The Clarion (Spring/summer 1986)

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AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City SPRING/SUMMER 1986

THE GREAT AMERICAN QUILT FESTIVAL SPECIAL SOUVENIR ISSUE

AN EXHIBITION OF

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Wool and cotton from Pendleton, Beacon and other companies.

Over 50 examples of blankets, shawls, and children size with graphics inspired by American Indians and Art Deco.

KELTER-MALCr A•N•T-I•Q•U•E•S 161 Bleecker Street / New York City 10014 212-989-6760 IN•GREENWICH•VILLAGE

STEVE MILLER • AMERICAN FOLK ART

WILLIAM MATTHEW PRIOR (1806-1873) 22"x27" Oil On Canvas, painted circa 1840.

17 East 96th Street, New York, New York 10128.(212)348-5219

BY APPOINTMENT ONLY

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Fine pictorial needlework sampler. probably Newburyport. Massachusetts. late 18th earl, 19th centuD. sold at our New York galleries on February I. 1986.

Celebrating Great American Textiles Historic American quilts, samplers and other textiles are included in four auctions of American Folk Art each year at Sotheby's.

For information about buying and selling at Sotheby's, please contact Nancy Druckman at (212)606-7225. Sotheby's, 1334 York Avenue at 72nd Street, New York, N.Y. 10021.

SOTHEBY'S FOUNDED 1744

LAURA ASHLEY HONOURS THE 1986 STATUE OF LIBERTY CENTENNIAL

Eight original quilts inspired by children's drawings will be one of the exciting exhibits at The American Quilt Festival April 24-27, 1986.

QAMERICAN ANTIQUESC,QUILTS 835 MADISON AVENUE, NEW YORK, N.Y. 10021(BETWEEN 69TH AND 70TH STREETS)TELEPHONE 1-800-332-7847

Woven Rug Shown:"Abigail Talcott"(#28-A)

WOODARD WEAVE'Introduces THE TALCOTT COLLECTION for

Abby Aldrich Rockefeller Folk Art CenterTm Catalogue $5.00

The Talcott Family.

Painted by Deborah Goldsmith, 1832.

THE CLARION ErM. w.

A AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City SPRING/SUMMER 1986

Special Souvenir Issue

THE GREAT AMERICAN QUILT FESTIVAL

Spring/Summer 1986

AT THE FESTIVAL SCHEDULE OF EVENTS

40

Elizabeth V. Warren

MUSEUM QUALITY: Quilts in the Collection of the Museum of American Folk Art

42

Didi Barrett

QUILT DEALER TO THE STARS

48

Karla Friedlich

QUILTING TODAY: A Roundup of Contemporary Textile Exhibitions at the Festival

50

Julia Steele

A HAWAIIAN LEGACY

53

Sharon L. Eisenstat

SMALL SENSATIONS

56

FEATURES Juliana Koenig

THE PUBLIC QUILT

66

Patsy Orlofsky and Phyllis Dillon

A CONSERVATION PROFILE

74

Jonathan Holstein

THE WHITNEY AND AFTER ... What's Happened to Quilts

80

DEPARTMENTS BOARD OF TRUSTEES

7

DIRECTOR'S LETTER

13

INDEX TO ADVERTISERS

102

Cover: Commemorative Patriotic Quilt (Details); Mary C. Baxter; Kearny, NJ; 1898: Pieced and appliqued cotton: 76 x 78"; Collection of Museum of American Folk Art, Gift of the Amicus Foundation, Anne Baxter Klee and Museum Trustees. Photo: Carleton Palmer

The Clarion is published three times a year by the Museum of American Folk Art,55 West 53rd St., New York,NY 10019;(212)581-2474. Annual subscription rate for MAFA members is included in membership dues. Copies are mailed to all members. Single copy $4.50. The Clarion, America's Folk Art Magazine,SPRING/SUMMER 1986. Published and copyright 1986 by the Museum of American Folk Art. 55 West 53rd Street, New York, New York 10019. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such materials. Change of Address. Please send both old and new addresses and allow five weeks for change. Advertising. The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects of quality or services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation offolk art and feels it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for The Clarion which illustrate or describe objects that have been exhibited at the Museum within one year of the placing of the advertisement.

5

THE CLARION

Didi Barrett, Editor Faye Eng, Anthony Yee, Art Directors Marilyn Brechner, Advertising Manager Craftsmen Litho,Printers Nassau Typographers, Typesetters

II

AINFERN GALLE HOES ANTIQUES FOLK BOX

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ART TEXTILES

ALBORG

VT

MUSEUM OF AMERICAN FOLK ART

05440

802-796-3285

Administration Dr. Robert Bishop, Director Gerard C. Wertkin, Assistant Director Charles Salamey, Controller Cheryl Hoenemeyer, Accountant Lillian Grossman, Assistant to the Director Jeanne Bornstein, Administrative Assistant Richard Griffin, Clerk Jerry Torrens, Assistant Clerk Collections & Exhibitions Elizabeth Warren, Curator Claire Hartman Schadler, Director ofExhibitions Francine Flynn, Registrar Mary Ann Demos, Associate Curator Joyce Hill, Consulting Research Curator Mary Black, Consulting Curator Joseph Minus, Gallery Assistant Howard Lanser and Joseph D'Agostino, Installations

Graphic floral applique quilt C-1880 with fine stitching and a strong and unusual design. Colors are red, green and orange on a white background.

Departments Didi Barrett, Director ofPublications Carolyn Cohen,Director ofSpecial Events Marie S. DiManno, Director ofMuseum Shops Nancy Dorer, Curator ofEducation Thomas M. Exton, Director ofDevelopment Susan Flamm,Public Relations Director Edith Wise, Librarian Nancy Mead, Museum Shops Coordinator Johle,en Nester, Development Associate Carleton Palmer, StaffPhotographer Charlotte Sonnenblick, Development Associate/Membership Connie Welling, Development Assistant Norbert Wills, Security Head Raymond Scott, Guard Programs Dennis Duke, Director, The Great American Quilt Festival Barbara W. Kaufman, Director, The Folk Art Institute Dr. Marilynn Karp, Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman, New York University Program Coordinator Karla Friedlich, Associate Director, The Great American Quilt Festival Cecilia K. Toth, Jane Walentas, Co-Chairs Friends Committee Lucy Danziger, Susan Klein, Docent Program Consultants Kennetha Stewart, Exhibitions Previews Coordinator Susan Moore,Junior League Liaison

Carved and painted pine horse and sulky pull toy. The horse pulls a yellow clad driver with delightful facial expression.

PLEASE VISIT OUR BOOTH AT THE GREAT AMERICAN QUILT FESTIVAL.

6

Museum Shop Staff Caroline Hohenrath, Sally O'Day, Rita Pollitt, Managers Diane Andlanger, Judi Barrett, Michelle Beshaw, Sheila Carlisle, Elizabeth Cassidy, Rick Conant, Sharon Cortell, Camilla Crist, Anne DeCamp, Jean Dingman, Lucy Fagot, Jennifer Fields, Elli Gordon, Eleanor Katz, Annette Levande, Katie McAuliffe, Nancy Mayer, Janet Moranz, MaryAnne Murphy,Pat Pancer, Marie Poluso, Eleanor Seymour, Myra Shaskan, Caroline Smith, Hunter Thomas, Mary Walmsley, Monica Wellington, Doris Wolfson, Gina Westpy.

MARNA ANDERSON GALLERY

At a new location as of April 1st.

Please call (212)249-8484 for an appointment.

An example of unsurpassed southern folk art. Remarkable in both scale and quality.

Museum of American Folk Art BOARD OF TRUSTEES

Executive Committee Ralph Esmerian President Frances Sirota Martinson, Esq. Executive Vice President Lucy C. Danziger Vice President Karen S. Schuster Secretary George E Shaskan, Jr. Treasurer Judith A. Jedlicka Margery G. Kahn Theodore L. Kesselman Susan Klein

Members Mabel H. Brandon Catherine G. Cahill Karen D. Cohen Barbara Johnson, Esq. Alice M. Kaplan Jana Klauer William I. Leffler Cyril I. Nelson Cynthia V.A. Schaffner Kathryn Steinberg Bonnie Strauss

Maureen Taylor Helene von Damm-Guertler Robert N. Wilson

Howard M. Graff Lewis I. Haber Phyllis Haders Barbara Kaufman Robert Meltzer

George Meyer Paul Oppenheimer Alfred R. Shands, III Hume R. Steyer

Trustees Emeritus Mary Allis Adele Earnest Cordelia Hamilton Herbert W. Hemphill, Jr. Louis C. Jones Jean Lipman

NATIONAL ADVISORY COUNCIL Frances S. Martinson Chairman Mary Black Gray Boone David Davies

7

VERSE AND STILL LIFE SAMPLER

By Mary Ann Stevenson

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silk on linen: 171 / 2x 21 inches signed and dated: 1829 Literature: Ethel Stanwood Bolton and Eva Johnston Coe. AMERICAN SAMPLERS. New York, NY: Dover Publications, Inc., 1973.

Recorded p. 226.

R.H.LOVE GALLERIES,INC. 100-108 EAST OHIO,CHICAGO,IL 60611 312/664-9620

8

PHYLLIS HADERS 158 Water Street, Stonington, Connecticut 06378 (203)535-4403•(203)535-2585

By Appointment

Crib Quilt Grandmother's Flower Garden, circa 1850.

Silk, 32" x

9

ROGER •R•RICCO FRANK •

MARESCA

AMER' CAN 12

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NYC•NY

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We specialize in 18th, 19th and 20th Century American Primitive Art and continue to represent William L. Hawkins.

Request our art video on your letterhead.

By appointment 212•645•2755/212•673•1078

Jesse.1. Aaron(1912-1979), Gainesville,Florida,22"h x 21"w x 4"d wood with plastic eyes.

MARTHAJACKSON Specializing in 19th and Early 20th Century Quilts

"Barn Raising" Log Cabin, Maryland c.1870,72 x 75 inches

Exhibiting: The Great American Quilt Festival New York City, April 24-27,1986

Riverside, Connecticut 06878 (203)637-2152

By Appointment

DAVID A. SCHORSCH tincoli 1037 North Street Greenwich, Conn. 06830 203-869-8797

Carved, painted and decorated pine and cherrywood "Dutch" cupboard, Delaware River Valley, Probably attributable to John or James Ralph, Little Creek Hundred, Delaware; Circa 1820.

Ht. 82 inches, Wd. 541/2 inches, Dp. 19 inches

12

This remarkably well-preserved example is distinguished by its architectural sophistication, fine proportions and superb original painted surface.

Ex-collection: I.G. McDanieI, Beverly Hills, California We are interested in acquiring American painted furniture of this quality.

Letter from the Director Dr. Robert Bishop

"I was pleased to have the opportunity of calling attention to America's rich textile heritage by serving as national chairwoman for The Great American Quilt Festival... An unprecedented number of antique quilt exhibitions and related displays featured magnificent examples from the past. The very best contemporary quilting efforts were also highly visible. Fifty-one prize-winning quilts — one from each state and one from United States territories — were selected by twenty-nine regional and nationaljudges from the Great American Quilt Contest. These winning quilts recorded many of the finest contemporary quilt-making efforts......

The Great American Quilt Contest produced a number of handsomely designed, beautifully crafted quilts. Regional judging led to the preliminary selection of two quilts from each state which were transported to New York for final, national judging. Ultimately a single winner from each state and a winner from United States territories and military possessions were selected.

From these the grand prize winner, "Glorious Lady Freedom:' by Moneca Calvert of Carmichael, California, and

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The Great American Quilt Festival, a Museum of American Folk Art event, sponsored by Scotchgard brand products, in celebration of the Statue of Liberty Centennial, was the most spectacular quilting and textile event of its kind ever held in New York City. The Festival, from April 24 through 27 at the New York City Exhibition Pier consisted of many diverse, component parts. Exhibitions of antique and contemporary quilts, craft classes, workshops, lectures, quilting demonstrations, quilt clinics and a "wearable art" fashion show were among the programs that inspired Honorary National Chairperson Barbara Bush to write in her introduction to the book, All Flags Flying: American Patriotic Quilts as Expression of Liberty, published for the Festival:

Grand prize winning quilt,"Glorious Lady Freedom7 by Moneca Calvert. the first runner up,"Spacious Skies;' by Charlotte Warr-Andersen of Kearns, Utah, were singled out for their remarkable beauty. The two top quilts and the state winners formed the special exhibition "Expressions of Liberty: PrizeWinning Quilts from the Great American Quilt Contest:' presented at The Great American Quilt Festival by Scotchgard brand products.

Several exhibitions were also offered: "Made in USA:' sponsored by J. C. Penney Company, Inc. featuring 20 spectacular quilts from the Museum of American Folk Art's permanent collection, including five Victorian crazy quilts recently donated to the Museum

by Margaret Cavigga;"Continuity and

Change" showcasing 15 outstanding Amish quilts given to the Museum by David Pottinger, William and Dede Wigton and Phyllis Haders; "Small Sensations;' funded by Judi Boisson presenting doll quilts, crib quilts, sewing birds and thimbles; "Quilts Fantastic" — four inventive textiles — two celebrating Hollywood and Broadway and two designed by well-known modern and folk artists; and a special group of quilts made from quilt blocks designed by children in a contest sponsored jointly by Laura Ashley, Inc. and the Museum of American Folk Art. Also on view was the 1000-foot banner, "From Sea to Shining Sea;' a collective work by over 400,000 mem13

C

"Spacious Skies;' by Charlotte Warr-Andersen was runner up in the quilt contest.

bers of the National Needlework Association and "So Proudly We Hair a collection of flag-sized banners stitched by quilt guilds from each ofthe 50 states. Fairfield Processing Corpora-

tion sponsored "So Proudly We Hair as well as the highly popular "Star Spangled Wearable Art" fashion show.

Demonstrations of diverse quilting techniques enabled the visitor to ob-

serve the special skills of Amish needlewomen, Hmong quilt makers, Hawaiian applique artists and the Seminole Indians. As part of a Hawaiian Celebration, Jean Ariyoshi, wife of the Governor of Hawaii, hosted an action-filled gala where some of the most beautiful and rare Hawaiian quilts were exhibited and Hawaiian needlewomen demonstrated their craft.

I would like to take this opportunity to thank everyone who has contributed to the success of The Great American Quilt Festival: Bruce Marsh who originated the idea; the officials of Scotchgard brand products, a division of 3M;and the professional staff at The Museum of American Folk Art who made very special efforts — Dennis Duke, Director of the Festival, Karla Friedlich, Sherlee Seglin and Janey Fire of the Quilt Festival staff have worked tirelessly for many months. Sandy Smith of Sanford L. Smith and Associates has never produced a more beautiful exhibition setting. The success of this great national event will be long remembered. As Barbara Bush so accurately observed, "If ever there were a reason for quilt enthusiasts to celebrate the skills, creativity and craftmanship of the American needlewoman, the time is now ... We salute the remarkable contributions of our artistic heritage by American needlewomen from all generations:' Following is a list of the state winners of The Great American Quilt Contest.

We congratulate them all!

