
The CBS News Sunday Morning program with Charles Osgood will be featuring a segment on quilting. It is scheduled to air this Sunday, March 16, 2008. Be sure to check your local listings for exact times. In CA it's on in the morning from 7AM to 8.
CBS News Sunday Morning features beautifully produced, personal human interest profiles. A portion of the program will feature the International Quilt Festival in Houston and a portion of the story will focus on Ricky Tims, his quilting and his music. All quilters and quilt industry professionals are urged to immediately notify friends, family, and quilters they know. Forward this message and use any other means possible to spread the word.
We also understand that the CBS news website will feature the profile on their website after the show airs so international people will have the opportunity to see it too.
Here is the link for the upcoming CBS News Sunday Morning:
http://www.cbsnews.com/stories/1998/07/09/sunday/main13562.shtml
CBS News Sunday Morning features beautifully produced, personal human interest profiles. A portion of the program will feature the International Quilt Festival in Houston and a portion of the story will focus on Ricky Tims, his quilting and his music. All quilters and quilt industry professionals are urged to immediately notify friends, family, and quilters they know. Forward this message and use any other means possible to spread the word.
We also understand that the CBS news website will feature the profile on their website after the show airs so international people will have the opportunity to see it too.
Here is the link for the upcoming CBS News Sunday Morning:
http://www.cbsnews.com/stories/1998/07/09/sunday/main13562.shtml
Wednesday, February 27, 2008
Japan's Early Quilts - Futonji
I have not blogged in so long I am feeling guilty! But it is for a good reason, which I will announce soon, but suffice it to say I have a editorial deadline to meet.
A friend just sent me a link to the Nine-Patch News AOL newsletter of May 4, 2002 about quilts in Japan. I used to write a semi-monthly article for them about quilt history. They were one of the first online newsletters for quilters, but sadly, due to AOL's restrictions, ended a few years back. Some of my contributions were pretty good and this one seems to be filled with little known info, so I am passing it along in lieu of writing a new blog entry.
Enjoy! And stay in touch by posting comments on my blog. All of you who have, keep me going. And I'm still standing when I piece by machine, your posts were insightful!! More to come on that subject.
NEW PATHWAYS into QUILT HISTORY:
by Quilt Historian Kim Wulfert, Ph.D.
Antique quilts...in Japan? Most of us think of silk instead of cotton when we think of old or antique Japanese textiles, and Kimonos (thing-ki = to wear=mono), not quilts. Silk was not used by the common classes. The rural or common men and women used cotton, hemp, banana leaves, stalks, and other plant fibers to make their clothing and textiles. In fact, they were prohibited by law to wear silk during the Edo era (1600-1868). Country folk continued to use these other fibers through the early modern era (Meiji period) ending in early 20th century. Ai or indigo was a native plant in Japan, and therefore not prized, resulting in the country folk to dye their clothes and bedcovers with it.
Women made most textiles, from fiber to the end product, in the winter months when the fields were not in use. Bast or plant fibers, other than cotton, were not very comfortable against the skin. Cotton was not indigenous to Japan since the plant needs a semitropical climate. The earliest dated cotton textile found in Japan dates to the seventh century, but not until the Edo era was there the ability to grow cotton in Japan.
In 1872 a group of Japanese textile designers and producers (men I assume) made their way to Lyon, France to learn about their methods. Upon return they made their version of the Jacquard loom. Their adoption of other advanced technologies, revolutionized textile production in Japan in the decade to come. So what about the Japanese using cotton, called "momen" and making bedcovers from it? Japanese folk art, called Mingei, is where cotton artifacts in the museum textile world are catalogued. Silk textiles are considered fine art or royal textiles. One has to look outside of many museums to find antique cotton textiles.
In Japan they have museums dedicated to Japanese Folk Art. The closest thing to a quilt was their futon (stuffed mattress) cover, called a futonji. This bedcovering was laid on top of a "kake-buton", like our blanket, and dates back to the early seventeenth century or Edo Era. Just as in early America, they were part of a bride's trousseau. Unlike American's however, the couple used this futonji on their wedding night after which it would only be brought out for use by special guests. Another futonji was made for daily use.
A common technique of dye printing the futonji, "tsutsugaki", would be started in a local dye shop. This method was saved for special occasion textiles such as these covers, ceremonial kimonos and wrapping cloths. The tool used to mark the fabric is similar to a cake decorators frosting tube. First rice-paste resist is placed in a paper tube, with a metal tip end that makes it possible to draw the resist design onto the cloth. After this is dry, the fabric is dyed in one or two colors, with indigo as the background color. The motifs were symbols meaningful to the Japanese spiritually or convey luck and good wishes to the newlyweds. The futonji would be completed at home by the sewing together of various panel widths, usually about 12 to 13 inches, depending on the loom used. The finished size would be around 62" wide by 75" long when dating from the Meiji-Taisho periods, which is just post Civil War to early 20th century (approximately 1868-1912).
Baby wraps were another textile that come under what we think of as quilts. They are rare now and usually originate from the Sannin area of Japan. They were used to wrap the baby in at birth. It is unknown whether or not it was used after that. Two textile panels and tsutsugaki were used, and auspicious symbols, such as a red sun, signifying good health, decorated this ceremonial wrap.
The quilt stitch and quilting is called "sashiko" in Japan. Two layers are held together using a thicker thread, like pearl cotton. Small to medium repetitive geometric or curvilinear designs are the norm. When the item is to be used in cold weather, padding is added. The Tohoku region in northern Japan is known for its sashiko cloth, although this is Japan's quilting method. Today, quilts similarly quilted to those made in America are being made with great artistic creativity and technically masterful skill by Japanese women. They are pieced and appliquéd, use cottons, silks and textured fabrics, and often combine all of these. The ones I have seen are hand quilted, not machine quilted, piecing may be. The amount of quilting is immense and the stitches are tiny, which bring back thoughts of quilts made in the early 19th century.
2002 - 2014 Copyright Kimberly Wulfert, PhD. All rights reserved.
Please contact me for reprint permission at quiltersspirit@antiquequiltdating.com or www.antiquequiltdating.com
If you visit their archived newsletter you will also find an article on Sashiko and a review of Kitty Pippen's "Quilting with Japanese Fabrics" which is one of my favorite books on the subject.
A friend just sent me a link to the Nine-Patch News AOL newsletter of May 4, 2002 about quilts in Japan. I used to write a semi-monthly article for them about quilt history. They were one of the first online newsletters for quilters, but sadly, due to AOL's restrictions, ended a few years back. Some of my contributions were pretty good and this one seems to be filled with little known info, so I am passing it along in lieu of writing a new blog entry.
Enjoy! And stay in touch by posting comments on my blog. All of you who have, keep me going. And I'm still standing when I piece by machine, your posts were insightful!! More to come on that subject.
NEW PATHWAYS into QUILT HISTORY:
by Quilt Historian Kim Wulfert, Ph.D.
Antique quilts...in Japan? Most of us think of silk instead of cotton when we think of old or antique Japanese textiles, and Kimonos (thing-ki = to wear=mono), not quilts. Silk was not used by the common classes. The rural or common men and women used cotton, hemp, banana leaves, stalks, and other plant fibers to make their clothing and textiles. In fact, they were prohibited by law to wear silk during the Edo era (1600-1868). Country folk continued to use these other fibers through the early modern era (Meiji period) ending in early 20th century. Ai or indigo was a native plant in Japan, and therefore not prized, resulting in the country folk to dye their clothes and bedcovers with it.
Women made most textiles, from fiber to the end product, in the winter months when the fields were not in use. Bast or plant fibers, other than cotton, were not very comfortable against the skin. Cotton was not indigenous to Japan since the plant needs a semitropical climate. The earliest dated cotton textile found in Japan dates to the seventh century, but not until the Edo era was there the ability to grow cotton in Japan.
In 1872 a group of Japanese textile designers and producers (men I assume) made their way to Lyon, France to learn about their methods. Upon return they made their version of the Jacquard loom. Their adoption of other advanced technologies, revolutionized textile production in Japan in the decade to come. So what about the Japanese using cotton, called "momen" and making bedcovers from it? Japanese folk art, called Mingei, is where cotton artifacts in the museum textile world are catalogued. Silk textiles are considered fine art or royal textiles. One has to look outside of many museums to find antique cotton textiles.