The Great American Quilt Festival Contest Winners Alabama Helen Cargo, Tuscaloosa "Statue of Liberty" (Judge's Choice — David Pottinger) Alaska Judy Hopkins, Anchorage "Centennial" (Judge's Choice — Jeff Gutcheon) 14

Arizona Marla Hattabaugh, Scottsdale "From Nine Patch to the Future" Arkansas Judy Tipton, Little Rock "Immigrant's Hope"

California Moneca Calvert, Carmichael "Glorious Lady Freedom" First-Place Prize Colorado Diann Logan, Denver "Freedom Wreath" (Judge's Choice — Karey Bresenhan)

Connecticut Pat Karambay, Newington "Of Thee I Sing"

Michigan Isolde Sarnecki-DeVries, Ypsilanti "U.S. History 101"

Oregon Victoria T. Crawford, Enterprise "Give Me Your Huddled Masses"

Delaware Iran Lawrence, Newark "Dear Lady"

Minnesota Carol Wagner, Roseville —Freedom to Dream"

Pennsylvania Donna Barnett-Albert, Lancaster "The Symbol of Liberty"

Florida Marilyn Dorwart, Delray Beach "Americana in Applique"

Mississippi Sally Smith, Columbus "An American Portrait"

Rhode Island Barbara W. Barber, Westerly "Hope"

Georgia Barbara Thurman Butler. Marietta "Of Thee! Sing"

Missouri Lea Hillis, Lee's Summit "Lady Liberty"

South Carolina Sandra S. Kuss, Greer "Torches of Liberty"

Hawaii Helen Mary Friend, Honolulu "State of Liberty Centennial Quilt"

Montana Shirley M. Barratt, Kalispell "In God. Liberty & Freedom We Trust"

South Dakota Dawn Amos, Rapid City "Liberty Flight"

Idaho Joyce Stewart, Rexburg "The Melting Pot: Our Heritage"

Nebraska Paulette Peters, Elkhorn "The Promise"

Tennessee Rosie Wade, Franklin "World Peace is the Ultimate Liberty"

Illinois Sidney Allee Miller, Galena "Freedom's Children"

Nevada Julie French, Las Vegas "Liberty"

Texas Anita Murphy, Kountze "Freedom to Dream"

Indiana Mary Kay Horn. Indianapolis "Surrounding Liberty"

New Hampshire Beth Ide. Belmont "My New Country, My New Flag, My New Freedom"

Utah Charlotte Warr-Andersen, Kearns "Spacious Skies" Second-Place Prize

New Jersey Judy B. Dales, Boonton livnp.

"America the Beautiful" (Judge's Choice — Sandi Fox)

Vermont lone Bissonnette, Richford "Peace Piece: Can Liberty Exist Without a Planet?"

New Mexico Carol Meyer, Albuquerque "Liberty: Promise of America"

Virginia Violet S. Larsen, Portsmouth "Celebration for Lady Liberty"

New York Paula Nadelstem, Bronx "Reflections on Grandma's Wall"

Washington Ruth Carol Coombe, Edmonds "Liberty"

North Carolina Jeanne A. Nowakowski, Hendersonville "Sweet Land of Liberty" (Judge's Choice — Bonnie Leman)

West Virginia Hazel Ferrell, Middleboume "American Symbols"

Iowa Marianne Fons. Winterset The Lady Liberty Medallion Quilt" Kansas Suzanne Warren Brown, Arkansas City "0' Beautiful" Kentucky Rebekka Seigel, Owenton "Mothers of Exiles" Louisiana Deborah Sims, Kenner "Miss Liberty" Maryland Y.M. Khin. Bethesda "Miss Liberty: 1886-1986" Maine Hillary Ervin, Waterville "American Bison Spirit Quilt" Massachusetts Carol Anne Grotrian, Quincy "Light of Liberty" (Judge's Choice — Jonathan Holstein)

North Dakota Lillian A. Twanley, Valley City "Focus on Freedom"

Wisconsin Carol E. Butzke, Slinger "Bright Promise" (Judge's Choice — Donna Wilder)

Ohio Julia K. Swan, Cambridge "The Many Faces of Liberty"

Wyoming Donna T. Schnieder, Fort Steele "The Lady"

Oklahoma Mary Kay Boswell, Norman "Essence of Liberty"

American Territories Cathy Patton, APO, NY "Humble Beginnings" 15

Household Products Division/3M 3M Center St. Paul, Minnesota 55144-1000 612/733 1110

April, 1986

3M

Dear Quilt Lovers: The Scotchgard brand products group of 3M takes great pride in presenting the winning quilts from the Great American Quilt Contest and sponsoring the Great American Quilt Festival.

A Museum of American Folk Art event, the Great American Quilt Festival salutes the Statue of Liberty which stands at the doorway to our nation as the dramatic symbol of American freedom and opportunity to millions around the world.

It is most appropriate for this quilt contest and festival to salute The Lady. Quilts are a uniquely American art form which have chronicled significant events in our nation's and individual family histories.

Likewise, the winning quilts from the Great American Quilt Contest will become an important statement of the American spirit of the 1980s, a legacy to be passed on to future generations of Americans.

All of us at 3M would like to salute the thousands of quilters who stitched quilts to honor The Lady. Once you've had an opportunity to see those award-winning quilts, I'm sure you'll agree they are truly beautiful works of art. They are a source of pride to us as the sponsor of the event. We know they will be a source of pride to contemporary quiltmakers who carry on a proud American heritage, and they'll create a stir of pride among all who see the quilts.

We'd like to pay special recognition to Mbneca Calvert of Carmichael, California, and Charlotte Warr-Andersen of Kearns, Utah, who are the grand-prize and second-prize winners of the Great American Quilt Contest, respectively. Their quilts will become the first permanent pieces in the "Scotchgard Collection of Contemporary Quilts" at the Museum of American Folk Art. The quilts will be permanently displayed at the Museum to be enjoyed and appreciated by future generations of Americans.

I hope you'll enjoy your visit to the Great American Quilt Festival.

E.A. Dawson, Vice President Home Products Division/3M

16

ScotchgardBrand FabricProtector salutesthe winnersate "Great. Amer.iccipm gard

fabric Protect°, Repels Dirty, •Greasy Spills eid Water

Congratulations to Moneca Calvert and Charlotte Warr-Andersen, 1st Prize Winner and 2nd Prize Winner of the Great American Quilt contest.

From the proud sponsor of this year's festival.

)3M 1986

3M

00E11131R

101 Park Avenue New York, New York 10178 212 883-1986

UBERTY 1886.1986 •

THE STATUE OF LIBERTY ELLIS ISLAND FOUNDATION, INC William F. May President

The Statue of Liberty — Ellis Island Foundation is proud to be honored by this special salute to the Statue of Liberty's Centennial.

The Great American Quilt Festival is a remarkable combination of American creativity and patriotism.The Museum ofAmerican Folk Art is to be applauded for this special and significant event.

As one of the major activities honoring the 100th birthday of the Statue of Liberty, this national quilt competition and festival is a unique form of tribute.

The Great American Quilt Festival is a magnificent celebration ofan American folk tradition and we know it will inspire many people to reexamine their belief in liberty, freedom and the heritage of this country.

We congratulate you and thank you.

t4i /Le " William F. May President

DEDICATED TO THE RESTORATION AND PRESERVATION OF THE STATUE OF LIBERTY AND ELLIS ISLAND

18

/ 2"x 19th-century game board. Red, green, black, yellow ochre and tan. 231 1933 Peachtree Road, N.E., Atlanta, Georgia 30309, (404) 355-0106 Hours: Monday-Saturday 10 a.m.-4 p.m.

19

EXECUTIVE CHAMBERS HONOLULU

GEORGE R

ARIYOSHI GOVERNOR

MESSAGE FROM GOVERNOR GEORGE R. ARIYOSHI Hawaii is proud to join the Museum of American Folk Art in celebrating the Statue of Liberty Centennial by participating in the Great American Quilt Festival. The heritage of American textiles encompasses the traditions of many cultures, including that of the Hawaiian people. Through the beautiful art form of Hawaiian quilting, cultural and spiritual values are passed down and preserved through generations of Hawaiian families.

Recently, Mealii Kalama--Hawaiian quilter, teacher, and assistant pastor at Kawaiahao Church in Honolulu--was recognized nationally as one of 12 outstanding folk artists, receiving the coveted National Heritage Fellowship from the Folk Arts Program of the National Endowment for the Arts. Mrs. Kalama will be present at the festival to share her talents and experiences.

"The Hawaiian Quilt--A Cherished Tradition," a 30-minute documentary, will premier at the festival. An oral history of quilting in Hawaii, the film was created under the auspices of Hawaii Craftsmen, with primary funding from the National Endowment for the Arts, General Telephone and Electronics Foundation, and the Office of Hawaiian Affairs.

It was this volunteer group of artists which first brought national attention to the art of Hawaiian quilting by nominating Mealii Kalama for the N.E.A. award.

Through the cooperation of the Honolulu Academy of Arts, Bishop Museum, Daughters of Hawaii, and many private collectors, 16 of the finest examples of historic and contemporary Hawaiian quilts will be exhibited. Mrs. Ariyoshi will be sharing a very special Hawaiian quilt which was made for our Queen Liliuokalani. It is unique because it is the only known quilt in existence stuffed with animal hair. Our special style of quilting will be demonstrated by four outstanding quilters: Mealii Kalama, Deborah Kakalia, Gussie Bento, and Hannah Apo. On Friday evening, April 25, Hawaii will highlight the evening reception with an original chant in honor of the Statue of Liberty, as well as a traditional chant of welcome performed by Kau'i Zuttermeister. Throughout the evening, the "spirit of aloha" will pervade with Hawaiian music, food, and special events.

Mrs. Ariyoshi and I fully support efforts to bring the true meaning of Hawaii to people everywhere. Events such as this one are a fine example of working and sharing together--the meaning of our word "kokua."

Many volunteers, state agencies, corporations, and foundations have given generously of their time, energy, enthusiasm, and funding to enable Hawaii to be a significant part of this great event.

Roots of folk art lie in the spirit of the people--a need to express, share ideas, pass on traditional messages, and sometimes fill a utilitarian need. The spirit of the Statue of Liberty embodies the most valued privilege of all--freedom. The human spirit is nurtured and allowed to develop in an atmosphere of respect and love. Everyone working on this project has established a unified effort both in New York and in Hawaii. We join together in thanking the Museum of American Folk Art for giving Hawaii the opportunity to share our cultural heritage through our quilts, music, dance, and above all, to hopefully demonstrate through this experience the true meaning of "aloha."

eor '..(7-ge2t. Ariyoshi

20

Illustrated above: A fine wool bed rug by Hannah Baldwin, Canterbury, Connecticut, 1741.

Who set the auction record for an American Folk Painting?

Christie's.

Who set the auction record for a pair of American decoys?

Christie's.

Who consistently achieves high prices in auctions of American Folk Art? Christie's.

Surprised? You shouldn't be. In 1766 we began a tradition of selling high quality fine and decorative art at auction. In recent years, Christie's has been a leader in the selling of American Folk Art. So, whether you are considering buying or selling at auction, from a single object to an entire collection, Christie's team of American

Folk Art specialists is ready to work for you. We pride ourselves upon personalized service for the novice collector and the connoisseur.

Inquiries concerning upcoming auctions or future consignments may be directed to Leigh Keno, Dean Failey, Jeanne Vibert or John Hays at 212/546-1181.

CHRISTIE'S 21

Officeofthe Mayor CITY OF

NEW YORK _LiMMOI) !fog

171ZIO

rodamation THE GREAT AMERICAN QUILT FESTIVAL, ORGANIZED BY THE MUSEUM OF AMERICAN FOLK ART, IS BEING HELD AT THE NEW YORK CITY EXHIBITION PIER ON THE HUDSON RIVER FROM THE 24TH THROUGH THE 27TH OF APRIL.

FEATURING EXHIBITIONS THAT FOCUS ON THE QUILTING HERITAGE OF AMERICA, THE FESTIVAL INCLUDES THE PRIZEWINNING QUILTS DESIGNED AND EXECUTED FOR THE GREAT AMERICAN QUILT CONTEST, WHICH HONORS THE STATUE OF LIBERTY CENTENNIAL AND ENABLES QUILTERS THROUGHOUT THE LAND TO SHARE THEIR TALENT, CREATIVITY AND SPIRIT WITH GENERATIONS TO COME.

NOW, THEREFORE, I, EDWARD I. KOCH, MAYOR OF THE CITY OF NEW YORK, DO HEREBY PROCLAIM THE WEEK OF APRIL 23-27, 1986, TO BE

"GREAT AMERICAN QUILT FESTIVAL WEEK"

IN NEW YORK CITY, IN RECOGNITION OF THE ROLE OF QUILTS IN CELEBRATING AMERICA'S CULTURAL AND TEXTILE HERITAGE.

IN WITNESS WHEREOF I HAVE HEREUNTO SET MY HAND AND CAUSED THE SEAL OF THE CITY OF NEW YORK TO BE AFFIXED.

EDWARD I. KOCH MAYOR

AMERICAN PRIMITIVE GALLERY Aame Anton (212) 239-1345 Mon.-Fri. 10a.M.-5:30 p.m. or by appt.

242 West 30th St., N.Y., N.Y. 10001

Painted wood flag weathervane.

Unusual wood and iron directionals geared to a dial face to indicate wind direction.

C.1900 Overall height 51 inches

IN ADDITION TO OUR GALLERY OF EARLY AMERICAN FOLK ART WE OFFER COMPLETE SERVICES IN THE DISPLAY AND MOUNTING OF FOLK AND PRIMITIVE SCULPTURE. BASES IN METAL, WOOD AND LUCITE ARE INDIVIDUALLY DESIGNED TO DISPLAY YOUR WORKS OF ART. SERVING DEALERS, COLLECTORS, AND MUSEUMS. WE SHIP NATIONWIDE.

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The Great American Quilt Festival brought together over 100 of our country's finest dealers to display their merchandise as well as share their knowledge.The New York Exhibition Pier No.92 has seen many festivals and exhibitions; however, probably no other event has ever drawn as much national attention or been as colorful. During the festival, eight major exhibitions ranging from a collection ofunique sewing birds to one of America's finest collection of Amish quilts were presented.

Leading lecturers and instructors from all over the country blocked their calendars to be a part ofthis project.

To personally thank every individual who has been a major part of The Great American Quilt Festival would be impossible. However,I would like to express my gratitude to just a few.

Bruce Marsh ofBurson-Marsteller worked diligently with Dr. Robert Bishop to conceptualize this event.

The position of Associate Director ofthe festival was performed by Karla Friedlich who originally came to the Museum of American Folk Art as a volunteer. Her attention to detail and singlehanded responsibility of the more than 20 lectures and 57 workshops — and efforts at assuring that each instructor and lecturer had all oftheir needs met — is gratefully acknowledged.

Every department needs a devoted administrative assistant and Karla and I take off our hats to Sherlee Seglin who spent many of her weekend hours filling the thousands of information requests.

There are really no words to express our gratitude.

Our volunteer department was headed by Jamey Fire who deserves a round ofapplause for the way in which she organized our mailings and volunteer programs.Iknow ofno other institution where the word "volunteer" has meant six hours daily four days a week for the past six months.

Special thanks are also due to Donna Wilder who guided us through the many unexpected situations. What a wonderful friend you have been!

During my travels many individuals have made unselfish contributions: Verna Kuyper, Elaine Zinn,Sandra Duckworth and their entire Hawaiian committee can be proud of the contribution they have made to Hawaii's celebration ofthe American quilter.

Jean Ariyoshi, the First Lady of Hawaii, from our very first meetings gave support and encouragementfor her state's participation.No other individual has so graciously given ofthemselves.

Avery big thank you is due Mrs.Ariyoshifrom the staff ofthe Museum.We are also deeply indebted to Governor Ariyoshi.

Individuals with vision and the ability to assemble a staffto make these dreams come true are rare.

The Museum ofAmerican Folk Art is fortunate to have a Director such as Robert Bishop who has made an invaluable contribution to the vast quilting universe but, more importantly has brought American folk art to greater national attention.

My hope is that each and every participant has realized the contribution quilters and textile enthusiasts have made to our great nation.The success ofthis event is really yours.

Dennis L. Duke Director The Great American Quilt Festival

24

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Crafters across the nation report POLY-FIL products out perform all other brands on the market today. Remember,there is only one POLY-FIL brand and it is made by Fairfield. Ask for it by name, POLY-FIL . . . the heart of American crafts!

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Ames Gallery features American folk art & artifacts.

Concurrent with the changing exhibits, our extensive collection of tramp art, cookware, quilts, contemporary folk painting, and sculpture are always on view.

For current exhibit information, hours, or for an appointment, phone us or write to: Ames Gallery 2661 Cedar Street Berkeley, CA 94708 415 845-4949

AMES•GALLERY

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STELLA RUBIN Quilts and Country Antiques

12300 Glen Road Potomac, MD 20854 (Near Washington,D.C.) By appointment(301)948-4187

26

- Fine quilts bought and sold - Lectures - Exhibits - Appraisals

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Quilts for offices and corporate spaces

Exhibiting at The Great American Quilt Festival April 24-27, 1986 New York, NY

Quilts for city and country settings

12-Z River Hill Road Louisville, KY 40207 (502)897-7566 By appointment.

27

CAVIN-MORRIS Outsider and Tribal Art (212)693-0045

By Appointment

Drawing by David Zeldis

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Felicity Quilts and Patchwork

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Fiftieth Anniversary Family Album —1985

0-1 Custom handmade quilts.

Fine antique quilts.

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Karen F. Berkenfeld 150 West 79 Street N.Y.C. 10024 (212) 799-3321

QUILTS UNLIMITED

Quilts Unlimited is America's largest antique quilt shop specializing in mail order quilts. For this months color photo catalog of over 100 quilts send $5 to: QUILTS UNLIMITED 103 East Washington St.Box 1210 Lewisburg,WV 24901 304-645-6556 A few minutes drive from the Greenbrier Visit our shop at the Homestead Resort Hot Springs,VA 24445 29

EPSTEIN/POWELL 22 Wooster St., New York,N.Y. 10013

By Appointment(212)226-7316

Jesse Aaron Steve Ashby Peter Charlie William Dawson Uncle Jack Dcy Antonio Estevcs Ihmard Finster Clementine Hunter S.L. Jones Justin McCarthy Sister Gertrude Morgan Inez Nathaniel Old Ironsidcs Pry Nellie Mac Rowe Jack Savitsky Mmie Tolliver Luster Willis and others

Victor Joseph Gatto 1890-1965 (pen and ink on paper, 8½x11")

AMISH QUILTS DAVID WHEATCROFT (717) 523-6687 LEWISBURG PENNA.

30

BONNER'S BARN 25 Washington Street Malone, New York 12953 Phone: 518-483-4001 PHOTO BY: ROBIDEAU STUDIOS

The Clokeys By appointment only (914) 635-3959 1 Traver Road,Pleasant Valley, New York 12569

0

Knock on our door...

Wonderful Carved Wooden Folk Sculpture, Probably Southern United States, Early 19th Century, Total Height 62 inches.

A pleasant week-end drive.

Country Furniture, Tools, Folk Art, Etcetera.

Leroy Almon Andrew Block Bruce Brice David Butler Henry Darger Rev. Howard Finster Clementine Hunter O.W."Poppy" Kitchens Popeye Reed Nellie Mae Rowe James "Son Ford" Thomas Mose Tolliver Bill Traylor Fred Webster Chief Willey Luster Willis Estate of Charles Hutson and others

Sr. Gertrude Morgan (1900-1980) "The Throne of God," acrylic, ink on paper, C. 1973, 22" x 28", signed

GASPERI FOLK ART GALLERY 831 St. Peter Street • New Orleans, LA 70116•(504)524-9373

FOLK ART GALLERY 1187 Lexington Avenue, NY, NY 10028 (Between 80th & 81st Streets) (212) 628-5454

Pennsylvania Quilt Circa 1880, 70"x62" Silk, Wool, Velvet 32

The Old & The New 1262 Madison Avenue (90th St.) New York, N.Y. 10128 212-876-5775 Monday-Saturday 10-6

Log Cabin variation quilt, Pennsylvania,c l900, Nantucket Lightship Basket by Patricia Anderson, curly maple frame by John Morgan Baker, bandboxes of vintage papers by Berta Montgomery

SWEET NELLIE

n

OHIO AMISH QUILTS COME FROM THE MID-WEST!

DARWIN D. BEARLEY Antique Quilts specializing in Mid-Western Amish Quilts

Ohio Amish Quilt, Unknown Pattern, cotton, c. 1935,80 x 73.

98 Beck Ave. Akron, Ohio 44302 Ph. 216-376-4965

slides available appointment please

33

For the discriminating collector,

Antique Linens & Clothing

the finest resource for sheets, shams, towels, christening gowns, baby dresses, runners & table cloths. Antique laces & clothing from 1890 to 1950.

Please call or write for brochure or appointment.

ILAINE WILMA TH Home/Office 5715 Sir Galahad Road

Glenn Dale, Maryland 20769 301-464-1567

Wholesale & Retail

THE MARGARET CAVIGGA MILT COLLECTION

8648 MELROSE AVENUE LOS ANGE1 FS,CA 90069 (213)659-3020 34

4* CAMP 100th REGT N.Y.S. VOLS. AT CAMP GLOUCESTER, POINT VA.

Lit

AMERICAN SCHOOL mid-19th century initialed A.M.D I.r. oil on panel 101/2 x16 1/4 inches

WHISTLER GALLERY INC. P.O. Box 362, Basking Ridge, New Jersey 07920

2 0

1

-

7

Sales (wholesale & retail)

6 6

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6

2

Lectures

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Corporate Consultation

*

Appraisals

LAURA FISHER COMPREHENSIVE AND FASCINATING COLLECTIONS OF WELL-PRICED ANTIQUE AMERICAN QUILTS, COVERLETS, TEXTILE FOLK ART, LINENS, PAISLEYS, NEEDLEWORK AND AMERICANA daily noon to 6:00 p.m.: 1050 SECOND AVENUE, GALLERY 57, NEW YORK, N.Y.10022 (212)838-2596 by appointment only: 44 WEST 96TH STREET, SUITE 5A, NEW YORK, N.Y. 10025 (212)866-6033 35

American Folk Art Sidng Gecker 226 West 21st Street New York, NY 10011 (212)929-8769 Appointment Suggested

JOHN SCHOLL 1827 — 1916 Pennsylvania RARE CANDLEHOLDER. Woodcarving with gold, white,green and brown paint.

4%"high, 7"long, 2i4" wide.

We recommend a visit to our gallery for a wide selection of chalkware, slip decorated pottery, fractur, primitive oils and watercolors, woodcarvings and weathervanes.

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At Spirit of America 269 West 4th Street New York City, New York 10014 (212) 645-5020

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Antique Quilts, Folk Art and American Indian Art Amish quilt, circa 1930, Holmes County, Ohio

36

Exhibiting at the Great American Quilt Festival

Do you have these classics?

AMISH QL ILI PATTERNS

PM.1111 Penman II a Rachel I.a

"Rachel and Kenneth Pellman are experts in the folk art ofAmish quilts. They now showcase crib quilts in a unique and charming way."

—Booklist

"An excellent book for the beginner as well as the advanced quiltmaker."

—Quilter's Newsletter Magazine

Beautiful,authoritative, sensitive. A splash of color,a thread of human lives. Beauty among the austere,complexity among the simple.

Wonderful books.Each a classic!

Book Order Form

The Mennonite authors, who live among the Amish,present Amish quilts in relation to the communities where they are made. Full-color photographs show a great variety of quilt designs."

—New York Times

"Quilters and quilt collectors will delight in the fine craftsmanship and variety of quilts made evident through quality photography."

—Best Sellers

Amisi1Q01( Patterns

ill' Kiri T. Moon

"If you need a helpful guide to making small quilts of distinction, an excellent one has just been published."

—The Chattanooga Times

"Striking full-color photographs are teamed here with a respectful but unsentimental text, creating a portrait of Amish life that the author rightly likens to one of their famous folk-art quilts."

—Philadelphia Inquirer

Please send me the following: copies of AMISH CRIB QUILTS (a' $15.95 each (by Rachel and Kenneth 2x 11), 78 color plates, / Pellman,96 pages(81 Deluxe Quality Paperback) copies of AMISH QUILT PATTERNS 4 $10.95 each (by Rachel T. Pellman, patterns for 30 antique Arnish quilts, templates in convenient actual size, 128 pages(8% x II), paper) copies of THE WORLD OF AMISH QUILTS @ $15.95 each (by Rachel and 2x 11), 250 1 Kenneth Pellman, 128 pages(8/ color plates, Deluxe Quality Paperback) copies of MENNONITE QUILTS AND PIECES @,$15.95 each (by Judy Schroeder Tomlonson, set in central Kansas, 96 pages(Ws x 11), 116 color plates, Deluxe Quality Paperback) copies of SMALL AMISH QUILT PATTERNS (a, $10.95 each (by Rachel T. 2x 11), paper) 1 Pellman, 128 pages(8/ copies of WHO ARE THE AMISH? (hardcover)@ $24.95 each copies of WHO ARE THE AMISH? (Deluxe Quality Paperback)(ci $15.95 2 X11), / each (by Merle Good, 128 pages(81 130 color plates) Subtotal.

PA residents add 6% sales tax.

Add 5% Postage and Handling.

TOTAL ENCLOSED. NAME ADDRESS(complete) ZIP CODE STATE CITY Mail this coupon with your check(foreign and Canadian orders must be in the U.S. funds)to Good Books,Intercourse, PA 17534. here: prefer credit card, indicate you (If Visa Master Card Exp Date _) Credit Card #

An American Original.

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The key to Country Home's remarkable success is simple: having discovered a significant shift in the type ofpeople pursuing the American Dream and how they were going about accomplishing it, we started a magazine to provide theinspiration and in-depth information relevant to that pursuit.

Country Home readers are everywhere, including the city. The very concept of'country'is being redefined. lbday it meansa great deal more than heading for the hills and munching granola. Country is a state of mind, a perspective and a lifestyle whose impetus is a yearning and a search for roots.

Educated,discerning and affluent,our readers share a love for all aspects of American country life and an

absolute passion for authenticity. Let there be no mistake: they want the good life and they are prepared to pay for it. They demand quality and insist on substance. As their magazine, we deliver exactly that.

We are proud that our readers spend more than two hours with each issue.Bi-monthly circulation rose dramatically injust eighteen months and effective with the February 1986issue, that figure will increase to 800,000.

Additionally, our newsstand circulation is the highest in the premium magazine category.

Country Home gives you entree into a very exclusive market committed to excellence and those who can afford it. Country Home is the perfect vehicle for you. An American original.

Illustration: The White House (detail), artist unknown Pennsylvania 1855 oil on canvas 12/ 3 4" x 173 / 4" Collection of the Museum of American Folk Art

The White House,on view in the Museum of American Folk Arts traveling exhibition "American Folk Art: Expressions of a New Spirit" T.M.

Better Homes and Gardense Country Home,750 Third Ave., New York, N.Y. 10017, Tel.(212)551-7099

FROM MICKEY MOUSE TO MASTERPIECE EXCEPTIONAL PICTORIAL QUILTS FROM ALL PERIODS

Pieced and appliqued, Pennsylvania c. 1935

KATE AND JOEL KOPP

II

ERICA*

URRAH

WANTED

Baltimore Album Quilt, signed Hannah Foote Baltimore 1850 Both ofthese quilts have been sold prior to publication.

766 MADISON AVENUE • NEW YORK, N. Y. 10021 • 212-535-1930

A LONG ISLAND GALLERY SPECIALIZING IN THE SALE OF FINE ANTIQUE FURNITURE & ART DECOYS & SPORTING COLLECTIBLES ANTIQUES & ESTATES APPRAISED CALL OR WRITE FOR CURRENT CALENDAR OF 1986 SALES HENRY BROGGI AUCTIONEER ISETTE TALPE GALLERY DIRECTOR

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SOUTH BAY AUCTIONS a, i a P

BOX 303 • EAST MORICHES NEW YORK 11940 (516) 878-2909

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THE GREAT AMERICAN QUILT FESTIVAL DAILY CALENDAR OF EVENTS PRE-REGISTRATION AT PIER 92, WEST 52nd STREET AND THE HUDSON RIVER, FOR FASHION SHOW, WORKSHOPS,LECTURES AND THE HAWAIIAN CELEBRATION

THURSDAY, APRIL 24,1986 8:00 a.m.- 9:00 a.m. "LADY LIBERTY" WEARABLE ART FASHION SHOW Donna Wilder: Fairfield Processing The Roosevelt Hotel — The Grand Ballroom*

5:00 p.m.- 6:30 p.m.

FRIDAY, APRIL 25, 1986 WORKSHOPS The Roosevelt Hotel. The Doral Inn*

WORKSHOPS The Roosevelt Hotel*

LECTURES The Roosevelt Hotel*

LECTURES The Doral Inn* 9:00 a.m.-10:30 a.m.

American Quilts: A Historical Perspective Jonathan Holstein

11:00 a.m.-12:00 noon

The Quilt as Art: A Historical Perspective Jan Myers

1:00 p.m.- 2:00 p.m.

The Creative Process: Stepping Stones and Stumbling Blocks Jean Ray Laury

2:30 p.m.- 3:30 p.m.

Contemporary Quilts Maria McCormick Snyder

4:00 p.m.- 5:00 p.m.

Patchwork Designs: Their Use in Clothing Yvonne Porcella

9:00 a.m.-10:00 a.m.

10:30 a.m.-11:30 a.m.

QUILT-MAKING DEMONSTRATION — on the stage Denyse Montegut and Madeleine Appell

Continuous showing

"The Hawaiian Quilt: A Cherished Tradition" Hawaiian Booth #14 Quilts in Women's Lives" Private Viewing Room

2:30 p.m.- 3:30 p.m.

The World of Amish Quilts: A Contemporary View Rachel and Kenneth Pellman

4:00 p.m.- 5:00 p.m.

Who Are the Amish?

Merle Good

EVENTS AT PIER 92* (Pier Hours — 10:00 a.m.-5:00 p.m.)

11:00 a.m.- 1:00 p.m. and 2:00 p.m.- 5:00 p.m.

QUILT-MAKING DEMONSTRATIONS — on the stage AMISH QUILTERS HMONG QUILTERS FILMS

Continuous showing "The Hawaiian Quilt: A Cherished Tradition" Hawaiian Booth #14 Continuous showing

CLINICS

"Quilts in Women's Lives" Private Viewing Room CLINICS

12 noon- 4:00 p.m.

Problem Solving for Quilt-Making MANHATTAN QUILTERS

12 noon- 5:00 p.m.

Problem Solving For Quilt-Making MANHA7TAN QUILTERS

12 noon- 4:00 p.m.

Evaluation and Dating of Antique Quilts Amy Finkel

12 noon- 5:00 p.m.

Evaluation and Dating of Antique Quilts lobe Kelter ofKelter Malce

SILENT AUCTION AT THE PIER Objects on view and bids accepted

12 noon- 5:00 p.m.