In Japan they have museums dedicated to Japanese Folk Art. The closest thing to a quilt was their futon (stuffed mattress) cover, called a futonji. This bedcovering was laid on top of a "kake-buton", like our blanket, and dates back to the early seventeenth century or Edo Era. Just as in early America, they were part of a bride's trousseau. Unlike American's however, the couple used this futonji on their wedding night after which it would only be brought out for use by special guests. Another futonji was made for daily use.
A common technique of dye printing the futonji, "tsutsugaki", would be started in a local dye shop. This method was saved for special occasion textiles such as these covers, ceremonial kimonos and wrapping cloths. The tool used to mark the fabric is similar to a cake decorators frosting tube. First rice-paste resist is placed in a paper tube, with a metal tip end that makes it possible to draw the resist design onto the cloth. After this is dry, the fabric is dyed in one or two colors, with indigo as the background color. The motifs were symbols meaningful to the Japanese spiritually or convey luck and good wishes to the newlyweds. The futonji would be completed at home by the sewing together of various panel widths, usually about 12 to 13 inches, depending on the loom used. The finished size would be around 62" wide by 75" long when dating from the Meiji-Taisho periods, which is just post Civil War to early 20th century (approximately 1868-1912).
Baby wraps were another textile that come under what we think of as quilts. They are rare now and usually originate from the Sannin area of Japan. They were used to wrap the baby in at birth. It is unknown whether or not it was used after that. Two textile panels and tsutsugaki were used, and auspicious symbols, such as a red sun, signifying good health, decorated this ceremonial wrap.
The quilt stitch and quilting is called "sashiko" in Japan. Two layers are held together using a thicker thread, like pearl cotton. Small to medium repetitive geometric or curvilinear designs are the norm. When the item is to be used in cold weather, padding is added. The Tohoku region in northern Japan is known for its sashiko cloth, although this is Japan's quilting method. Today, quilts similarly quilted to those made in America are being made with great artistic creativity and technically masterful skill by Japanese women. They are pieced and appliquéd, use cottons, silks and textured fabrics, and often combine all of these. The ones I have seen are hand quilted, not machine quilted, piecing may be. The amount of quilting is immense and the stitches are tiny, which bring back thoughts of quilts made in the early 19th century.
2002 - 2014 Copyright Kimberly Wulfert, PhD. All rights reserved.
Please contact me for reprint permission at quiltersspirit@antiquequiltdating.com or www.antiquequiltdating.com
If you visit their archived newsletter you will also find an article on Sashiko and a review of Kitty Pippen's "Quilting with Japanese Fabrics" which is one of my favorite books on the subject.
Thursday, January 24, 2008
Crazy Quilts and Redwork Embroidery
In America, Redwork embroidering grew out of or along with the Crazy quilt fad in the last decade of the 19th century. Women had not been making quilts as often as they had in former decades, in part because of the loss or injury of so many men who fought in the Civil War. Now many women had to earn money to support their family or run their farm or ranch. If they sewed, they did so out of necessity or for pay and usually it was sewing and repairing clothing. The women-owned quilting cottage industries had not yet begun.
Pieced and appliquéd quilts were still being made in the last quarter as they were necessary; but fancy quilts, with little tiny pieces and lots of quilt stitches was uncommon. Fancy quilts took a long time to make and women still making them often needed to use them for warmth more than beauty. The prevailing message from home decorating magazines was that only the poor and country women have patchwork quilts on their beds anymore. The lady of leisure and affluence prefers store bought bed coverings. And so it was that women of leisure helped progress the art and use of embroidery on quilts in America in the late Victorian period.
Crazy quilts made between 1880 and 1890 are likely to show the most plentiful quantity and quality of embellishments that one could ever imagine. I have seen crazy quilts with three dimensional items, hand sewn and attached to the quilt inside of a patch also surrounded with a great fanfare of stitches. Sometimes a crazy quilt in the high-style is so filled with different stitches and colors of floss, the fabric is hardly noticeable. This heavily elaborated crazy top tells the viewer that this needleworker is very affluent; she has plenty of help around the house which leaves her the time to embroider this much, and extra money to afford to use imported silks, velvets, brocades and damasks. Often what appear to be fabric patches are actually silk ribbons that were quite wide and popular in that day. To view crazy patches before the embroidery has been added, see some of mine here.
Of course embroidery had been a favored form of needlework decorative arts for centuries in Europe and the British Isles. The Royal School of Art Needlework had an exhibit at the Centennial Fair in 1876 in Philadelphia. This world event is credited for opening American women's eyes to other forms of needlework they could learn, which resulted in the American crazy quilt we think of today. It became the fad of the last quarter of the 1800s to use thread, floss or wool in an outline stitch forming an object on muslin or a crazy patch. When a red fiber is used on muslin it is called redwork embroidery.
This was both an easy and an inexpensive way to enjoy needleworking. Not a lot of women were ladies of leisure, but they wanted to make their home linens and bedding more beautiful, and redwork offered that opportunity. Of course other colors of floss could be used in the same embroidered stitching and in fact was, but this is usually not referred to as redwork for short.
This is a bluework quilt that I made using early 20th century blue floss embroidered blocks and 1990s reproduction fabrics.
On a blog from Germany we can see a different way of using red floss for redwork. They incorporate more embroidery stitches than the outline or stem stitch. May 6 2007 post
An American quilter and ephemera collector, Louise Tiemann, has a blog worth checking out for many quilt related ephemera patterns and books, including information on patterns used for redwork designs quiltpapers. Scroll around her site to earlier posts for more patterns used for redwork and on crazy quilts.
A new website that features hundreds of stamping patterns from J.F.Ingalls
1886 catalogue can now be accessed in a number of ways for your use.
Redwork quilts were usually made with sashing and borders, in solid fabrics, not prints. Blue and red were the most popular solids it seems. Women would each make a blocks and together they joined them into a quilt top which they quilted into a friendship quilt. Newspapers and magazine patterns were regularly offered for Redwork. Women could also purchase "penny squares,"around the turn of the century. This was a small square of muslin printed with the outline of a design on it which they could stitch with the red floss included for one penny total.
This is a quilt made with a wide variety of patterns available then. The blocks appear to be larger than penny squares. The quilters could have found these patterns in newspapers or through needlecraft companies.Women shared patterns and copied pictures out of books, as many of these animals look like those seen in coloring books of the day. Her finished quilt does not have sashing between the squares or a colorful border. This quilter wanted all the emphasis to be on her embroidery. The scallop edge with a red binding corresponds to the red outline stitch of each design. (from Sharon's Vintage Fabrics)
If you browse the Crazy styles of quilts in the Quilt Alliance's Quilt Index you will see (be sure to click on the image to enlarge it)the variety of styles that were produced during relatively short, but intense fad of this style; starting right after the 1876 Fair, they are simpler than the high-style, 1880-90-5 which are the most heavily embellished, and then wool, which took over as the more common style after 1900. Cotton and rayon fabrics were also used for crazy style patchwork quilts in the 20th century. The embroidery stitches were usually made in the feather or herringbone stitch with few, if any other embellishments embroidered on it. Whereas on wool patches, women put dates, initials, birds, animals, cities and other information using floss. The wool type with extra embroidery on the patches are sometimes called folk art quilts, quite popular on the antique market these days.
If you know of other redwork embroidery examples that are different from the ones I have pointed out here, share the link with us, won't you?
Piece,
Kim
Pieced and appliquéd quilts were still being made in the last quarter as they were necessary; but fancy quilts, with little tiny pieces and lots of quilt stitches was uncommon. Fancy quilts took a long time to make and women still making them often needed to use them for warmth more than beauty. The prevailing message from home decorating magazines was that only the poor and country women have patchwork quilts on their beds anymore. The lady of leisure and affluence prefers store bought bed coverings. And so it was that women of leisure helped progress the art and use of embroidery on quilts in America in the late Victorian period.