Quilt Conservation Pie Galinat

ALL DAY

40

Quilts and the Auction Market Nancy Druckman The Amish and Their Quilts Elizabeth Warren

FILMS Continuous showing

Religion and Superstition in Quiltmaking Barbara Moll

1:00 p.m.- 2:00 p.m.

EVENTS AT PIER 92* (Pier Hours— 10:00 a.m.-10:00 p.m.

12 noon- 4:00 p.m.

PARTY FOR THE EXHIBITORS Given by "Art & Antiques" Magazine

10:00 a.m.- 8:00 p.m.

Objects on view and bids accepted

5:00 p.m.- 6:30 p.m.

CLINICS

SILENT AUCTION AT THE PIER 12 noon- 5:00 p.m.

PIER CLOSED TO THE PUBLIC 12 noon- 5:00 p.m.

7:00 p.m.

The First Lady of Hawaii to Receive Guests

Evaluation and Dating of Antique Quilts Susan Parrish

HAWAIIAN CELEBRATION 6:30 p.m.

Problem Solving for Quilt-Making MANHATTAN QUILTERS

12 noon- 5:00 p.m.

Quilt Conservation Patricia Ewer: The Textile Conservation Workshop

Welcoming Address, Cocktails

7:30 p.m.- 9:00 p.m.

Traditional Hawaiian Buffet

8:15 p.m.- 8:45 p.m.

Entertainment

SUNDAY,APRIL 27, 1986 LECTURE SYMPOSIUM Quilts in Women's Lives

SATURDAY, APRIL 26,1986 WORKSHOPS The Roosevelt Hotel, The Doral Inn*

The Roosevelt Hotel*

1:00 p.m.- 1:30 p.m.

Introductory Lecture Dr. Judith Reiter Weissman, Moderator

1:30 p.m.- 2:00 p.m.

LECTURES

Pieces of Lives: The Written Word on 19th Century American Quilts Sandi Fox

The Roosevelt Hotel*

9:00 a.m.-10:00 a.m.

Ideas, Dreams, and Inspirations

2:00 p.m.- 2:30 p.m.

Victorian Crazy Quilts Penny McMorris

Jean Wells

10:30 a.m.-11:30 a.m.

Hmong Pa Ndau Quilting Techniques Carla Hassel

2:30 p.m.- 3:30 p.m.

The Quilting Movement: Past, Present and Future

2:30 p.m.- 2:45 p.m.

3:00 p.m.- 3:30 p.m.

Break Slave Quilts Dr. Gladys-Marie Frye

3:30 p.m.- 4:00 p.m.

Carter Houck

Quiltmaking May Be More Important Than Quilts Erma Kirkpatrick

4:00 p.m.- 5:00 p.m.

Dating A Quilt by Its Fabrics Karev Bresenhan

4:00 p.m.- 4:30 p.m.

My Mother Pieced Quilts Ruth Roberson

3:00 p.m.- 4:00 p.m. "LADY LIBERTY" WEARABLE ART FASHION SHOW Donna Wilder: Fairfield Processing The Grand Ballroom at The Roosevelt*

EVENTS AT PIER 92* (Pier Hours— 10:00 a.m.-6:00 p.m.)

12 noon- 5:00 p.m.

EVENTS AT PIER 92*

1 1:00 a.m.- 1:00 p.m. and

2:00 p.m.- 5:00 p.m.

(Pier Hours— 10:00 a.m.-10:00 p.m.)

SEMINOLE PATCHWORK Ethel Santiago and Margaret Cypress

QUILT-MAKING DEMONSTRATION — on the stage:

HMONG QU1LTERS

HAWAIIAN QU1LTERS

FILMS

FILMS Continuous showing "The Hawaiian Quilt: A Cherished Tradition" Hawaiian Booth #14

Continuous showing "The Hawaiian Quilt: A Cherished Tradition" Hawaiian Booth #14

Continuous showing

LECTURES — in lecture room A Crazy Quilting: Folk Art and Beyond

Quilts in Women's Lives" Private Viewing Room

Continuous showing "Quilts in Women's Lives" 2:00 p.m.-I0:00 p.m. Private Viewing Room

10:30 a.m.-H:30 a.m.

QUILT-MAKING DEMONSTRATION — on the stage

CLINIC 12 noon- 5:00 p.m.

Evaluation and Dating of Antique Quilts Judith and James Milne Booth #12B

Dixie Haywood

12 noon- 2:00 p.m.

The History of Hawaiian Quilts Elizabeth Akana

Quilting Today in Hawaii Mealii Kalama

All programs subject to change *The Roosevelt Hotel is located at Madison Avenue and 45th Street.

The Doral Inn is located at Lexington Avenue and 49th Street.

Pier 92 is located at West 52nd Street and the Hudson River.

41

As curator of the Museum of American Folk Art, the most common questions I hear from the public have to do with quilts."Where are the quilts?" are often the first words spoken by visitors to our gallery. By mail, telephone, and in person, I am deluged by people asking, "How do I care for and display my quilt?" and, most important to them, "What is my quilt worth?" Frequently, the latter question is broached by an owner who has conveniently brought the quilt in question with him in a shopping bag.

Obviously, quilts have become of paramount importance to the lives of many people, as well as to the Museum of American Folk Art. While we have

always prided ourselves on our quilt collection, in the past year this collection has grown in both size and prominence in a way that is most gratifying to those of us who entered the field of American folk art through a love of quilts and who suffer from what I call "incurable quilt disease:' The Museum's exhibitions at The Great American Quilt Festival highlight the directions of our collections, and the extent to which they have grown in the recent past. These exhibits also reveal some of the areas in which we would like to grow in the future.

The quilts in the exhibition "Made in U.S.A:' were selected not only to show the range of the Museum's collection,

MUSEUM QUALITY QUILTS IN THE COLLECTION OF THE MUSEUM OF AMERICAN FOLK ART

by Elizabeth V Warren 42

Left: Central Medallion Quilt; Unknown; Chintz, cotton. and homespun; Circa 1840; 86x92"; Museum of American Folk Art purchase, made possible by the George and Frances Armour Foundation.

Right: Baltimore Album Summer Spread; Unknown; Baltimore, MD; Appliqued cotton; Circa 1850; 109.405"; Gift ofMr. & Mrs. James 0. Keene.

but also to illustrate the incredible variety that is possible with fabric, thread, human hands and imagination.

A number of the earliest bedcovers in the show were given to the Museum by its great friend and trustee, Cyril I. Nelson. The rare Harlequin Medallion pieced quilt, circa 1810-1820, was made of calamanco, a woolen fabric that is similar to the better-known linseywoolsey but with a "checkered" warp and a satiny gloss. Mr. Nelson also donated the white candlewick spread, signed and dated by Sarah E. Stoddard in 1832, and the unique Pieties Quilt, made by Maria Cadman Hubbard in 1848. Ms. Hubbard, aged 79 according to the quilt, stitched a number of pithy homilies into her bedcover with letters constructed of tiny bits of material pieced together. Among the many sayings on the quilt, my favorite advises, "if you can not be a golden pippin don't turn crabapple:' Another bedcover in the exhibition that dates to the first half of the nineteenth century is the beautiful center medallion-style quilt that was recently purchased with funds donated to the Museum by the Armour Foundation.

Early printed cottons and chintzes were used for this quilt, which features pieced work and a center section of "Broderie Perse;' an applique that was cut from an early chintz and then sewn down. The acquisition of this quilt was most gratifying to the curatorial department as it represents an example of a donor working with us to obtain an object that we felt filled a gap in our collection.

In the history of American quiltmaking, the Baltimore Album quilt surely ranks as one of the highlights. These rare textiles were only made during the brief period between 1846 and 1852, and the Museum is indeed fortunate to have an example of this exquisite form of applique work in its collection and in this exhibition, thanks to the generosity of Mr. and Mrs. James 0. Keene.

No one who is attending the Quilt Festival or has received any literature from the Museum in the past year is unaware of our great "flag quilt:' the symbol of and an inspiration for this event. Made by Mary C. Baxter in commemoration of the Spanish-Ameri43

can war,the patriotic spirit expressed by this quiltmaker is echoed in the 52 new quilts that form the "Expressions of Liberty" exhibition and that were created around the theme,"Liberty, Freedom,and the Heritage of America!' We are grateful to the Amicus Foundation, the late Anne Baxter Klee, and the Museum's trustees for making the purchase of this inspiring quilt possible.

The quilts of most recent date in the "Made in U.S.A!'exhibition reflect the colors, materials, and motifs popular in the 1920s and 30s, a period that is just now being examined for its contributions to the. history of American quiltmaking. "Basket of Flowers;' a delightful appliqued pastel pattern on a pristine white background, is one of four quilts made by Elizabeth Schumacher Leece for entry in Missouri State fairs and donated to the Museum by her granddaughter, Mrs. Marian Baer. The Rick-Rack Quilt, literally made of rayon "rick-rack" used in home sewing,is an unusual bedcover that was given to the Museum by the General Foods Corporation. This donation is evidence of how the Museum can work successfully with corporate curators to enrich our collection and supply the corporations with research and other help they may require on their objects.

The Museum is especially proud of its fine collection of Amish quilts. One particularly early Amish Star quilt, the gift of Phyllis Haders, is included in "Made in U.S.A:'Sewn oflarge,jeweltoned pieces of wool and dated circa 1890, this quilt expresses the Amish sensibilities toward color and design that fully bloomed in the early years of the twentieth century.

The range of Amish quiltmaking can be appreciated in our second exhibition at the Festival,"Amish Quilts from the Museum of American Folk Art:' Composed of quilts that were received in major gifts from William and Dede Wigton and from David Pottinger, this exhibition is representative of three major areas of Amish quilting: Lancaster and Mifflin Counties in Pennsylvania, and the Midwest. These collections provide our curatorial staff and research interns unsurpassed opportunities to compare and contrast 44

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Left: Pieced and AppliquĂŠ Quilt; "Feathered Star Within Feathered Touching Stars"; Unknown, initialed ECB; Cotton; Circa 1860; 98x82"; Gift ofCyril!. Nelson.

Right: Commemorative Patriotic Quilt; Mary C. Baxter; Kearny, N.J.; 1898; Pieced and appliqued cotton; 76x78"; Gift of The Amicus Foundation, Anne Baxter Klee, and Museum Trustees.

11:31[E1111131U1

quiltmaking patterns and techniques from different regions.

The Wigton collection, comprised mostly of quilts from Pennsylvania, includes the justly famous Lancaster County patterns such as Diamond in the Square, Bars, Double Nine Patch, and Sunshine and Shadow. Most interesting to our department, however, are the quilts in this collection from the Amish groups in Mifflin County, a quiltmaking area that is still relatively unknown.

While some of the Amish in this region specialize in quilts that are four- or nine-patch variations, others draw on a wider design inventory. Of particular note is the Crazy Patch quilt, made by Leah Zook Hartzler for her sister Lydia Zook's marriage in 1903. The regularity that an Amish woman imposed on what is, by definition, an asymmetrical and irregular pattern, truly demonstrates Amish design sensibility.

The Indiana Amish quilts in this exhibition, part of the collection do-

nated to the Museum by David Potfinger, also illustrate how the Amish adopted patterns from the outside world, yet transformed them and made them their own by selection of color, material, and their own design rules.

The Ocean Waves quilt, for example, which features solid-colored triangular pieces placed against a dark background, is profoundly different from a non-Amish quilt of the same pattern made in the same 1930 time period. The latter would likely combine gailyprinted fabrics in pastel colors with a white or light-colored background.

A third exhibition at the Quilt Festival, "Crazy for Quilts;' represents another new area of collecting and research for the Museum. The five quilts on exhibit are part of a larger group of crazy quilts donated to the Museum by California quilt collector and dealer Margaret Cavigga. Because crazy quilts are often made with especially fragile fabrics such as silks and

45

0103111131ii satins, their condition is frequently too poor to permit us to place them on exhibit. However, because she feels strongly about the need to conserve these textiles and make them available to the public, Mrs. Cavigga has had the foresight and generosity to provide us with the funds that will insure that the quilts she has donated to the Museum are properly cared for and displayed.

Research on these crazy quilts has already begun. Dr. Judith Reiter Weissman, assistant professor in the N.Y.U. Department of Art and Art Education and a quilt historian, has been investigating the many fascinating aspects ofcrazy quilt decoration. Political symbols, motifs from Kate Greenaway books, and flowers in abundance (all with different meanings) are but a few of the many decorative devices that were used by the makers of these quilts in the late nineteenth and early twentieth centuries. The rooster seen in the center of the "Cleveland and

Hendricks" quilt, for example, was once a symbol of the Democratic party.

It is our hope that in the near future we will be able to successfully interpret our crazy quilts, and thereby understand more about the people who made them and the time in which they were made.

While it is indeed gratifying to see such a variety of quilts from the Museum's collection on display at this festival, the exhibitions also point out to those of us on the Museum's staff the areas in which we are lacking. There are, for example, no Mennonite quilts in our collection. Although often as beautiful and well made as Amish quilts, Mennonite quilts are many times overlooked in favor of their more wellknown relatives. There are also a number of Amish patterns that are not represented in our collection. Center Square, for one, is a seminal Lancaster County quilt that we feel is sorely missed in our Amish quilt exhibition.

We have no antique Hawaiian quilts in

>-#••••••••••••.• ...********•••••*• 144.4.4-1,+.4.•,,, 4•4 e

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Left: Double Four Patch Quilt;Sara Hostetler; White Topper Amish of Mifflin County. Pa.: Cotton sateen; Circa 1920; 68x78"; Gift of William and Dede Wigton.

Middle: Center Diamond Quilt; Rebecca Fisher Stoltzfus, Lancaster County, Pa.; 1903; Wool: 77x77'; Gift of William and Dede Wigton.

Right: Ocean Waves Quilt; Anna Yoder, Honeyville, Indiana; 1930; Cotton; 84x80"; Gift of David Porringer.

46

011111E11131511 -;;*-ffiff/ the collection, and only one pictorial appliqué quilt, the well-known Bird of Paradise quilt, that is currently traveling with other selections from the Museum's permanent collection in the exhibition "American Folk Art: Expressions of a New Spirit:' The loan exhibition at this festival, "Small Sensations:' points out both how charming and exciting doll and crib quilts are, and how much we miss them in our own holdings. Furthermore, the fragile nature ofquilts prohibits us from traveling or displaying our quilts too frequently. In cases where we have only one example of a particular kind ofquilt we must limit its exposure and deny the public the opportunity to view it. We are constantly searching, therefore, for new quilts to add to our collection in order to fill the gaps, to upgrade what we already own,and to provide us with enough quilts so that we always have examples available for loans and exhibitions.

In conclusion, I would like to return to the questions raised at the beginning of this article. Where are the quilts? For this four-day festival, they are here.

This is probably a once-in-a-lifetime opportunity to see so many of the Museum's quilts on display at one time.

Unfortunately, space limitations make it difficult for us to display many quilts in our gallery, but we always try to have one or two outstanding examples on view at any one time. Our quilts also travel the world. Through the generosity of JCPenney, "Made in U.S.A:' will travel to the LTV Center in Dallas, Texas, at the close of this festival. In the past year, our Amish quilts have been on display at the 80 Washington Square East Galleries at the Loeb Student Center at New York University and at the Terra Museum of American Art in Evanston, Illinois. This summer, the Amish quilts will tour four cities in Japan. When the Museum's new building on 53rd Street is completed, it is our dream to bring all the quilts home, and to have a comprehensive selection of quilts on view at all times.

Clinics, workshops, and lectures at this festival — as well as an article in this magazine by Patsy Orlofsky of the Textile Conservation Workshop — are devoted to answering the many ques47

i01211:111$1511 tions about quilt care that plague all of us who want the best for our fragile textile treasures. If these, as well as the great number of books and periodicals available about quilts, cannot answer your questions, the curatorial department of the Museum will reply as soon as possible to letters we receive. We would like to request that all inquiries include a photograph of the object (a Polaroid or snapshot will do), and all known information about the quilt: who made it; when; where; what kind of condition it is in; when and where it was obtained. It is against Museum policy to recommend specific restorers or conservators in any field, so please do not ask us.

There are also evaluators available at this festival to give you a general idea of what your quilt is worth. Again, it is against Museum policy for any member of our staff to give you an appraisal. If you are in need of an estimate for your quilt, we suggest that you contact a

local dealer who is knowledgeable about quilts (and who will know the value in your area — prices differ around the country); an auction house that has a track record for selling quilts; or a professional appraiser who has experience evaluating quilts.

Finally, we would like to urge anyone who is interested in donating a quilt to the Museum to contact the curatorial department. A letter, with a photograph enclosed, if possible, will receive our promptest attention. We would like to obtain quilts of all types and ages, both for research and exhibition purposes, and we can promise a good home with the best possible attention paid to your cherished textiles.

Elizabeth V. Warren, Curator of the Museum of American Folk Art, frequently writes and lectures about Amish quilts, and has curated two exhibitions of Amish quilts for the Museum. She is a graduate of the New York University/ Museum of American Folk Art Master of Art degree program in Folk Art Studies.

QUILT DEALER TO THE STARS Crazy Quilt; Unknown;Silk, satin. velvet; Circa 1880; 75x76"; Glft ofMargaret Cavigga.

by Didi Barrett Margaret Cavigga is not shy. "I'm the best quilt dealer in the world'she says, batting her eyelashes in affirmation. "I have something for everyone. And I'll deal — I don't mind people asking for less, as long as they're interested in the quilt, and not in matching wallpaper!'

Part P.T. Barnum and part Scarlett

48

cated, form of needlework, according to Cavigga.

Crazy quilts are not technically "quilts;" the term refers to a textile of three layers quilted together. Crazies are generally only two layers — a top of randomly shaped pieces often embroidered together — and a solid backing.

They are a form of collage — individual pieces were often handpainted, appliqued or heavily embroidered — and were generally executed in a highly abstract design. "There was no pattern or template;' says Cavigga. "What you get is the quiltmalcer's ability to succeed or fail:' Unlike other quilts, crazies were rarely used on beds. Rather, they were displayed on a piano, or in a sitting room where the company was sure to see them. "They are the tinsel town beauties of the quilt world — ostentatious, flashy and flamboyant;' says Cavigga.

It is not, however, for their looks alone that Margaret Cavigga loves crazy quilts. It is also for what they tell about the person who made them.

Crazies are, perhaps, the most personal of quilts — Cavigga calls them "memory quilts:' Indeed, many were sentimental scrapbooks made from pieces of wedding gowns,baby clothes, and hair ribbons. Others were stitched with birth and death dates forming a kind of family record. One given by Cavigga to the Museum is filled with figures from Kate Greenaway books.

At 61 years of age, Margaret Cavigga has been collecting quilts for more than 40 years. She still has her own baby quilt — a blue and white treasure made by her mother and Aunt Margaret, for whom she was named. "Mother thought I was going to be a boy;' she explains. As it was, Margaret did turn out to be a tomboy, an only child who much preferred riding her horse to sewing or knitting.

Collecting, however, was something she learned from her mother, who Cavigga describes as "one of the first antique collectors in our town:' While her mother favored brilliant cut glass, young Margaret preferred things primitive. Her first acquisition, she says, was a dozen dirty old quilts bought from a farmer for $12.50. By the time she

graduated from Louisiana State University, she was already actively buying and selling quilts, but not as a career. A Grand Tour of Europe with a friend, who happened to be Jay Gould's granddaughter, followed graduation. Then came marriage and thirty years of teaching art in the San Fernando Valley.

Cavigga opened her shop across from the blue-tiled Pacific Design Center in 1973.

Today, Cavigga has well over 600 quilts in her collection, along with sewing birds, thimbles, old lace, cigarette silks, and quilting ephemera. The latter includes old letters, journals, photographs and other memorabilia associated with various quilts in her collection. The Cavigga home suggests a rambling Victorian parlor encrusted with opulent gatherings of china, cut glass, bibelots, and — everywhere — crazy quilts. Even when they're on the road the Caviggas take a touch of home with them. "We've become so eccenPhoto: Ralph F. Merlin°

O'Hara, with more than a trace of Poplar Bluff, Missouri still lingering in her voice, Margaret Maddox Cavigga is something of an institution in Southern California. A noted quilt collector, promoter, and dealer — to the stars, among others — she holds forth from a tiny nest of a shop on Los Angeles' chic Melrose Avenue. There,stacked floor to ceiling, are hundreds of pieced and appliqued quilts of various vintages, as well as coverlets, pillows, doilies and lace. Set aside in an armoire are her personal favorites,thejewel-toned crazy quilts — thirteen of which she recently gave as a gift to the Museum of American Folk Art, along with a generous grant to conserve the fragile beauties.

With infinite patience, Cavigga's husband of 35 years, Albert, a retired Hollywood sound and dialogue editor and a former member of the New York Giants football team, folds and unfolds quilts for a steady stream of customers.

Meanwhile, Margaret chats on about how she nearly jumped out of the car window when she saw her first Amish quilt hanging from a clothesline, how another quilt was made from old shirting and given to a young man when he turned 21 years of age, or how yet another is fashioned completely from cigar felts.

Margaret Cavigga does love to talk.

She drops the names of her Hollywood celebrity following as liberally as Hansel and Gretel dropped crumbs: Harrison Ford's wife made a wedding gift of a primitive beauty he'd been admiring; Jessica Lange is partial to flawed and faded quilts from the 1920s; Jane Fonda buys quilts for her children's beds; and Barbra Streisand, who is reportedly decorating a house in "country;' shops, but apparently doesn't buy. When it comes to money, says Cavigga, "She always asks, 'I know what your price is, but what's mine?"

There seems to be no end to the anecdotes Cavigga remembers. She is an unabashed quilt enthusiast. But while she loves them all, there is a special place in her affections for Victorian crazy quilts, the sensuous, freeform pieced textiles so popular around the turn of the century. They are the most creative, if not the most sophisti-

tric;'she says,"we travel with our quilts now. When you stay in hotels you never know what you'll have to sleep under:' And Margaret and Al Cavigga aren't taking any chances.

Didi Barrett is Director of Publications of the Museum of American Folk Art. 49

1011n111 .;

It is our great pleasure to present several exhibitions of fine contemporary quilted textiles at The Great American Quilt Festival. These exhibitions incorporate the work of both professionals and talented amateurs in the quilting field, spanning the spectrum from naively exuberant design and workmanship to beautifully crafted, sophisticated works of fabric art. Together these exhibitions offer an exciting, comprehensive view of the state of the art of quilting today.

The "Quilts Fantastic" are a dazzling group ofquilts commissioned and made especially for The Great American Quilt Festival. Two of these quilts, "Master Visions" and "Folk Fantasies;'

incorporate designs which were graciously donated for this purpose to the Museum of American Folk Art by wellknown contemporary and folk artists.

These designs were translated into fabric, pieced together, and stitched into quilts by members of two quilting guilds from the Metropolitan area.

City Quilters, from Brooklyn, N.Y., created "Master Visions" out of squares designed by John Bader, Keith Haring, Red Grooms, Tom Wesselman, Robert Zakanich, Leo Rabkin, Valerie Jaudon, Ida Applebrog, Alan Kessler, Rodney Ripps, and Baychar.

"Folk Fantasies" is the work of Long Island Quilters, who made this quilt from designs submitted by Theodore

Jeremanko, Malcah Zeldis, Mary Borkowski, the Reverend Richard Cooper, Manuel Quiles, Rose Labrie, Kathy Jakobsen, Helen Salzberg, Emily Lunde, Mattie Lou O'Kelley, and William Hawkins.

In "Tinsel Town Treasures" the signatures of many of Hollywood's most famous stars were worked into a quilt designed by the Orange County Quilters. Margaret Cavigga assisted in collecting these signatures and Mabel H. Brandon and George Kurvey of Rogers and Cowan public relations firm were instrumental in the completion of this unique textile.

The Broadway Show Quilt celebrates the razzmatazz of Broadway shows past

QUILTING TODAY A ROUNDUP OF CONTEMPORARY TEXTILE EXHIBITIONS AT THE FESTIVAL

by Karla Fried lich

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and present. The creation of Lupe Miller and her assistants, Paula Campbell, Rosalee Isaly, Ruth Baez, Robert Porter, Sheila Sussman, Shirley and Charles Delph, and Max Miller, this quilt brings vividly to life scenes from such shows as "Cats!'"Annie Get Your Gun!' "Sunday in the Park with George!' and "The King and I:' The superb workmanship, enthusiasm and time which was devoted to these "Quilts Fantastic" by the artists and quilters is gratefully acknowledged.

The "Workshop Teachers' Collection" is an exciting exhibition highlighting quilts in many instances on display for the first time in the New

York area. This exhibition covers the whole range ofquilting today,from fine examples of traditional techniques to innovative contemporary interpretations in design and color; from traditional bedcovers to wearable art.

Authors, lecturers, and, above all, quilters par excellence, these teachers have expanded the boundaries of quilting in fresh and unique ways. In their hands the craft of quilting truly becomes art.

The National Needlework Association has enlisted the help of people across the nation to create the 1,000 foot quilted banner "From Sea to Shining Sea' This colorful banner is made of three hundred and thirty three three—

foot by three—foot segments depicting important events or significant monuments representing each state. "The banner and quilt festival celebrate the wonderful qualities of needlecrafting" states Mary Colucci, Executive Director of the Association. "Quilting is a needleart technique that reflects our past, tying together the threads of family, history, and the arts!'

Fairfield Processing Corporation, makers of Poly-Fil brand products, is sponsoring "So Proudly We Hail!' a tribute to the history of each state through flags. Each state is represented by a handmade flag — created by an individual or a local quilt guild. The theme for each is liberty and the

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heritage of the state from which they come. This exhibition is on view in the entrance area at the Pier.

In conjunction with The Great American Quilt Festival, Laura Ashley, Inc., sponsored its own quilt contest, the theme being "My State:' This contest was open to children six to ten years of age. The sixteen winning childrens' designs from each participating state have been worked into quilts by leading quilting groups from around the country. Participating states include California, Illinois, Missouri, New York, Ohio, Pennsylvania, Texas, and Washington. These charming quilts, in which Laura Ashley fabrics predomi-

52

nate, are on exhibition in the Laura Ashley, Inc. booth.

The National Peace Quilt (see page 72) was created by the Boise Peace Quilt Project from Idaho out of designs made by children all over the United States. This quilt is currently being sent to each of our nation's senators, with the request that they sleep under the quilt for one night and then record their thoughts in a log book. Copies of a representative sampling of their entries in the log book can be seen with this quilt. The Museum of American Folk Art is the first museum to exhibit the National Peace Quilt before it is placed on permanent display at the Smithso-

nian Institution in Washington, D.C. Finally, we wish to call your attention to the various special quilting demonstrations at The Great American Quilt Festival. Amish women from Lancaster County, Pennsylvania, among women from communities in Indiana and Michigan, and native Hawaiians will be present to demonstrate their wonderfully distinctive quilting techniques.

Karla Friedlich is the Associate Director of The Great American Quilt Festival, former member of the Education Department of the Museum of American Folk Art, and a student in the New York University/Museum of American Folk Art Master's and Ph.D. program in Folk Art Studies.

E:1111111:11131311 og-rf

The majesty of Haleakala, the waterfalls at Hanalei, prickly pineapple, intricate monsterra leaves and historic flags: All have been depicted lovingly, stitch by stitch, by the hands of Hawaiian quilters.

Hawaiian quilts are a unique adaptation of a popular American art form.

Since quilting was introduced by the missionaries in the early nineteenth century, Hawaiian women, and men, have quietly recorded their personal feelings in fabric. Today, these creations serve as elegant storyboards reflecting the historical and spiritual values of the Hawaiian people.

Because of the Islands' warm climate,the Hawaiian people seldom view quilts in purely functional terms.

Rather, quilts to them are works ofart, a medium in which to record the Hawaiian culture for future generations — a tradition Mealii Kalama likes to call "a legacy of love:' Kalama, one of Hawaii's finest quilters, recently received the National Heritage Fellowship from the National Endowment for the Arts Folk Arts

A HAWAIIAN LEGACY

by Julia Steele

Ka U'i0 Maui, meaning "The Beauty ofMaui" is the pattern namefor this quilt in the collection ofthe Honolulu Academy ofArts. It is also known as "The Edge ofthe Rainbow7

Program. "The Hawaiian quilt reflects the love and the soul of the women in Hawaii who quilt:' she says. "It's the 'hidden' part of us that comes out when we quilt and that's why quilting is really a legacy of love — soft, inspiring, promoting togetherness. The Hawaiians made their quilts and gave them to their children and grandchildren saying 'This is us — this is our time, our strength, our wisdom and our love — all in this piece of work'" The uniqueness of the Hawaiian quilt lies in its large symmetrical design, usually of one color, which Hawaiians pa'i (baste) and wi/i (overcaste) on contrasting fabric. This appliqued design, resembling a snowflake, is then basted to a layer of batting and a cloth backing. Kuiki (quilting) is done by hand, 8-12 stitches per inch in rows half-an-inch apart, following the outline of the design. The resulting echo effect is much like the ripple of waves breaking along the Hawaiian shore.

Long before Western traders brought bolts of fabric to the Hawaiian Islands, native women labored to produce 53

'SIPCICILL T

highly valued kapa or bed cloths. Kapa also describes the material from which these coverlets are made, bark of the mulberry tree which is finely beaten and stamped with personalized geometric patterns. Today, Hawaiians still refer to their wonderfully decorated g fabric quilts as kapa.

Popular legend has it that the first 41 Hawaiian quilt design was born on a .6 sunny afternoon when a Hawaiian woman spread her sheets out on the lawn to dry. As dusk approached and the shadows lengthened, a nearby breadfruit tree cast its shadow upon one of the sheets. The woman was so overcome by the sight of this pattern that she cut a likeness of the tree from fabric and sewed it onto a sheet — thus creating a folk art form which remains to this day.

At first glance most of the designs seem to resemble Hawaiian flora and fauna, but their symbolism goes much deeper, inspired by personal feelings for family,for the monarchy and for the natural beauty of the islands.

54

Top, Queen Liliu'okalani's Fans and Kahl made in the late 1800'sfor the Queen. Filled with hair, it is in the collection of Washington Place, the official residence ofthe Governor ofHawaii.

Above, Maile and Ilima, a contemporary quilt designed and made by Mealii Kalama.

"Almost every berry or nut used in a quilting design will have a meanine Kalama says. "For example, the kukui nut means 'light or expansion of daylight' because the nuts were used for light. However, they were also used for food and for decoration — so the kukui has a three-fold meaning. The breadfruit symbolizes nourishment and in Hawaiian is called u/u which means 'to grow'. Thus we say you are growing in wisdom when you are working on an u/u design:' Other quilts such as Ka Ua Loku 0 Hanalei (The Distressing Rain of Hanalei) of Kai Holu 0 Kahului (Rippling Sea of Kahului)take their inspiration from Hawaiian geography; Ku'u Hae Aloha (My Beloved Flag) and Kukui Lumi Hookipa 0Hale Alii (The Living Room Lights of the Palace) take theirs from Hawaii's rich history.