Crazy quilts made between 1880 and 1890 are likely to show the most plentiful quantity and quality of embellishments that one could ever imagine. I have seen crazy quilts with three dimensional items, hand sewn and attached to the quilt inside of a patch also surrounded with a great fanfare of stitches. Sometimes a crazy quilt in the high-style is so filled with different stitches and colors of floss, the fabric is hardly noticeable. This heavily elaborated crazy top tells the viewer that this needleworker is very affluent; she has plenty of help around the house which leaves her the time to embroider this much, and extra money to afford to use imported silks, velvets, brocades and damasks. Often what appear to be fabric patches are actually silk ribbons that were quite wide and popular in that day. To view crazy patches before the embroidery has been added, see some of mine here.
Of course embroidery had been a favored form of needlework decorative arts for centuries in Europe and the British Isles. The Royal School of Art Needlework had an exhibit at the Centennial Fair in 1876 in Philadelphia. This world event is credited for opening American women's eyes to other forms of needlework they could learn, which resulted in the American crazy quilt we think of today. It became the fad of the last quarter of the 1800s to use thread, floss or wool in an outline stitch forming an object on muslin or a crazy patch. When a red fiber is used on muslin it is called redwork embroidery.
This was both an easy and an inexpensive way to enjoy needleworking. Not a lot of women were ladies of leisure, but they wanted to make their home linens and bedding more beautiful, and redwork offered that opportunity. Of course other colors of floss could be used in the same embroidered stitching and in fact was, but this is usually not referred to as redwork for short.
This is a bluework quilt that I made using early 20th century blue floss embroidered blocks and 1990s reproduction fabrics.
On a blog from Germany we can see a different way of using red floss for redwork. They incorporate more embroidery stitches than the outline or stem stitch. May 6 2007 post
An American quilter and ephemera collector, Louise Tiemann, has a blog worth checking out for many quilt related ephemera patterns and books, including information on patterns used for redwork designs quiltpapers. Scroll around her site to earlier posts for more patterns used for redwork and on crazy quilts.
A new website that features hundreds of stamping patterns from J.F.Ingalls
1886 catalogue can now be accessed in a number of ways for your use.
Redwork quilts were usually made with sashing and borders, in solid fabrics, not prints. Blue and red were the most popular solids it seems. Women would each make a blocks and together they joined them into a quilt top which they quilted into a friendship quilt. Newspapers and magazine patterns were regularly offered for Redwork. Women could also purchase "penny squares,"around the turn of the century. This was a small square of muslin printed with the outline of a design on it which they could stitch with the red floss included for one penny total.
This is a quilt made with a wide variety of patterns available then. The blocks appear to be larger than penny squares. The quilters could have found these patterns in newspapers or through needlecraft companies.Women shared patterns and copied pictures out of books, as many of these animals look like those seen in coloring books of the day. Her finished quilt does not have sashing between the squares or a colorful border. This quilter wanted all the emphasis to be on her embroidery. The scallop edge with a red binding corresponds to the red outline stitch of each design. (from Sharon's Vintage Fabrics)
If you browse the Crazy styles of quilts in the Quilt Alliance's Quilt Index you will see (be sure to click on the image to enlarge it)the variety of styles that were produced during relatively short, but intense fad of this style; starting right after the 1876 Fair, they are simpler than the high-style, 1880-90-5 which are the most heavily embellished, and then wool, which took over as the more common style after 1900. Cotton and rayon fabrics were also used for crazy style patchwork quilts in the 20th century. The embroidery stitches were usually made in the feather or herringbone stitch with few, if any other embellishments embroidered on it. Whereas on wool patches, women put dates, initials, birds, animals, cities and other information using floss. The wool type with extra embroidery on the patches are sometimes called folk art quilts, quite popular on the antique market these days.
If you know of other redwork embroidery examples that are different from the ones I have pointed out here, share the link with us, won't you?
Piece,
Kim
Friday, January 18, 2008
Rescue Animals
I know, I know, this isn't about quilts, but what quilter doesn't have a pet or want a pet or love another's pet?? So pitch in, this fundraiser is just asking you to click.
The Animal Rescue Site is having trouble getting enough people to click on it daily to meet their quota of getting free food donated every day to abused and neglected animals. It takes less than a minute (How about 20 seconds) to go to their site and click on the purple box 'fund food for animals' for free. This doesn't cost you a thing. Their corporate sponsors/advertisers use the number of daily visits to donate food to abandoned/neglected animals in exchange for advertising.Here's the web site! Pass it along to people you know. http://www.theanimalrescuesite.com/
I checked this out at Snopes.com, and it's true. Check it for yourself: http://www.snopes.com/inboxer/charity/animalrescue.aspfrom the site below, you can also click to give at five other websites, including breast cancer. This is pretty simple. Please tell ten friends to tell ten today! - - quiltersspirit.blogspot.com Jan. 18, 2008 post.
The Animal Rescue Site is having trouble getting enough people to click on it daily to meet their quota of getting free food donated every day to abused and neglected animals. It takes less than a minute (How about 20 seconds) to go to their site and click on the purple box 'fund food for animals' for free. This doesn't cost you a thing. Their corporate sponsors/advertisers use the number of daily visits to donate food to abandoned/neglected animals in exchange for advertising.Here's the web site! Pass it along to people you know. http://www.theanimalrescuesite.com/
I checked this out at Snopes.com, and it's true. Check it for yourself: http://www.snopes.com/inboxer/charity/animalrescue.aspfrom the site below, you can also click to give at five other websites, including breast cancer. This is pretty simple. Please tell ten friends to tell ten today! - - quiltersspirit.blogspot.com Jan. 18, 2008 post.
Sewing Positions
I recently found a new and formerly unimaginable sewing position that is working very well when sewing bindings onto medium to large sized quilts - I am standing!
I took my Bernina out of it's sunken spot in a sewing table and put it onto a flat large table. I placed it to the right of middle and toward the middle of the width of the table's surface, not near the edge. This makes it impossible to use the knee attachment, but that's not a concern with bindings. An armless chair holds the quilt before it goes into the machine feed and the table holds it as it goes through the machine and out the back. There is no recognizable pull or drag on the quilt resulting from the machine being higher than the table, as I had expected there would be. I stand on one foot next to the chair, with my other foot on the peddle, holding the quilt as usual but standing up I have a better hold on it and I can sew fast and straight much better than when I'm sitting. I zip along with a great view from the top, with my shoulders down, back straight and no fabric stuffed on my lap or over my shoulders. It's more enjoyable to me.
Machine quilters are use to standing up, but it never occurred to me to try this with straight continuous sewing on my home machine.
Piece,
Kim
Maybe I am the only one who hasn't, so I ask you, have you discovered sewing standing up when using your home machine? Do you do piecing this way? I would miss the convenience of the knee attachment and I think my foot would get tried.
Post a comment to let us know yes or no; details or tips are welcome!
I took my Bernina out of it's sunken spot in a sewing table and put it onto a flat large table. I placed it to the right of middle and toward the middle of the width of the table's surface, not near the edge. This makes it impossible to use the knee attachment, but that's not a concern with bindings. An armless chair holds the quilt before it goes into the machine feed and the table holds it as it goes through the machine and out the back. There is no recognizable pull or drag on the quilt resulting from the machine being higher than the table, as I had expected there would be. I stand on one foot next to the chair, with my other foot on the peddle, holding the quilt as usual but standing up I have a better hold on it and I can sew fast and straight much better than when I'm sitting. I zip along with a great view from the top, with my shoulders down, back straight and no fabric stuffed on my lap or over my shoulders. It's more enjoyable to me.
Machine quilters are use to standing up, but it never occurred to me to try this with straight continuous sewing on my home machine.
Piece,
Kim
Maybe I am the only one who hasn't, so I ask you, have you discovered sewing standing up when using your home machine? Do you do piecing this way? I would miss the convenience of the knee attachment and I think my foot would get tried.
Post a comment to let us know yes or no; details or tips are welcome!
Friday, January 11, 2008
Acid Green & Pink Quilts
This is a follow-up to the earlier post about acid green fabric. This is my Robbing Peter to Pay Paul quilt.
It probably dates to the 1880s. This color combination was quite popular then and much less popular in the 1890s, when red, blue, black and white combinations were the most common color combinations in quilts. Why? Synthetic fabric dyes for black and blue were being attempted in various shades starting in the 1880s. Red synthetic dyes began much earlier. Many of the synthetic dyes were not colorfast for nearly two decades.The red were not from the 1870s through to 1920. Why 1920? Because America finally figured out how to make excellent cotton dyes because of WWI, when they were unable to import their dyes from Germany. Proving once again that necessity IS the mother of invention.
Detail photo of this quilt's double pink fabric.
This is my scrap basket quilt. The basket is made with a madder print with a white and brown/black motif, 1870-1890 . Many of the double pinks are lighter in color than the RPtoPP, but they vary. The background of the block is a nice muslin fabric, the green has yellow motifs on it. The yellower center of the quilt is a reflection of the blue dye fading from the green leaving more yellow. The picture quality is so low you can't see the variety of fabrics and true colors. It sings pinks and greens.
It probably dates to the 1880s. This color combination was quite popular then and much less popular in the 1890s, when red, blue, black and white combinations were the most common color combinations in quilts. Why? Synthetic fabric dyes for black and blue were being attempted in various shades starting in the 1880s. Red synthetic dyes began much earlier. Many of the synthetic dyes were not colorfast for nearly two decades.The red were not from the 1870s through to 1920. Why 1920? Because America finally figured out how to make excellent cotton dyes because of WWI, when they were unable to import their dyes from Germany. Proving once again that necessity IS the mother of invention.
Detail photo of this quilt's double pink fabric.
This is my scrap basket quilt. The basket is made with a madder print with a white and brown/black motif, 1870-1890 . Many of the double pinks are lighter in color than the RPtoPP, but they vary. The background of the block is a nice muslin fabric, the green has yellow motifs on it. The yellower center of the quilt is a reflection of the blue dye fading from the green leaving more yellow. The picture quality is so low you can't see the variety of fabrics and true colors. It sings pinks and greens.
Wednesday, January 9, 2008
Quilting Arts TV
There is now an online home for Quilting Arts TV http://www.quiltingartstv.com/ with host Patricia Bolton. I received feedback from John Bolton at Interweave Press (QA Magazine publishers) today, Jan. 10th, saying the station finder will be launched this afternoon. He said the programs have not been delayed and are currently airing in over 300 markets. So let us know what you think by posting your comments!!
For those of you who can't get it in their area (and maybe that's what's going on in LA) they are releasing a CD of all the programs (13) in early Feb..
Click on "Program Notes" on their website menu and you can read an overview of each show. They sound terrific; a technique such as machine quilting, or photo transfer, a viewpoint such as quilting every day, or a theme such as landscape quilts are discussed in a show with a well known teacher in that field.
Click "Projects" and you will get PDF supply lists and instructions for each program and a picture of course.
What an asset this website appears to be for art quilters or those wanting to try it out and learn about it. The magazine Quilt Arts is one of my favorite magazines, in fact, it's the only how-to quilt magazine I now subscribe to besides Quilter's Newsletter which I love and have since the 1970s. I buy other how-to magazines in quilting and various crafts off the shelf on an as desired basis. I've kept boxes of older magazines from QNM, LCPQ, AQS, NQA, QT, TQ, McC, BHG, and some other International ones like France patchwork, Quilt Mania, and Australia's P&Q; they are filed by date, in easy access (thanks to a recent rearrangement of my attic files which placed them close to the entrance that is off my studio- how convenient, if only it weren't so hot or so cold to go in there!). I really enjoy going through old magazines and reading about what was popular when, what was the style of quilting, what was the newest tool, and what exhibits and shows were of interest when. Also, happily, many of the older magazines included history articles, often about an individual quilter who had passed on but left a legacy of family quilts.
Some of you may not know that I had a regular column in Traditional QuiltWorks magazine from 2000 to 2002 called "Quizzing the Quilt Historian." It was a Q&A feature based upon photos sent in from readers. This predated the common use of digital cameras and scanners, so most people sent actual photographs (remember those??) and their quality didn't always publish well in a magazine, which discouraged the publishers. Eventually the magazine was transformed into QuiltWorks Today Magazine by combining two of their magazines and my column was ended then. It was my pleasure to work for them and to date and describe the quilts that people sent to me via photos. Great fun and lots of wonderful quilts are held in private hands.
For those of you who can't get it in their area (and maybe that's what's going on in LA) they are releasing a CD of all the programs (13) in early Feb..
Click on "Program Notes" on their website menu and you can read an overview of each show. They sound terrific; a technique such as machine quilting, or photo transfer, a viewpoint such as quilting every day, or a theme such as landscape quilts are discussed in a show with a well known teacher in that field.
Click "Projects" and you will get PDF supply lists and instructions for each program and a picture of course.
What an asset this website appears to be for art quilters or those wanting to try it out and learn about it. The magazine Quilt Arts is one of my favorite magazines, in fact, it's the only how-to quilt magazine I now subscribe to besides Quilter's Newsletter which I love and have since the 1970s. I buy other how-to magazines in quilting and various crafts off the shelf on an as desired basis. I've kept boxes of older magazines from QNM, LCPQ, AQS, NQA, QT, TQ, McC, BHG, and some other International ones like France patchwork, Quilt Mania, and Australia's P&Q; they are filed by date, in easy access (thanks to a recent rearrangement of my attic files which placed them close to the entrance that is off my studio- how convenient, if only it weren't so hot or so cold to go in there!). I really enjoy going through old magazines and reading about what was popular when, what was the style of quilting, what was the newest tool, and what exhibits and shows were of interest when. Also, happily, many of the older magazines included history articles, often about an individual quilter who had passed on but left a legacy of family quilts.
Some of you may not know that I had a regular column in Traditional QuiltWorks magazine from 2000 to 2002 called "Quizzing the Quilt Historian." It was a Q&A feature based upon photos sent in from readers. This predated the common use of digital cameras and scanners, so most people sent actual photographs (remember those??) and their quality didn't always publish well in a magazine, which discouraged the publishers. Eventually the magazine was transformed into QuiltWorks Today Magazine by combining two of their magazines and my column was ended then. It was my pleasure to work for them and to date and describe the quilts that people sent to me via photos. Great fun and lots of wonderful quilts are held in private hands.
Monday, January 7, 2008
Acid Green Fabric
What do the early 19th century dyers of acid green fabrics and the Mad Hatter have in common? Mercury poisoning, and that's why acid greens are also called poison greens.
Acid greens may have yellow or black or dark brown motifs, or a combo.
I happen to love this color of fabric, but it can appear gaudy to contemporary eyes when placed next to the beautiful fondue printed plaids and serpentine chintz prints in mid-19th century quilts. It's easier on the eyes later in the century when placed next to jewel tone double pinks and dark browns and chocolates. (Did you see project Runway last week? They used Hershey chocolate products and premiums as their 'fabric" for the challenge. Great show! It will be re-run this Wed. before the new show if you missed it)
In fact, acid green prints with pink fabrics were a very popular two-color quilt combo in the 1880s. I have a robbing Peter to pay Paul quilt like this, and a scrap basket pieced blocks quilt in this combo with a rust madder brown for the scraps from this time period. Currently the scrap basket quilt is on a Victorian bed in a local museum, Carpinteria Historical Society Museum. RPtoPP is needing to get out more, he has been packed up for too long. I haven't ever taken him on a teaching trip, and I adopted him in 1993 or so.
Read more about mercury poisoning's interesting past in New York's hat manufacturing business in The Mad Hatter Mercury Mystery, by Peg Van Patten.
Piece,
Kim
Acid greens may have yellow or black or dark brown motifs, or a combo.
I happen to love this color of fabric, but it can appear gaudy to contemporary eyes when placed next to the beautiful fondue printed plaids and serpentine chintz prints in mid-19th century quilts. It's easier on the eyes later in the century when placed next to jewel tone double pinks and dark browns and chocolates. (Did you see project Runway last week? They used Hershey chocolate products and premiums as their 'fabric" for the challenge. Great show! It will be re-run this Wed. before the new show if you missed it)
In fact, acid green prints with pink fabrics were a very popular two-color quilt combo in the 1880s. I have a robbing Peter to pay Paul quilt like this, and a scrap basket pieced blocks quilt in this combo with a rust madder brown for the scraps from this time period. Currently the scrap basket quilt is on a Victorian bed in a local museum, Carpinteria Historical Society Museum. RPtoPP is needing to get out more, he has been packed up for too long. I haven't ever taken him on a teaching trip, and I adopted him in 1993 or so.