Quilting has traditionally been a private and personal matter for the women of Hawaii. Hawaiians believe that kapa contain the spirit — mana — of the quilter. This may be why many hid their

Photo: Richard J. Tibbetts, Jr.

012X1111111511

quilts from others, fearful that their designs would be stolen; others might have given their quilts ambiguous names, intent upon hiding their real meanings. As knowledgeable elders — kapuna — died, they took this valuable information, sometimes even the quilts, with them to their graves. So the story of Hawaiian quilting which exists today is one which must be painstakingly collected and pieced together. Fortunately, for the past three years, two individuals in Hawaii have done just that.

Elaine Zinn and Richard J. Tibbetts Jr., independent film producers, have recently completed "The Hawaiian Quilt — A Cherished Tradition a thirty-minute film produced for the Hawaii Craftsmen, a non-profit organization of island artists. The documentary, which will have its premiere at The Great American Quilt Festival, is an oral history of quilting as revealed by quitters of different traditions throughout the islands.

It was Zinn who first conceived of

Top. Pikake and Tuberose, made by Hannah Baker. Above, Ku'u Hae Aloha, known as the "Flag Quilt:' Both ofthese are in the collection of the Bishop Museum, Honolulu.

the documentary, for which funding was largely provided by General Telephone and Electronics Foundation, the National Endowment for the Arts, the Office of Hawaiian Affairs, and numerous other foundations and corporations in Hawaii."Many of the great Hawaiian quitters are now in their seventies and eighties, and their recollections are very important to the cultural heritage of Hawaii:' says Zinn. "This is a film that had to be made now — it would be a tragedy if that information were lost:' "The Hawaiian Quilt — A Cherished Tradition" will help Hawaii retain the legacy of a unique art form which helps every part of the islands live a little longer and a little closer together. Quilts represent the past, the present and the future of the Hawaiian people. They portray the wisdom of the kupuna, the beauty of the islands and a legacy of love for generations to come.

Julia Steele is a journalism major at the University of Hawaii.

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011911131511 —;roww

Flying Geese Doll Quilt; Circa last quarter of the 19th 1 2x20"; century; Cotton; 2.5/ Collection of Sharon L. Eisenstat. While this may be considered large for a doll quilt, it is not unusual to find various Victorian doll beds that are twenty eight inches in length.

American Flag Crib Quilt with Forty-Two Stars; Wilton, Wisconsin; Circa 1925; Cotton; 461/2x47"; Collection ofJudi Boisson. Fortytwo stars within the quilted intersecting circles light the field ofthis crib quilt.

SMALL SENSATIONS As part of the continuum in the quilting tradition, "Small Sensations" presents crib and doll quilts made for and by children. These quilts share construction techniques, patterns of design, and effective use of color with their larger, full-sized counterparts. Their manageability, due to their smaller size, especially appeals to collectors. Crib quilts hung alone in a small space or doll quilts displayed en masse on a wall make a vital, graphic statement.

The Amish crib quilts from the collection of Judi Boisson, sponsor of this exhibition, are Midwestern in origin. A liberalization in attitude that accompanied the migration westward is evident in these quilts, especially in the choice of pattern and use of brilliant color. The geometric rather than figural 56

designs, however, follow the Amish tradition of quilt making.

These quilts were made for children, "from the heart, not from a kit;'to quote Judi Boisson. They reflect the Amish sensitivity to childhood; children were allowed to wear colors not represented in the palette of the adult wardrobe. The crib quilts, while for babies' functional use, were made with the adult's eye and the same respect accorded the full-sized quilts. The juxtaposition of vibrant color and the use of black, which gives cohesiveness to the design, results in a three dimensional quality that is ultimately sophisticated. With this black outlining, some quilts are reminiscent in feeling, if not in design, of leaded stained glass windows.

Amish children, literally surrounded

by Sharon L. Eisenstat

from infancy to adulthood with quilted bedcovers, grew up with an intuitive understanding of this Amish quilting tradition. Today many outside the Amish community appreciate these quilts as works of art.

Doll quilts were often made by children, usually young girls, so that they might practice on a smaller scale the skills essential for the later construction of larger quilts. Uneven stitching, including that made by machine, will suggest a child's hand. Doll quilts were sometimes machine pieced and even quilted, and this should not detract from the desirability of a doll guile Young girls needed practice in the use of the sewing machine, the ownership of which was a source of pride in many households.

DET1113110 ,7 0 7 4 -, 41)

Wild Goose Chase Doll Quilt; 1896; Cotton; 4"; Collection of 1 4x25/ 1 17/ Sharon L. Eisenstat. This doll quilt was probably a special Christmas gift; embroidered on the back is the name, Sue Tanger, and the date, December 25, 1896.

Just as quilts themselves were often made up of pieces of recycled cloth, so larger quilts were occasionally cut down to crib or doll size. While these quilts were functional in that they were actually used as bedcovers, collectors usually prefer those that originally were created as doll quilts. The key is not the size of the quilt; there are no arbitrary dimensions to a doll quilt since they were made for individual — and variously sized — dolls and their beds, which often accommodated more than one doll. Rather, the scale of the design is the best clue that a piece was made for a doll. Doll quilts are appreciated for their miniaturization of pattern — whether pieced, appliquéd, or made of a whole cloth minutely quilted in an intricate design.

Orange Peel Doll Quilt;Lancaster County, PA;1886; Cot2x101/4"; Collection of 1 ton; 12/ Evelyn Gleason. "Aunt Emma Bush Made by Grandma Pierson 1886" is written on the back ofthis quilt. The Orange Peel pattern is considered one of the more difficult since the piecing involves curved rather than straight edges. Even more skill and patience was required in this miniaturized version.

Dolls themselves, as well as their furnishings, are part of a child's world.

The dolls from the Anne Baxter Klee collection, "Dolls My Mother Gave Me:' were a gift to the Museum of American Folk Art. Beloved by children of all generations, the homemade cloth "rag dolls" evidence their individual personalities through their expressive hand sewn features. Judi Boisson's featureless Amish dolls reflect an undeniable well-worn charm and complement the Amish crib and doll quilts. These dolls are appreciated today as soft sculpture; the attention to detail in silk stockings used for legs or leather for shoes is an added delight.

Yesterday's children's playthings have indeed become today's collector's toys.

Sewing accessories, often the over-

looked tools so necessary in the cutting and construction of dolls and quilts, are in their own right "sensational smalls!'

Clamps, sewing birds, needle cases, thimbles, pin cushions, scissors, tape measures, and spool holders were not only functional, but are now admired and collected as well-made decorative objects.

Small is a relative term in this exhibit; it refers merely to size, not merit.

The transference of these objects from the child to the adult's world is complete and sensational.

Sharon L. Eisenstat, Guest Curator of the exhibition "Small Sensations' is a student in the New York University/Museum of American Folk Art Master's and Ph.D. program in Folk Art Studies.

57

The color and the excitement of one of the year's major events has been captured in a handsome, color-filled new book. ALL FLAGS FLYING is the official record of The Great American Quilt Contest and Festival, a Museum of American Folk Art Event presented by 3M/Scotchgard® Products in honor of the

Statue of Liberty Centennial.* Quiltmakers across the country were invited to create quilts on the theme,"Liberty, Freedom, and American Heritage."

The best entry from each state was chosen for the Festival; all are illustrated in color in this book. Also included are more than 50 historic quilts on patriotic themes, selected and

introduced by Carter Houck to illustrate the diversity and vitality of this rich tradition in American quiltmaking. Brilliantly designed and superbly crafted, these quilts provide a vivid demonstration of the pride felt by generations of American needlewomen in their—and our—land of liberty.

All 1,4esFLYIRIC THE NEATAMERICAN WILTCONTESTANDFESTIVAL RobertBishop and Carter

Houck

Oversize format, with more than 100 full-color illustrations, $25.95 cloth; $15.95 paper

DUTTON 2 Park Avenue, New York, New York 10016

JANUARY1006

rXt:QUILTERSAai1 ISSUE 178 82 00

(7a, To honor the Museum of American Folk Art event, The Great American Quilt Festival celebrating the Statue of Liberty Centennial, we started 1986 off right with the first publication ofthe historic work, the Liberty Centennial Quilt. You can read its fascinating story in our January issue.

Let us get your new year off to a good start, too, with a subscription to Quitter's Newsletter Magazine. Since 1969 we have been the premier reference source for quilt collectors, quilt makers, and quilt lovers. You'll be delighted with the discovery of pleasure, inspiration, and information to be found in its pages. We guarantee it: LOVE IT! or your money back.

January issue, $2.00($1.00 p/h) ONE YEAR SUBSCRIPTION,$13.95 Published ten times yearly.

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Tsk American Quilter's Society * National AQS Quilt Show With Over $25,000 Cash Awards * Free Admission To The Annual AQS Show * 1 Year Subscription To The American QuiIter a member of the C.] Yes, I want to become * Quilting Books At A American Quilter's Society. $15.00 Discount (#2501) 1 Year Membership $27.00 MembershiP * Membership Pin Ci (#2502) 2 Year $40.00 (#2503) 3 Year Membership * Membership Card for (Add $5.00 per year * Quilts For Sale Program handling.) foreign postage & * Your Own Contemporary Method of Payment Quilt Museum In The Enclosed Near Future Check or Money Order Charge My: CI VISA

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MAINSTREETANTIQUES AND ART Colleen and Louis Picek

Folk Art and Country Americana 110 West Main,Box 340 (319)643-2065 West Branch,Iowa 52358 On Interstate80 Send a self-addressed stamped envelope for our monthly Folk Art and Americana price list At right: Two early 20th Centuryfolk art dolls

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AUCTION Saturday, May 3, 1:00 p.m. precisely

American Carousel Art From The John and Mable Ringling Museum Of Art EXHIBITION Opens Saturday, April 26 Through Friday, May 2 Catalogue: $10.00 ($12.00 by mail) For Further information please contact Eric Alberta (212) 570-4830 406 East 79th Street New York, NY 10021

We accurately reproduce decorated furniture in the folk art tradition, such as this small MASSACHUSETTS CHEST OVER DRAWERS, the great PENNSYLVANIA GERMAN CLOCK, and the NEW HAMPSHIRE PAINTED DESK with its fanciful skirt. We would be pleased to quote on other clocks or furniture in the same tradition, such as Spitler, Johnstown, or sponge-decorated clocks and furniture of all kinds. Catalog of furniture and clock reproductions $3.

WILLIAM A. PEASE CABINETMAKER 17 Fresh Meadow Drive Lancaster, Pennsylvania 17603

63

TLIZABETH L&CALICO" collection vnlour andstitched , *naive folk dolls *bears*hares*hearts *kits and patterns and more dealer inquiries invited

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COUNTRY ARTS & ANTIQUES WELCOMES YOU TO

THE GREAT AMERICAN QUILT FESTIVAL ) To Share the Best of our Hand-Made Country Traditions: f

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Located in Haarer's Antiques, Across from the Buggy Wheel Restaurant, Uptown Shipshewana P.O. Box 52, Shipshewana, Indiana (219) 768-4787 Proprietor - Rebecca Haarer Hours: Mon.-Sat. 9:00-5:00

cA faTin9ton ftiltlqUeS

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Early admission Saturday 8ant-$7.50

Farmington(CT)Polo Grounds

011,

Exit 39 off 1-84, 9 miles west of Hartford Don Mackey Shows, Inc.

Suffield, Connecticut

The county fair was the brainchild of one Elkanah Watson, who conceived of the custom in 1808 when he first exhibited two "short-legged, small-boned" pigs from Dutchess County under the great elm trees of the public square in Pittsfield, Massachusetts. So many curious men, women and children came to see these pigs that Watson quickly set his sights on a larger exhibition, ultimately devoting much of his life to organizing county fairs throughout Massachusetts and New York!

It was in the congenial setting of a rural county fair, during the early part of the 19th century, that American quilters first publicly exhibited their quilts, and competed for prizes and recognition. These early county fairs were sponsored by agricultural societies whose function was to upgrade local agriculture. Anyone who paid one dollar to join the society was entitled to exhibit livestock and other articles.

Some items shown were offered for sale to cover the costs and to provide money for the next fair. One observer at the Essex County Agricultural Society fair in New York in the 1850s noted that a "large and excellent display of articles of domestic industries" helped contribute to the fair's financial success.

Women's contributions were displayed in the Floral Hall, which was decorated with flower arrangements and hung with their colorful patchwork quilts?

Some items at these early fairs were entered in contests. At the 1846 fair, organized by the Medina County Agricultural Society of Ohio, a man won first prize for the best woven coverlet, while two women took first and second place in the category of bed quilts. Prize winners received classics like Samuel Johnson's Dictionary of the English Language and subscriptions to metropolitan newspapers of the day In 1852 in Pennsylvania, at the first fair of the Lehigh County Agricultural Society, one dollar went for the best quilt and fifty cents for the second best. Men's achievements were apparently more highly valued. First prize for the best plower was a four dollar award.

During the Civil War, women everywhere joined together to make clothing and supplies for the troops. Throughout the North, they formed relief societies 66

Annual Fair of the American Institute at Niblo's Garden; Benjamin J. Harrison; New York City; Circa 1845; Watercolor on paper; 270.x201/4; Collection of the Museum of the City of New York. Quilts are boldly displayed at this fashionable nineteenth century exhibition.

to make badly needed items. In many cases, this was the first time women had ever organized themselves into groups.

In Westport, New York, the Ladies' Soldiers Relief Society Auxiliary to the Christian Commission of the United States was founded "to respond to the nation's need for women's work!'These women made mittens, towels, socks, handkerchiefs, bandages, pillows and cases. They even made cordial to send to the soldiers from blackberries picked by village young people. Meetings were held in churches, and, as the women sat at work together, they talked about battles and camps and hospitals, "dropping many a tear on the shirts and the mittens:" One product of the Westport women's work is particularly noteworthy — a quilt that was sent to the soldiers of Company A, a group of fifty local men who fought at Antietam, Gettysburg, and in the final campaign against Richmond. The quilt was made of pink blocks with a center square of white muslin. Each woman made a block and when it was done wrote her name in ink in the white square. At the end of the war, three of the fifty soldiers and the quilt returned to Westport. The soldiers presented the quilt to a woman from a neighboring town who had accompanied her husband through most of the war's campaigns. She often exhibited the quilt at the county fair, where it received much attention In cities like New York, Philadelphia, and Chicago, women organized

THE PUBLIC QUILT Although most quilts are made for use at home,there is a time-honored tradition in this country of quiltmaking for competition and exhibition.

by Juliana Koenig 67

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Photo: Courtesy of E.P. Dutt

large fairs to raise money and goods for soldiers' aid. Businessmen displayed wares and donated items, and women's groups showed their handiwork. All of the items were either for sale or donated to the soldiers. Often called Colossal Sanitary fairs because the proceeds went to United States Sanitary Commission, these two-week-long events were well attended by a populace that was eager to send aid to the soldiers, as well as to be entertained. A special newspaper was often published to document and publicize the daily activities. These fairs were always an enormous success; two during this time — in New York and Philadelphia — each raised over a million dollars.