Read more about mercury poisoning's interesting past in New York's hat manufacturing business in The Mad Hatter Mercury Mystery, by Peg Van Patten.
Piece,
Kim
Get the word out
If you are affiliated with a quilt related historical place, or a place that has an antique quilt collection in addition to being an historical site, then this would be an online place for you to tell others about it and there is no fee. it is not specific to quilts, but the more info we can get out to the public about quilts the better!
FREE PUBLICITY WEBSITE FOR HISTORICAL ORGANIZATIONS OnThisVerySpot.com is a new website for historical organizations to have free advertising on the Web. The site is the first comprehensive travel guide to historical places throughout the United States and the world, and historical organizations can add themselves to the database for free. The database allows visitors to cross-search their travel destination with their personal interests (i.e., Native American history, literature, famous people), which will produce a list of relevant sites they can visit during their travels. Organizations can add themselves by visiting http://www.OnThisVerySpot.com. For more information, contact Dale Berryhill at dale@onthisveryspot.com or (901) 762-8015.
Tell your friends by sending them to quiltersspirit.blogspot.com and in that way you help me get the word out about my blog too. Thank you!
FREE PUBLICITY WEBSITE FOR HISTORICAL ORGANIZATIONS OnThisVerySpot.com is a new website for historical organizations to have free advertising on the Web. The site is the first comprehensive travel guide to historical places throughout the United States and the world, and historical organizations can add themselves to the database for free. The database allows visitors to cross-search their travel destination with their personal interests (i.e., Native American history, literature, famous people), which will produce a list of relevant sites they can visit during their travels. Organizations can add themselves by visiting http://www.OnThisVerySpot.com. For more information, contact Dale Berryhill at dale@onthisveryspot.com or (901) 762-8015.
Tell your friends by sending them to quiltersspirit.blogspot.com and in that way you help me get the word out about my blog too. Thank you!
Monday, December 31, 2007
Ardis& Robert James; International Quilt Study Center 2008
This couple has given so much to the world of antique quilts, for study and for pleasure. We owe them in large part for the development of the International Quilt Study Center. Many people associated with the University of Nebraska in Lincoln NE have helped bring this org. forth and to every one of them I say a big thank you. The International Quilt Study Center was founded in 1997 when native Nebraskans Ardis and Robert James donated their collection of nearly 950 quilts to the university. It has since become the largest public collection of its kind. It currently holds more than 2,300 quilts, with four major collections that include three other private collector's contributions.Once the James ball got rolling, it become greater and never stopped. What will 2008 bring?
On March 30, 2008 there will be a grand opening celebration of their new Museum, gallery, education and storage building. The glass and brick building, designed by the internationally renowned Robert A.M. Stern Architects of New York. The international study center is dedicated to the research, preservation and display of important quilts from cultures around the world. The $12 million facility is privately funded through contributions to the University of Nebraska Foundation, including a lead gift from the Robert and Ardis James Foundation of Chappaqua, N.Y. In addition to the Ardis and Robert James Collection of antique and contemporary studio art quilts, the collection also includes the Cargo Collection of African American Quilts, and the Jonathan Holstein Collection, which includes the seminal Whitney Collection and an unparalleled group of Pennsylvania Amish quilts. As part of the IQSC grand opening activities on March 30, famed quilter Nancy Crow will lecture on contemporary quilts at 4 p.m. in the Harding Center Auditorium located nearby.
"Uncovering the Quilt"is a newspaper article about how Ardis and Robert James became interested in collecting quilts and building their enormous and gorgeous collection which they have been donating to the International Quilt Study Center in Lincoln, Nebraska.
A current article tells us about their motivation and interest in collecting contemporary ART Quilts the James' have also donated to IQSC. The January 2008 issue of Arts and Antiques contains an article by Suzanne Smith Arney "Stitches Across Borders" with great photos and details about the James' and the art quilt movement.
I suggest you make a 2008 resolution to frequently visit IQSC's web pages http://www.quiltstudy.org/. A Virtual Quilt Gallery will be available at both the IQSC and online at www.quiltstudy.org. It will provide multimedia, interactive experiences for visitors of all ages. Individuals may design a quilt, inspect details of quilts from the thousands of archived images and videotape their own quilt stories on topics including family memories, artistic inspiration, technical challenges and historical facts. These Web-based services will allow visitors to share their experiences via e-mail.
Piece,
Kim
On March 30, 2008 there will be a grand opening celebration of their new Museum, gallery, education and storage building. The glass and brick building, designed by the internationally renowned Robert A.M. Stern Architects of New York. The international study center is dedicated to the research, preservation and display of important quilts from cultures around the world. The $12 million facility is privately funded through contributions to the University of Nebraska Foundation, including a lead gift from the Robert and Ardis James Foundation of Chappaqua, N.Y. In addition to the Ardis and Robert James Collection of antique and contemporary studio art quilts, the collection also includes the Cargo Collection of African American Quilts, and the Jonathan Holstein Collection, which includes the seminal Whitney Collection and an unparalleled group of Pennsylvania Amish quilts. As part of the IQSC grand opening activities on March 30, famed quilter Nancy Crow will lecture on contemporary quilts at 4 p.m. in the Harding Center Auditorium located nearby.
"Uncovering the Quilt"is a newspaper article about how Ardis and Robert James became interested in collecting quilts and building their enormous and gorgeous collection which they have been donating to the International Quilt Study Center in Lincoln, Nebraska.
A current article tells us about their motivation and interest in collecting contemporary ART Quilts the James' have also donated to IQSC. The January 2008 issue of Arts and Antiques contains an article by Suzanne Smith Arney "Stitches Across Borders" with great photos and details about the James' and the art quilt movement.
I suggest you make a 2008 resolution to frequently visit IQSC's web pages http://www.quiltstudy.org/. A Virtual Quilt Gallery will be available at both the IQSC and online at www.quiltstudy.org. It will provide multimedia, interactive experiences for visitors of all ages. Individuals may design a quilt, inspect details of quilts from the thousands of archived images and videotape their own quilt stories on topics including family memories, artistic inspiration, technical challenges and historical facts. These Web-based services will allow visitors to share their experiences via e-mail.
Piece,
Kim
Needled Art Online
First and foremost, HAPPY NEW YEAR to you all! 2008 will be great is my motto for this upcoming year. I can feel it- can you?
Recently I came across some remarkable quilts made in the ART style, not contemporary, but ART. I see a big difference between the two types, and like them both. I can and have made contemporary quilts, but want to push my limits this year by making some art quilts. So in the search for ideas I found these quilts online and will share the links with you.
An online exhibit of about 15 art quilts by acclaimed artists including their thoughts, materials used and a mini-bio.
A patchwork quilt top made of 2"x 2" sampler-style sqs. made by many women. Each block is dedicated to the memory of their friend in beading, Barb Davis. This quilt is made 100% from beads. Barb's work
An exhibit of merkins which quilt artist Linda Gass curated gets my award for the most unique challenge topic, not only of the year, but the entire course of quilt history! Do you know what a merkin is? Linda puts it into the category of intimate apparel
Dee Clements embroiders old hankies with comic-style pictures and words that tell stories.
Arle Skylar-Weinstein used digital photos to make a layered effect on her quilts. Her quilt offers a great deal of variance in topics, colors, and themes.
Remember PBS will start their Art quilt TV program in January. See my Nov. 2007 post for link and more info about it. And see the Houston Quilt Festival post while there for the link to their art quilt exhibit online.
Cheers to a happy quilt filled, historical year for us all.
Piece, Kim
Recently I came across some remarkable quilts made in the ART style, not contemporary, but ART. I see a big difference between the two types, and like them both. I can and have made contemporary quilts, but want to push my limits this year by making some art quilts. So in the search for ideas I found these quilts online and will share the links with you.
An online exhibit of about 15 art quilts by acclaimed artists including their thoughts, materials used and a mini-bio.
A patchwork quilt top made of 2"x 2" sampler-style sqs. made by many women. Each block is dedicated to the memory of their friend in beading, Barb Davis. This quilt is made 100% from beads. Barb's work
An exhibit of merkins which quilt artist Linda Gass curated gets my award for the most unique challenge topic, not only of the year, but the entire course of quilt history! Do you know what a merkin is? Linda puts it into the category of intimate apparel
Dee Clements embroiders old hankies with comic-style pictures and words that tell stories.