Among the many items made by women for these fairs were wax flowers, embroidered tidies, shell tables, pine-cone frames and quilts. At the Metropolitan Sanitary Fair held in New York in April 1864, a newspaper account states that "the visitor cannot fail to note the beautiful silk patchwork quilt valued at $125, exhibited by the ladies of Orange, New Jersey:" Included in the twenty to thirty quilts at this fair were several cradle quilts, as well as one with a military theme.

Others may have been made in such popular patterns of the day as Lincoln's Platform, the Underground Railroad, and the Slave Chain. Reporters for the newspaper The Spirit of the Fair, however, were especially impressed by the Harlem exhibit, where a quilt donated by children was displayed. According to the newspaper, the "little patriots whose skillfulness wrought this beautiful gift" were all under six years of age.

That women had donated a tremendous amount of energy and time on behalf of the soldiers during the war was not unappreciated. President Lincoln praised their achievements when he said,"I have never studied the art of paying compliments to women, but I must say that if all that has been said by orators and poets since the creation of the world in praise of women was applied to the women of America, it would not do them justice for their conduct during this war:" Once the war was over women turned their attention to the victims of the war — the disabled, the sick, and the or-

Above, "Applique Quilt";Hannah Riddle; Woolwich, ME; 1870; Felt and velvet; 77/ 1 2x76"; Collection of Harriet Griffin. This beauty won first prize at the Woolwich Fair of1870. Right, A cartoonfrom Harpers during the 1876 Centennial pokesfun at the country quilter.

phaned. In many northern states women continued to organize fairs, this time to raise funds for soldiers' homes.

Events in Wisconsin are typical of the work that went on after the war as people throughout the state prepared items to bring to the Wisconsin Soldiers Home Fair, which ran for nine days in May 1865. The need for the home was evident to all fairgoers who saw returning soldiers lodged at the exhibition halls and on the grounds during the faie.

Each county had a table in a display stall for its goods, which were offered for sale or for donation to the home. At the stall of Grant and Iowa counties, the extensive display included children's clothing and embroidery, as well as a "beautiful quilt being a white ground with blue stars, a red and white border, with a miniature flag in each corner!'

In the opinion of the Home Fair Journal, this quilt was a "very good thing for a patriot to sleep under and just such a one as every traitor ought to be made to sleep under while he is permitted to live.'

At least one other patriotic quilt was made for the fair. Valued at $50, it was designed with alternate stripes of red, white, and blue, with a great star in the center and a blue border with white stars. Other quilts exhibited at the fair included one in a log cabin pattern,

another made by a seventy-year-old woman, a textile made by school children,and a quilt especially designed for the soldiers' home.

Speaking in praise of women at the opening of the fair, Judge Hubbell said, "The enterprise which calls us together is women's work. I would not say that some masculine individual may have 'had a finger in the pie,'... but it was woman's touch, which like the rod of Moses smiting the rock, caused the treasured currency to flow!' Thanks to the women's effort, proceeds of the fair soared over $80,000, a sum of $60,000 higher than anticipated!'

Although quilts certainly never became obsolete — and continued to be popular at country fairs — they did fall out of fashion toward the end of the nineteenth century. This was due in part to the mass production of blankets and other bed covers and in part to women's increasing sophistication!' Almost none of the contributions to the Centennial of 1876 or the Columbian Exposition of 1893, for example, were the work of self-taught artists!' Instead of selling their handiworks to raise money to finance the Centennial, women gave teas and luncheons and sold Centennial stock.

Indeed, the categories for which awards were given at this exhibition

A PRETTY HOW-DE-DO. AUNT PERLINA'S BEE-QUILT IS RETURNED AS NOT SUITABLE FOR EXHIBITION AT THE CENTENNIAL. Mmes."Not sootabie indeed—not sootablr! My 'pinion is. that show will be afailure."

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was never awarded, because, as one irritated entrant discovered, none of the quilts featuring the Century of Progress was awarded more than Honorable Mention. This contestant reported hearing that one of the judges said that "she would not give three minutes of her time to a Century of Progress design!' This contestant also pointed out that

ti

hardly encouraged a craft tradition: Pre-eminent Skill in the Industrial Pursuits; Superior Works of Art; High Order of Musical Talent; American History — National or Local; General History; Scientific Works; Poems of Merit; Essays on Art, Education, and Miscellaneous Topics; and Inventions!'

One of the most sensational, and popular, "inventions" on display in the Women's Building at the Centennial was the creation of Mrs. Brooks of Arkansas — the head of Sleeping Iolanthe, modelled in butter and preserved in an ice-cooled tin box. There was, however, at least one quilt at the Centennial. It was made by forty-two men from Greenpoint, Brooklyn. Each man designed, stitched, and signed his square A quilting renaissance emerged during the Depression, a time when women saved scraps of fabric to make quilts instead of buying costly blankets.

Across the country, women joined together to form quilting clubs, and thousands entered local and national quilt contests sponsored by manufacturers and women's magazines. Stearns and Foster held annual quilt contests and printed winning quilt patterns on batting wrappers. Newspapers and magazines published quilting columns that offered practical suggestions, information on competitions, and schedules of fairs and exhibitions.

Perhaps the most famous quilt contest was sponsored by Sears, Roebuck, and Company for Chicago's 1933 World's Fair, "A Century of Progress:' Over 25,000 women competed for $7,500 in prizes — the first prize being a whopping $1000, with an added bonus of $200 if "the Grand National Prize Winner is an original design commemorating the Century of Progress:' Quilts were displayed at local Sears retail stores and mail order houses all over the country. There judges chose three to be sent on to one of ten regional centers where new judges would select three finalists from each region. The thirty top quilts were displayed in the Sears building at the Chicago fair, where they were viewed by about five million people Several controversies marked the Sears contest. First,the additional $200

We exhibitors spent considerable time, thought and energy, not to speak of the money, in our efforts to produce something worthwhile along the lines calledfor by your company, to produce "an unusual design to depict and commemorate the Century of Progress" and it is not with justice to us or your reputation to have the matter handled in this matter17 A representative from Sears tried to reassure the contestant by saying that the company received only four letters of complaint amid many positive responses to the highly successful contest. The fair itself was so popular that it was held over for another year, and the quilts continued to be exhibited.

The second controversy pertained to the prize-winning quilt, which was given to First Lady Eleanor Roosevelt at the end of the fair, yet today is nowhere to be found. Mary Rogers Caden of Lexington, Kentucky won first prize for an old-fashioned star pattern, quilted sixteen stitches to the

Though quilting was no longer the height of fashionfor ladies, a number ofinteresting textiles were madefor the 1876 Centennial, including this cotton coverlet appliqued with the symbols ofthe nation.

I flJ * * *

*While this cotton appliqued quiltfrom Pennsylvania, "E Pluribus Unum:' is dated 1844, it is not unlike Union quilts made during the Civil War. The eagle,for a longtime a popular symbol, went out offashion during the mid-nineteenth century, only to be revived again by quilters in the North.

inch. Some contended that Caden may never have put a needle into the prizewinning quilt, and, following a custom of the time, may have paid a professional quilter to complete the work', Described by those who saw it, the quilt was spectacular for its tiny stitches and its stuffed-work leaves between the stars and around the border.

Caden and her two sisters owned a shop in Lexington where they sold needlework, including quilts, and hired country women to do their quilting.

Helen Black, whose mother-in-law Mattie Black did quilting for the Caden's, feels that Mattie Black may be the actual winner of the Sears contest.

Helen inherited Mattie's quilts, unfinished tops, and samples, and discovered what she believes are stuffedwork samples for the leaves used in the winning quilt. While it is possible that Mattie Black pieced and stuffed the winning quilt, according to her family, she did not actually quilt any of her works. The mystery around this quilt intensifies as the quilter's identity remains in question, and one wonders just what role Caden played in the creation of her quilt.

By the 1940s, quilting was achieving national attention as an art form. Quilt contests and exhibitions inspired women like Bertha Stenge of Chicago to create textile masterpieces. Stenge won first prize at the New York World's Fair in 1930 and the Grand National Award for her appliqued "Victory Quilt" in a National Needlework Contest sponsored by Women's Day magazine in 1943. That same year, seventeen of her quilts were exhibited at the Art Institute of Chicago. The quilts represented thirteen years of work, and all but two were prize winners. Stenge won thirty-six awards at state fairs, Canadian National Expositions, and the New York World's Fair.

Her inspiration came from reading about a quilt contest in the newspaper.

She says,"I simply decided that I could design better quilts than those I had seen, so I set about doing it:" Praised by experts as the "finest modern quilts in the United States today:' Stenge's designs are drawn from such personal events as her first day of school and her marriage. Portraits of her parents and 71

family decorate one quilt, and hobbies of music and gardening are represented by a piano and flowers. One of Stenge's most endearing quilts, "The Quilt Show;' depicts thirteen ladies in grey dresses each displaying a different sixinch replica of a full-sized quilt. The border is made up offifty-two different pieced quilt patterns, such as Goose-inthe-Pond, Cactus Basket, and WorldWithout-End. "The Quilt Show" won first prize at three state fairs?'

Women today quilt in response to many of the same social and political concerns that inspired quilters of the past. Most recently quilt groups have involved themselves in the quest for peace. The Boise Quilt Project has made quilts for peace activists Pete Seeger and Helen Caldicott, and masterminded the National Peace Quilt, a quilt made of squares from all fifty states, outlined with a border of red and white stripes. The quilt, which is on display at The Great American Quilt Festival, is being circulated to members of the United States Senate. To date fifty-five senators have rested "beneath the warmth and weight of our hopes for the future of our children7 words embroidered on the guile The Boise Peace Quilters, in conjunction with a group of women from the Soviet Union, have just completed another quilt which they plan to present to the joint arms negotiators in Geneva.

This quilt will become the property of the United Nations, and will be on permanent display in Geneva. A sixty minute documentary, "A Stitch for Time:' directed by Academy Award winner Nigel Nobel, is currently being made at the Boise Peace Quilt Project.

This film is scheduled to be aired on PBS stations all over the country next year.

Other groups, such as Quilters: Piece for Peace, have made quilts to raise money for peace organizations. This group also displayed one of its quilts at the exhibition of peace quilts in the Cannon House Office Building on Capitol Hill in May l9852 Still other groups are active on the local level and use the proceeds of their quilting to help their communities. A group of quilters in Taylorsville, California, for example, raised thousands of dollars to restore a 72

0

The Townsend Plan Quilt; Mitchell, SD;1940.

This unusual quilt commemorates The Townsend Old Age Plan, a grassroots scheme, devised by Dr. Francis E. Townsend, to offer aid to the elderly — and spark the economy — during the Thirties. Townsend suggested the government send $200 every month to each unemployed man and woman over age sixty with the requirement that the money be spent in the next thirty days.

The squares on the quilt represent local supporters ofthe plan.

church and to put food on the tables of needy families. Through quilt making, women have been able to participate directly in causes that affected the history of the country. Their quilts, sold at nineteenth-century county fairs, raised money for local agricultural societies at a time when most people in this country depended on farming to survive. Their quilts made during and after the Civil War contributed in a poignant and patriotic way to the welfare of countless soldiers. And their quilts made for contests and exhibitions during the Depression allowed many to earn money in a time of scarcity, while giving pleasure to millions of viewers.

The hands of master quilters of the 1940s elevated the quilt to an art form,a standard upheld by many quilters today.

Yet even now,at the end ofthe twentieth century, quilters continue to be concerned with social and political themes.

For some, it is the critical search for world peace. For the contestants of The Great American Quilt Contest, it is liberty and freedom. Interestingly, the issues near and dear to quiltmalcers' hearts have changed remarkably little over the years.

Juliana Koenig is an editor at Macmillan Publishing Company. She is a student in the New York University/Museum of American Folk Art's Master's and Ph.D. program in Folk Art Studies.

NOTES I. Gordon Sherman, interview at Westport, New York, 30 November 1985.

2. Sherman interview.

3. Ruth E. Finley, Old Patchwork Quilts and the Women Who Made Them (Newton Centre, Mass.: Charles T. Branford Co., 1937), pp.

34-35.

4. Frances Lichten, Folk Art of Rural Pennsylvania (New York: Charles Scribner's Sons, 1946), p. 174.

5. Caroline Halstead Royce, Bessboro: A History ofWestport, Essex County, New York(no place, no publisher, 1902), p. 554.

6. Royce, p. 554.

7. The Spirit ofthe Fair, 5-23 April 1864, p. 22 8. The Home Fair Journal, 8 July 1865, no page.

9. Anna Butler et al., Centennial Record of the Women of Wisconsin (Madison, Wis.: Atwood and Culver, 1876, pp. 76-77).

10. Home Fair Journal,6 July 1885.

11. Home Fair Journal, 8 July 1885.

12. Patsy Orlofsky and Myron Orlofsky, Quilts in America (New York: McGraw-Hill Books, 1974, p. 62.

13. C. Kurt Dewhurst et al., Artists in Aprons (New York: E.P. Dutton, 1979, p. 111.

14. The Herald of the Centennial, 1, No. 2 (1875), 14.

15. William L. Felter, Historic Green Point (Brooklyn, N.Y.: The Green Point Savings Bank, 1919), p. 43.

16. Barbara Brackman, in Quilter's Journal, 4, No. 7,(1985), 1-2. The information about the Sears contest is available thanks to the fine efforts of Barbara Bradman.

17. "Sears Accused of Unfair Judging' Quilter's Journal, p. 13.

18. Barbara Brackman, "Prize-winning Mystery:' Quilter's Journal, p. 9.

19. "Quilts as Art: Exhibition of the Work of Mrs. Bertha B. Stenge:' Newsweek, 2 August 1943, p. 91.

20. Orlofsky, p. 29.

21. Elizabeth Kolbert, "Quilters Making an Appeal for Peace,' The New York Times, 10 October 1985, Sec. C. 22. Kolbert, New York Times.

Right, Members ofthe Boise Quilt Project whose National Peace Quilt is being circulated to members ofthe United States Senate.

73

Nit

ttOtt •

Obadiah Smith Quilt; Circa 1800;Pieced cotton top and back with wool interlining; Collection Smithtown Historical Society, Smithtown, Long Island, NY. Documentation photo offull quilt taken before treatment. Pattern shows transition between eighteenth century quiltmaking techniques offramed central medallion construction and the nineteenth century style ofindividual blocks in a serial repeat.

74

ComeffwatAon PffdLe

by Patsy Orlofsky and Phyllis Dillon

The flood in Florence, Italy in 1966 was a turning point for the conservation profession for it focused public attention on the vulnerability of precious art and artifacts to physical harm and drew together world experts to the salvage operation. Quietly developing expertise since World War II, scientists and preservationists were able to design disaster strategies for the emergency treatment of damaged artworks.

The scientists who study the deterioration behavior of materials, and the practitioners who use their research, form the conservation profession. In recent years, we have seen the professionalization of conservation, the education going from long specialized training to university-based graduate work. And at the same time, the mission to protect the integrity of artworks has been adopted as a code of ethics by the professional organization representing conservators.

The conservation field has made its greatest strides in the areas of painting and paper, with the decorative arts, ethnographic artifacts and textiles receiving far less attention. Even though textiles appear to constitute a significant portion of museum acquisitions over the last two decades, many important textile collections are still largely cared for by custodians severely limited by time and budget constraints, as well as lack of conservation training. There was clearly a demand on the part of many small museums, historical societies and collectors for high quality conservation services.