Arle Skylar-Weinstein used digital photos to make a layered effect on her quilts. Her quilt offers a great deal of variance in topics, colors, and themes.
Remember PBS will start their Art quilt TV program in January. See my Nov. 2007 post for link and more info about it. And see the Houston Quilt Festival post while there for the link to their art quilt exhibit online.
Cheers to a happy quilt filled, historical year for us all.
Piece, Kim
Suffrage quilts
Chris posted this question after viewing the Lindbergh redwork quilt (See Nov. 2007 for photos)
Have you done any posts or articles about suffrage quilts? WCTU and drunkard's path suffrage quilt? Have you done any posts or articles about suffrage quilts? WCTU and drunkard's path suffrage quilt?
I have casually looked into the use of quilts in women's rights and Temperance movements. WTCU, Women's Christian Temperance Movement, began in the 1870s during the Reconstruction period, after the suffrage movement was well under way. And there was a suffrage movement for the equal rights of African Americans, which culminated in the 15th amendment ratified in 1870, which stated that a man could not be prevented from voting because of their race, color or previous condition of servitude. The feminists were disappointed their rights were not included in this amendment.
Quilts did not seem to play a role within the women's suffrage organization, as in fundraising or raising awareness, however Susan B. Anthony chose to make her first speech at a quilting bee! The suffrage movement began in the 1840's which is somewhat before women were quick to turn their quilt making into fundraisers. In the middle to end of the century more quilts were made to reflect political and social causes and to raise funds, especially for the CW. The women's right to vote came around 1920 and I am not aware of any historical quilt made public that reflects this. I hope someone will post of they know of such quilts!
It's an interesting state of affairs, that women would not turn more to their needle and thread for their own fight. Perhaps it was the very fact that sewing was considered a women's job or role in the 19th century anyway, that made her turn away from engaging in that role to stand on a new ground as a equal and viable citizen.
Signature quilts were made for the WTCU from the beginning to serve as endorsements for the cause. Patchwork quilts were made in the shape of T's, drinking goblets, and the curved drunkard's path block seen in a variety of formations. The White Ribbon was the logo for lack of a better word for WTCU, and so it too was made into a pieced block. Fundraising quilts and "Chapter" quilts were made and signed by regional chapters of the national WTCU starting in the 19th century. I have a very large, approx. 20"x 20" WTCU commemorative handkerchief depicting a map of the US (in orange ink on a white ground) marking all the places Frances E. Willard, the most important leader of the org., spoke for the cause. Around the edges are line drawings of her home and buildings where she spent time.
For more information about a Temperance quilt made near the end of prohibition, see AQSG's journals "Uncoverings 2003" for a paper by Sarah Rose Dangelas, The Cultural significance of the Block Island Woman's Christian Temperance Union Quilt of 1931.
Thank you for your question. Please feel free to post any information you have about this.
Piece, Kim
Tuesday, December 11, 2007
Nancy Crow
I think quilt artist Nancy Crow would wholeheartedly agree with Julia Cameron's words "For many of us, our artists [within our self] have been waiting to speak with us for years....We are spiritual beings and when our spirit grows larger, so must we. There will be no comfortable resting in yesterday's definition of ourselves." WALKING IN THIS WORLD.
Nancy's new book is; CROSSROADS Constructions, Markings and Structures. It is a beautiful book showcasing her latest work showing 25 new quilts, never before seen outside Nancy's studio. This is actually a catalog for a 2008 exhibit which will continue to move about the country. Nancy works in series, and this book covers three series. All of the quilts were created over a two-year span and mark a new direction in Nancy's work, including her experimentation with screen- printing and direct-to-fabric blocking. The quilts are shown in incredible detail. Work-in-progress shots taken inside Nancy's studio, along with excerpts from her private sketchbooks provide unique insight into the life and work of this incredible artist. It was this that I most liked about her 2007 book, NANCY CROW. CROSSROADS cost less than half as much at $22.95, as that one but the photography is just as beautiful and the impact is too. This book shows quilts that are completely different from her earlier quilts, and the other book is a retrospective.
Piece,
Kim
Nancy's new book is; CROSSROADS Constructions, Markings and Structures. It is a beautiful book showcasing her latest work showing 25 new quilts, never before seen outside Nancy's studio. This is actually a catalog for a 2008 exhibit which will continue to move about the country. Nancy works in series, and this book covers three series. All of the quilts were created over a two-year span and mark a new direction in Nancy's work, including her experimentation with screen- printing and direct-to-fabric blocking. The quilts are shown in incredible detail. Work-in-progress shots taken inside Nancy's studio, along with excerpts from her private sketchbooks provide unique insight into the life and work of this incredible artist. It was this that I most liked about her 2007 book, NANCY CROW. CROSSROADS cost less than half as much at $22.95, as that one but the photography is just as beautiful and the impact is too. This book shows quilts that are completely different from her earlier quilts, and the other book is a retrospective.
Piece,
Kim
Wednesday, December 5, 2007
Victorian Gala
Last weekend I was fortunate to be a volunteer at Heritage Square Museum's Victorian Christmas tour. This is an annual event, but my first. It won't be my last.
The Hale House, ca. 1886
Heritage Square is essentially a museum of old and architecturally important structures, mostly houses, moved to a park-like property north of Los Angeles to restore and preserve them. Guided tours are offered, and period furnishings and decorative arts fill many of the rooms. Everything has a story and the docents are very knowledgeable. They love to dress up in costume, hair and all, to partake in period events like this one. They converse frequently about historical events and such, with ease and flair- conversations there are so different then the usual ones going on in southern California!
Being there Saturday evening was like a step back in time, for me, heaven. My clothes were not old, but authentic reproductions. Natalie,(far left) is the creator of my outfit and runs the costuming at the museum with her extensive knowledge and deep felt passion for historical sewing and dressing with authenticity.
Natalie chose a 19th century woman's wool suit and a high neck lace blouse for me to wear.(far right) Denise and Rene are in the center.
Boy did I need it on that cold night. I worked reception and greeted people outside, so when the temp got in the low 50s they gave me a black velvet hooded cape with pink satin lining to wear. Suddenly images of Little Red Riding Hood overtook Victorian lady!
We got to dress upstairs in the Hale house, a high style Victorian. This area is off-limits to tours, but is sometimes used for TV or movie sets. I couldn't wait to see it up there. We were surrounded by gorgeous tester beds, chests, and dressers with big mirrors in three rooms, with movable racks of clothes everywhere you looked. This happenstance scene reminded me of "Little Women."
Used for covers on one of the beds or should I say unnoticed on the bed under all the girl-stuff were quilts from the Civil War era. Had there been time and not so much to move I would have taken full photos of them, but that day will come, I promise you that.
I will tease you with these photos for now-
LeMoyne Star pattern with sashing and cornerstones, ca. 1865 (left)
A srappy Irish Chain pattern, ca. 1840 (above & below)
Here are some more beautiful costumes and the outside of the mid-19th Perry House.
A big thanks to Ken Johnson for use of his photos (the two above and the Hale House at top) and to Heritage Square Museum for their permission to use them here. HSM is open all year long and worth a visit when you are near LA or Pasadena CA.
Monday, December 3, 2007
John Hewson Textile
I have some wonderful news to share with those of you interested in the 18th century printer, John Hewson.
In my research article "The Man of Many Vases: John Hewson Calico Printer," FOLK ART magazine of the American Folk Art Museum, (Fall 2007), I describe the 2005 acquisition of a Hewson printed panel by the Metropolitan Museum of Art, NYC. This textile brings the total number of documented individual panels to 4. (their measurements vary but average around 30" X 30") Previous to the auction, it was in a private collection in NJ. A very exciting find and now you all can see it.
A photo of the Metropolitan Museum of Art's Hewson printed panel is now on their website!
I describe 28 textiles that contain printing by Hewson. They are the only ones known to exist at this time. The article includes several large photos and details of his work, including one quilt never seen publicly and one panel seldom seen before. The first half of the 11 page article is biographical, including new information.
To order the magazine call the museum: 212-265-1040, ext.124. You can view the magazine's article list here FOLK ART. When you join the museum, the magazine is included, so consider that option too.
After viewing the photos, if you realize you have one of these in your closet or if ever see one not listed in the article, let me know!!
Piece,
Kim
In my research article "The Man of Many Vases: John Hewson Calico Printer," FOLK ART magazine of the American Folk Art Museum, (Fall 2007), I describe the 2005 acquisition of a Hewson printed panel by the Metropolitan Museum of Art, NYC. This textile brings the total number of documented individual panels to 4. (their measurements vary but average around 30" X 30") Previous to the auction, it was in a private collection in NJ. A very exciting find and now you all can see it.
A photo of the Metropolitan Museum of Art's Hewson printed panel is now on their website!
I describe 28 textiles that contain printing by Hewson. They are the only ones known to exist at this time. The article includes several large photos and details of his work, including one quilt never seen publicly and one panel seldom seen before. The first half of the 11 page article is biographical, including new information.
To order the magazine call the museum: 212-265-1040, ext.124. You can view the magazine's article list here FOLK ART. When you join the museum, the magazine is included, so consider that option too.
After viewing the photos, if you realize you have one of these in your closet or if ever see one not listed in the article, let me know!!
Piece,
Kim
Sunday, December 2, 2007
Inspiration
Think of what art quilters could do with this image.
Beginning Jan. 2008 "Quilting Arts TV" will be a show on PBS. Patricia Bolton is the host to a long list of big names in the fiber art community. Should be excellent! Check your local listings for times and dates or quiltingarts
Piece,
Kim
Beginning Jan. 2008 "Quilting Arts TV" will be a show on PBS. Patricia Bolton is the host to a long list of big names in the fiber art community. Should be excellent! Check your local listings for times and dates or quiltingarts
Piece,
Kim
Friday, November 30, 2007
Lindbergh Kidnapping in a Redwork Quilt
A rare quilt is viewable online right now, but it's for sale so take a peek while you can. It is a quilt of redwork blocks depicting the kidnapping of the Lindbergh's baby in 1932. There are 20 blocks beginning with an outline stitch of lucky Lindy and the next of his wife Ann. Another block is a depictions of men going up a ladder on the outside of their house, and other original designs telling the story of this famous kidnapping.
This quilt is an example of folk art in the truest sense of the word, no pattern is known, and it was made by an interested anonymous embroiderer and quilter who lived in the county where the trial was held, Hunterdon County NJ. What a piece of Americana this is!
I know the owner of this piece and she has had it in her private collection for a long time. She is a reliable reporter and honest dealer. I am not involved in this sale, just sharing the news of the views with you.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=150190012319
Piece,
Kim
This quilt is an example of folk art in the truest sense of the word, no pattern is known, and it was made by an interested anonymous embroiderer and quilter who lived in the county where the trial was held, Hunterdon County NJ. What a piece of Americana this is!
I know the owner of this piece and she has had it in her private collection for a long time. She is a reliable reporter and honest dealer. I am not involved in this sale, just sharing the news of the views with you.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=150190012319
Piece,
Kim
Wednesday, November 28, 2007
Houston Quilt Festival 2007 & Project Runway
Hurry- only on line until the end of November are 3 videocasts (aka vidcasts) of special quilt exhibits at Houston Quilt Festival;Amish and "English" Quilts, The Quilt of Belonging, and A Sense of Place from SAQA
http://www.quilts.com/fqf07/enVivo/videoClips/videos.html
They are all wonderful. A really nice opportunity for those of us not able to make it in person. Thank you Karey and Bonnie Lyn McCaffery.
There will be more vidcasts on Bonnie's website, bonniemccaffery.com after Dec. 1. In fact Bonnie offers other vidcasts on a regular basis, interviews, how-tos, and events. She is a very good teacher on the vidcast and in person! I enjoyed a lovely dinner with her in Ashville, NC while teaching there last Spring. Esterita Austin was with us too. Her work is recognized by the gorgeous quilts on black grounds with colored stones going up or down stairs and through arched doors. Terry, as she likes to be called, is a trained painter and she uses these principles in her fabric art. Be sure to watch her vidcast with Bonnie that is on Bonnie's website now.
This evening is the 3rd night of Project Runway and from the ads it looks like it will be unique to say the least. Enjoy! I would love to receive your comments afterward.
I think they made the best choice last week, but had that outfit actually worked out as drawn, it would have been a very cool addition to Sara Jessica Parker's line I think.
Later,
Kim
http://www.quilts.com/fqf07/enVivo/videoClips/videos.html
They are all wonderful. A really nice opportunity for those of us not able to make it in person. Thank you Karey and Bonnie Lyn McCaffery.
There will be more vidcasts on Bonnie's website, bonniemccaffery.com after Dec. 1. In fact Bonnie offers other vidcasts on a regular basis, interviews, how-tos, and events. She is a very good teacher on the vidcast and in person! I enjoyed a lovely dinner with her in Ashville, NC while teaching there last Spring. Esterita Austin was with us too. Her work is recognized by the gorgeous quilts on black grounds with colored stones going up or down stairs and through arched doors. Terry, as she likes to be called, is a trained painter and she uses these principles in her fabric art. Be sure to watch her vidcast with Bonnie that is on Bonnie's website now.
This evening is the 3rd night of Project Runway and from the ads it looks like it will be unique to say the least. Enjoy! I would love to receive your comments afterward.
I think they made the best choice last week, but had that outfit actually worked out as drawn, it would have been a very cool addition to Sara Jessica Parker's line I think.
Later,
Kim
Monday, November 19, 2007
Creative lives
"For many of us, our artists [within our self] have been waiting to speak with us for years...We are spiritual beings and when our spirit grows larger; so must we. There will be no comfortable resting in yesterday's definition of ourselves."
Julia Cameron
Walking in this World: The Practical Art of Creativity
How often do you push the limits of your quilt making? When was the last time you read a quilt history book? Do you prefer to use a pattern or make up your own design? Do you prefer to buy a collection of fabric, or pick and chose each piece individually? Are you a traditional quilter who has never taken an art quilt class? Have you ever read a pioneer quilter's biography about her years on the plains and tried, really spent time, imagining living that life yourself? When was the last time you went to an antique quilt exhibit that wasn't part of a quilt show?
When your world seems small, stretch yourself; call out your inner artist or curious historian. Who knows where that will take you.
http://www.youtube.com/watch?v=OnUOJonRcCw
Here you will meet a fearless artist, who will go far in her art, and might even win this competition. Her voice isn't perfect, but her heart and soul are in her art. The quilts we make, just like those made by pioneers, will not be perfect, but they can be a voice for our heart and soul.
Piece,
Kim
Thursday, November 15, 2007
Project Runway's Debut
The first night of season 4 on Project Runway did not disappoint. The cast of 15 seem well suited to a show about designing clothing in cramped quarters with 14 other creative competitors. The dynamics are ripe for some good dialogue and interesting designs.
Even though I liked Simone because of her interest in vintage clothes and antique inspired textiles, I think booting her was the right choice in this first challenge, darn it. Her runner-up, who made the dress that dragged another few dresses behind it, at least could sew well and had good color sense. That dress looked fab from the front.
I am wondering if there have been others changes in the show due to the fact that Tim is no longer employed by the school of Parsons. If you noticed, they have changed their living quarters and design and sewing room, and the first competition was different.
Bluefly.com appears to be a new sponsor, while Tres Somme and L'Oreal continue their sponsorship. Tim looks and acts the same. Heidi is beautiful and perky as always, and not pregnant, currently.
The main judges returned and are well matched to their job now more than before. They are entiwined with it now, they have found their spot in the system and they seem to enjoy it more, in my humble opinion. Throughout the seasons they have made some good points and offered useful criticism, but at times they can be hard and/or blind. There are times when what they think is hip is too far out, and what I think is stunning makes them yawn. Know what I mean? Inviting a new judge for each round is smart; it balances out the group and makes this part of the show less predicatble! Plus I like seeing and hearing from famous designers in the raw, outside of their usual environment, giving their personal opinion. I imagine it means quite a lot to the contestants too, assuming they agree with the opin offered.
BTW, if you haven't heard Seal's new CD, System
, it is terrific! Heidi Klume sings their wedding song with him briefly in a duet. Her voice is pretty, different than her speaking voice, it is soft and probably electronically modified. I find Seal's first CD, Seal
, to be so fantastic, it is unbeatable. His new one, "System," is excellent nonetheless. If you feel like moving, it's dance or exercise music from the first song to the end.
Piece to you and those you sew, design or quilt with!
Kim
Even though I liked Simone because of her interest in vintage clothes and antique inspired textiles, I think booting her was the right choice in this first challenge, darn it. Her runner-up, who made the dress that dragged another few dresses behind it, at least could sew well and had good color sense. That dress looked fab from the front.
I am wondering if there have been others changes in the show due to the fact that Tim is no longer employed by the school of Parsons. If you noticed, they have changed their living quarters and design and sewing room, and the first competition was different.
Bluefly.com appears to be a new sponsor, while Tres Somme and L'Oreal continue their sponsorship. Tim looks and acts the same. Heidi is beautiful and perky as always, and not pregnant, currently.
The main judges returned and are well matched to their job now more than before. They are entiwined with it now, they have found their spot in the system and they seem to enjoy it more, in my humble opinion. Throughout the seasons they have made some good points and offered useful criticism, but at times they can be hard and/or blind. There are times when what they think is hip is too far out, and what I think is stunning makes them yawn. Know what I mean? Inviting a new judge for each round is smart; it balances out the group and makes this part of the show less predicatble! Plus I like seeing and hearing from famous designers in the raw, outside of their usual environment, giving their personal opinion. I imagine it means quite a lot to the contestants too, assuming they agree with the opin offered.
BTW, if you haven't heard Seal's new CD, System
, it is terrific! Heidi Klume sings their wedding song with him briefly in a duet. Her voice is pretty, different than her speaking voice, it is soft and probably electronically modified. I find Seal's first CD, Seal, to be so fantastic, it is unbeatable. His new one, "System," is excellent nonetheless. If you feel like moving, it's dance or exercise music from the first song to the end.Piece to you and those you sew, design or quilt with!
Kim
Wednesday, November 14, 2007
Project Runway
Are you as excited as I am for the new season of Project Runway? It begins tonight!
What I like about this show is that it is honoring sewing and creativity. As quilters, we do this automatically when we tell others about the joys and challenges of quilting, when we exhibit our quilts or give one as a gift. Unless we are a Katie Pasquini-Masopust, or Caryl Bryer Fallert, or Cindy Vermillion Hamilton, we do this in our personal world, our guild, and at our quilt shows. Project Runway, on the other hand, speaks to a national audience and it was the highest rated show ever on Bravo, during last season's series.
Watching the designers work within limitations of time, materials, and colors or themes , I am reminded of quilt challenges. Some of the designers prefer to draw out their idea on paper first, while others prefer to work more spontaneously. Some of them prefer to stay within a certain "look", while others prefer to try new things and challenge themselves to push their own limits. Still sounds like quilters to me. Some designers show Tim what they are made of when they take his opinion into no account whatsoever, while others value Tim's opinion and make the most out of his opinion near the end of their design time.
This season, four of the designers are from Los Angeles: Sweet P, Simone LeBlanc, Kit Pistol, and Rami Kashou, and their ages range from 26 to 46. They all have training and come with a background in designing clothing -- some professionally; others hoping this will be their stepping stone. Simone has caught my eye, as she states that her signature style includes "historical details such as 1920s drop waists or over sized collars, 'there's a timelessness about them and an undercurrent of romanticism, but they're never frilly.' " (LA TIMES, Nov. 11, 2007, P9)
Tim Gunn is so much fun to watch in action. He is like the quilt teacher you both loved and feared and will always remember as the one who brought about a turning point in your creative life. See Tim at a book signing and read a review of his book on style: Tim Gunn, A Guide to Taste, Quality, and Style
For more about Cindy V. Hamilton's quilt making book: "Medallion Quilts, Inspiration and Patterns" Cindy's quilt is also featured on the last page of this month's Quilter's Newsletter magazine.
Katie and Caryl were on the Quilt Channel blog: blog: April 1, 2007
Katie's quilt was featured on PBS' Century of Quilts
What I like about this show is that it is honoring sewing and creativity. As quilters, we do this automatically when we tell others about the joys and challenges of quilting, when we exhibit our quilts or give one as a gift. Unless we are a Katie Pasquini-Masopust, or Caryl Bryer Fallert, or Cindy Vermillion Hamilton, we do this in our personal world, our guild, and at our quilt shows. Project Runway, on the other hand, speaks to a national audience and it was the highest rated show ever on Bravo, during last season's series.
Watching the designers work within limitations of time, materials, and colors or themes , I am reminded of quilt challenges. Some of the designers prefer to draw out their idea on paper first, while others prefer to work more spontaneously. Some of them prefer to stay within a certain "look", while others prefer to try new things and challenge themselves to push their own limits. Still sounds like quilters to me. Some designers show Tim what they are made of when they take his opinion into no account whatsoever, while others value Tim's opinion and make the most out of his opinion near the end of their design time.
This season, four of the designers are from Los Angeles: Sweet P, Simone LeBlanc, Kit Pistol, and Rami Kashou, and their ages range from 26 to 46. They all have training and come with a background in designing clothing -- some professionally; others hoping this will be their stepping stone. Simone has caught my eye, as she states that her signature style includes "historical details such as 1920s drop waists or over sized collars, 'there's a timelessness about them and an undercurrent of romanticism, but they're never frilly.' " (LA TIMES, Nov. 11, 2007, P9)
Tim Gunn is so much fun to watch in action. He is like the quilt teacher you both loved and feared and will always remember as the one who brought about a turning point in your creative life. See Tim at a book signing and read a review of his book on style: Tim Gunn, A Guide to Taste, Quality, and Style
For more about Cindy V. Hamilton's quilt making book: "Medallion Quilts, Inspiration and Patterns" Cindy's quilt is also featured on the last page of this month's Quilter's Newsletter magazine.
Katie and Caryl were on the Quilt Channel blog: blog: April 1, 2007
Katie's quilt was featured on PBS' Century of Quilts
Welcome!
Welcome to my new blog about quilts, anything realted to their manufacture, sewing, fabrics, creativity, and women's lives in the 18-21th centuries that included quilts or sewing. I hope to hear from anyone who visits my Web sites: New Pathways Into Quilt History or
Antique Quilt Dating Guides
We can talk about things that are too brief for a website article but are meaningful and educational nonetheless. Anything goes here if it concerns quilts and quilting -- from antique to art fabric -- of all kinds, regions, time frames, dyes, prints styles, reproduction quilt patterns and styles, or regional differences; even books about such things as reasons women made and still make quilts, from the past to the present -- remember Quilters are always making history!
Your thoughts, opinions, and quilt experiences are welcome here. I also enjoy definitions of terms, quotes of all kinds, and info about people who were important in quilt history but are little known to most of us. They may be living in your hometown or have passed over already, but what they did with quilts mattered, and we will share it here. Furnishings and period details are of great interest to me, especially the fabrics used through the various eras and styles.
When this blog can post pictures, then we will. I understand that it's not working very well right now. I am just getting started, so join in and help it grow and fill the gaps, whatever they may be, in the world of quilt history.
Thank you for visiting. You can sign up to receive notices of postings or book mark it.
Piece,
Kim
Antique Quilt Dating Guides
We can talk about things that are too brief for a website article but are meaningful and educational nonetheless. Anything goes here if it concerns quilts and quilting -- from antique to art fabric -- of all kinds, regions, time frames, dyes, prints styles, reproduction quilt patterns and styles, or regional differences; even books about such things as reasons women made and still make quilts, from the past to the present -- remember Quilters are always making history!
Your thoughts, opinions, and quilt experiences are welcome here. I also enjoy definitions of terms, quotes of all kinds, and info about people who were important in quilt history but are little known to most of us. They may be living in your hometown or have passed over already, but what they did with quilts mattered, and we will share it here. Furnishings and period details are of great interest to me, especially the fabrics used through the various eras and styles.
When this blog can post pictures, then we will. I understand that it's not working very well right now. I am just getting started, so join in and help it grow and fill the gaps, whatever they may be, in the world of quilt history.
Thank you for visiting. You can sign up to receive notices of postings or book mark it.
Piece,
Kim
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