In response to these needs, The Textile Conservation Workshop was opened in June 1978, created by three individuals joining together to bring separate areas of expertise and a unified philosophy to establish a textile conservation facility. The founders designed a new variety of cooperative center — one

which would pool the resources of graduate conservators of diverse backgrounds and be administered by consensus. This was to be a not-for-profit laboratory, unassociated with any sponsor organization or consortium of museums, and would provide comprehensive conservation services to a broad user base.'

As distinct from most regional Labs, this group practice has always focused on only one material — textiles. Rather than allow this to be a limiting factor, we made a conscious decision to exploit our specialization by considering all its aspects as part of our concern. Our bias is to see the material object with its technical problems in the broadest possible manner. Specimens are not removed from their context. They are discussed, studied and analyzed in terms of their historic significance, social meaning and aesthetic nature.

From its inception, the center's role as a treatment facility was predominant. Emphasis has been on individualized treatments to repair or stabilize textiles for storage, display and exhibit. The second thrust has been educational outreach in preventive conservation, particularly to historical societies whose large costume and accessory holdings often create an overwhelming volume of material to be protected or maintained.

When a textile is submitted for treatment, a number of factors are considered: The environmental conditions to which the piece will return, the extent of handing to which the piece will be subjected, and the personal preferences of the client. These are the elements which constitute and direct the projected use of a textile, a fundamental factor in its conservation prescription.

Like paintings, some textiles are created primarily as decorations or artistic statements. Throughout the

world, we find examples of tapestries, samplers, embroideries and painted cloth panels that are designed as wall hangings to be treasured and saved.

Textiles, however, may have other uses as well: Clothing, floor coverings, bedcovers, curtains, or tablecloths, as well as being parts of dolls, fans, parasols and other accessories. When a textile comes to be treasured as an art object or historical artifact, we must decide to what extent its future will be limited.

Conservation begins as soon as the piece arrives. It is removed from its shopping bag, plastic or old sheet, and spread out flat on a table. From this point on, each textile is handled as delicately as if it were a rare archaeological fragment. All hazards surrounding it during the course of everyday work are attempted to be eliminated. Since a textile receives more handling in the conservation lab than at almost any other time, moving, touching and brushing fabrics are kept to a minimum.

The first step in the conservation process involves the treatment report.

A thorough examination of the textile's condition determines the problems and how they might be solved. Construction, material, and the object's likely response to treatment are noted. A textile's condition is rarely static, and probably the best way to determine how well it's being handled is to periodically compare the condition of dyes, fibers, drape and soil. The examination includes a technical description of the piece, historical research when such facts are not otherwise available, a description of present condition, recommendations for treatment and expected results of the treatment.

An example of a recent project illustrates the nature of the conservation process at the Workshop. The quilt, a Triple Hexagonal Star Quilt, made by 75

CM

Section showing widespread nature ofdeterioration in Obadiah Smith Quilt.

Overall loss of interlining, disrupted and missing motifs, and large holes through all three layers testify to quilt's extremelyfragile condition, a state which can be stabilized with a combination ofcouching, protective net and overall support.

Detail, right top: Although the surface areas are disturbed, a good deal of original matted and tangled material can be coaxed and realigned into a legible patternformat. This reconstruction will then be stabilized withfine, almost invisible netting.

Detail, right lower: Gaping holes surrounded by other weakfabrics would formerly have been completely restored by the substitution offabric infills meant to disguise damaged condition. The conservation approach focuses on saving every bit ofthe original through artful support. A complementary colored patch large enough to encompass the entire weak section would be sewn onto the reverse. The fibers are then latched down and netted into place.

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Obadiah Smith (circa 1800) in the collection of the Smithtown Historical Society in Smithtown, Long Island, is in an advanced state of deterioration. It is, however, an artifact with a long lineage and important history. Made by a descendant of Richard Smith, the "patentee" and original landholder of what was to become Smithtown, Long Island, this quilt was described and illustrated in Historical Quilts by Florence Peto.2 Born in 1788, Obadiah Smith prepared, spun, wove and dyed cloth with indigo for this quilt. The intricately pieced geometrical blocks which form the central medallion are each composed of a triple hexagonal star set in a circle. Fans fill corner spaces of the medallion. All of the central portion is homespun cloth of blue and white.

Surrounding the medallion in the first border is a six-inch frame of blockprinted cotton fabric — an imported commercial cloth. The wide outer border alternates a variable star pieced of block-printed calicoes, with a block on which the Whirling Swastika has been appliqued in blue homespun. The quilt is a rare example of homemade quilt-making from the first quarter of the nineteenth century. Made by a man — using techniques learned through farm life and showing skill with a needle and thread — it is an exquisite and revealing specimen of indigenous American folk art.

Presently, this quilt is so weak and fragile that it cannot be opened even for occasional presentation at the historical society. Recognizing its extreme rarity and value as an historical specimen,the historical society simply wants to keep it safely stored most of the time and occasionally to be able to bring it out for short term display.

A treatment was designed to give it the needed structural support for removal from its archival box and easy mounting. It consists of three steps: 1) Consolidation of holes, realignment of broken pieces and preservation of the fragile surface fabrics with a fine protective netting 77

May 16, 19AS TCW 8S-111

2) Provision of a whole backing to add structural support 3) Provision of a hanging sleeve as an extension of the backing for future display The cost estimate for the work came to more than a few thousand dollars. It was estimated that the finely skilled sewing necessary to restore this quilt would take 193 hours. Conservation, which is based on precision hand skills, combined with philosophies of guarding original structure, is necessarily labor intensive. Although there is general acceptance for spending a great deal of time and money in the restoration of paintings, it is only recently that these notions have been applied to textiles.

At some point in the conservation process,the owners of a textile may have to obtain as accurate an appraisal as possible of the value of their piece to assist them in analyzing what they can and should spend on its conservation.

This is not simply an economic analysis. It is also a qualitative one; the owner must take into account the importance of a piece to the collection, assessing its historic, ethnographic or artistic value, as well as its use for study or display.

In the case of an historical society, conservation money may be raised through government sources or fund drives within the institution. The Smithtown Historical Society initially applied to the New York State Council on the Arts for conservation monies.

Realizing the importance of this textile, NYSCA awarded $2000 toward its repair. Additional private donors are being sought.

Following the completion of the work, the client is supplied with a summary of the treatment. Suggestions for continuing care, with guidelines for handling, storage and display, are forwarded with the returned textile. Copies of all documentation are retained in the lab.

Often when a specimen is brought to the workshop, it is the first time the piece has ever been exposed to tech78

Mrs. Louise Hall Smithtown Historical Society P.o. Box 69 Smithtown, N.Y. 11787 EXAMINATION AND PROPOSED TREATMENT REPORT Identification; Dimensions: Fabrics:

The Obadiah Smith Quilt 9e 1/2" x 76 11(2" Etching and fabrics: Interlining: Wool

Cotton

History/Description: This pieced and appliqued Triple Pexagonal Star Quilt was made by Obadiah Smith, a descendant of Richard Smith the "Patentee" and original landholder of what was to become Smithtown. Long island. Porn in 1788, Obadiah. Snitb prepared, spun, wove and dyed cloth with indigo for this quilt.

The intricately pieced geometrical blocks which form the central medallion are each composed of a triple hexagonal star set into a circle. Fans fill corner spaces of the medallion. All of this central portion is homespun cloth of blue and white.

Surrounding the medallion in the fir$t framing border is a six inch frame of block -printed cotton fabric, an imported commercial cloth. The wide outer border alternates a Variable Star pieced of block-printed calicoes, with a block on which has been appliqued In blue homespun, the Whirling Swastika.

The quilt is badly worn and has probably been machine washed which has advanced its natural deterioration. Microscopic examination reveals both linen and cottpn sewing threads. The backlne and all of the fabrics that were examined Are all cotton. The interlining is wool. A 2-ply S-twisted cotton roving is slip stitched around the edge to finish the edges. This quit is described and illustrated in Historic Quilts by Florence Pero; The American Historical Co., Inc., New VorI. 1939.

The quilt is a rare example or homemade qui ltinak ng Pros the first quarter of the 19th century. Made by a man in a step Wy step process using techniques of farm life and skill with a needle and thread, it is today an exquisite and revealing specimen of indigenous American folk art.

Condition: The quilt is in a very worn and fragile condition.

Most of the wear occurs in the frame borders, not in the central medallion. The squares in the central medallion area, although faded, do not show the severe abrasion and holes that occur elsewhere in the quilt.

The cotton printed fabrics in the first framing border are so mangled that they appear to have been chewed up by a washing machine. The many holes in the brown and black dyed arees were probably caused by the decev of iron mordants.

In six of the squares of the outer border there are laree portions missing in all three layers. Of the 36 dark-blue whirling swastikas appliques at least 20 have areas of blue fabric missing and they require stabilization and protective netting. Most of the interlining has been worn away and where small nieces remain, they are felted and twisted up. The sketch shows the general pattern of loss and gives a general idea of the overall global extent of the dosage.

Proposed Treatment and Expected Results: This quilt cannot opened up for even occasional presentation at the Historic Society in its current weak state. The Historic Society, recognizing its extreme rarity and value as a historic specimen, simply wants to keep it safely stored most of the time, and occnssionally brought out for short term display.

be

The treatment is designed to give it the needed structural support for simple removal from its archival hox and easy nonnting.

It consists of three stems: 1) Consolidation of holes, renlieneent of broken nieces and protection of the fraeile surface fabrics with a fine Protective netting/ 2)

provision of a whole 'inching to odd streeteeal sunport and

3) the provision of an extended henginp sleeve RS an extension of the backing for future display. The simple sleeve we deeien can be used for vertical display threaded with A slat, or he fastened over the ton of a slanted support hoard to the reverse.

4-i?' fie eiv4171.enry

,

i/ il

i

,4 a/. ( 6 0 , 11 0i(ef-,, ,

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/

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aft1/6/042 ,1 ayes*'

(ei A diagram of the pattern of deterioration is included in the treatment report indicating extremely weak areas and the concentration of holes to help schematize the quilt's condition before treatment.

Standard documentation procedure in a conservation lab is the condition report which is prepared prior to treatment ofall artifacts. This also includes afixed estimate ofthe work to be performed.

nical scrutiny. It may also be the first time it has been seen by a textile professional. Many of these pieces are of significant social or aesthetic merit, yet may be unknown to scholars and historians in the field. Frequently these pieces are in private homes — sometimes as a result offamily inheritance — or hidden away in the collection of a small local institution. These pieces sometimes have excellent provenance, and offer rich research opportunities to better understand regional folk traditions, identify hitherto unknown artists, or chart the development of artistic styles.

To share this information, a Registry of American Textiles has been created.

Into it will go the data collected from the owners of these pieces, as well as from the work done on the objects themselves. This registry at our facilities complements similar regional efforts elsewhere.

It is the workshop's hope that this collection of important historical data, along with our conservation practice and preservation outreach activities, will heighten awareness of the overall needs of these beautiful objects, and increase the probability that they will be saved to be enjoyed by future generations.

Patsy Orlofsky,is founder and Executive Director of The Textile Conservation Workshop. She has lectured widely on American textiles, their history and care, at museums and historical societies throughout the country. She is the author of Quilts in America, a detailed historical, technical and stylistic analysis.

Phyllis Dillon, Assistant Director of The Textile Conservation Workshop, was trained as a textile conservator in the Conservation Department of the Metropolitan Museum of Art. She was conservator at the Museum of the American Indian and a Winston Churchill Traveling Fellow. She has an M.A. in Anthropology and completed the Museum Studies Program at New York University.

NOTES 1. In 1985, 40 percent of the TCW conservation fees came from the private sector which is made up of individuals and corporate collectors and 60 percent from institutions, government agencies and other non-profit groups.

2. Florence Peto, Historical Quilts (New York: The American Historical Co.,Inc., 1939).

79

In July of 1971 the Whitney Museum of American Art in New York installed 60 pieced quilts in an area just vacated by an exhibition of Andy Warhol's cow wallpaper. This was an act of considerable institutional courage for a museum traditionally committed to "high" art — painting and sculpture — and its bravery was repaid, as bravery occasionally is, with unequivocal success. The exhibition was an instant hit, attracting rave reviews and large crowds, including many who never had, and perhaps have never again, been in the Whitney's Breuer-designed building on Madison Avenue. Some of these visitors were seeing handmade quilts for the first time. Some were seeing them as art for the first time. And some came because they knew all about quilts and wondered what was causing the fuss.

The exhibition, titled "Abstract Design in American Quilts;' was extended for an extra month, the catalogue sold out — unfortunately only 3000 were printed — and the Whitney was justifiably credited with having produced an important event with apparent and apparently continuous results.

From this exhibition, it has generally been said, stemmed an international awareness of American quilts as designed objects. But it would be more accurate, perhaps, to say that the Whitney exhibition was the first in a series of events which changed forever the way quilts were seen: Quilts,for the first time, were accepted as a distinct and important body of folk art within the larger, and increasingly recognized, field of American Folk Art. Old quilts, as a result of this, increased in value, attracting dealers who specialized in selling them and collectors who specialized in owning them;two collecting guides on the subject were published.

Quilt ephemera became big business, 80

THE WHITNEY AND AFTER...

WHAT'S HAPPENED TO QUILTS

by Jonathan Holstein

spawning an endless series of coffee table books, calendars, notecards, and engagement books. And the museum world discovered the quilt show, a surefire crowd pleaser.

Along with these economic manifestations, came a significant boom in quilt scholarship. Quilts became major icons of the women's movement, and their significance to women's lives still continues to be debated. A quilt lecture circuit burgeoned, and a Quilter's Hall of Fame, now seven years old, was established.

Once again, quilting has become a popular activity. Serious academic artists have been experimenting in the medium and a modern quilt-making industry has developed with its own manufacturers, suppliers, teachers, workshops — and even retreats.

To better understand this phenomenon, and its many ramifications, it is useful to look at the state of quilting building up to the Whitney. What I think of as the Classic Period of American quiltmaking ended sometime in the first decades of the twentieth century, after a run of about sixty years. A quiet, but significant interest in quilts was sustained during the several decades before and after World War II. During this period a number of books and catalogues appeared; but most of these books were either historical or how-to, and their scholarship varied widely.

Some indulged in a kind of historical revisionism — a practice which began with the industrialization of America — creating and perpetuating myths about family lineage and their quilts.

There were also occasional exhibitions.The New—York Historical Society in 1948, for instance, showed 52 quilts drawn from its collection, as well as those of Florence Peto and the Hudson River Museum. While a few museums,

such as the Shelburne in Vermont, had quilts on public view, most were exhibited as accessories in period rooms. The bulk of institutional holdings were, as they still are, in storage.

At this time, normal criteria for judging the importance of quilts wa,, age, historical associations, workmanship and beauty. In the late 1960s, however, Gail van der Hoof and I had begun to collect quilts which were graphically interesting to us. We were not interested except peripherally in what was then the normal criteria for judging quilts, but solely in how well they worked as visual phenomena.

While no one who collects quilts can remain unaware of their extraordinary meaning as social documents, we managed to stick ruthlessly to our criteria, feeling that was the only way we could reach our goal. That goal had become, by 1970, to have an exhibition in a major art museum which would show and discuss American quilts as a significant and distinct body of designed objects.

We had gathered a nucleus of quilts which we felt were visually extraordinary. We had shown them to friends whose opinions we respected and explained our idea. Their responses were encouraging. We next contacted our friend Diane Waldman, who was at that time Assistant Curator of the Guggenheim Museum. Diane looked at our slides, listened to our idea, and suggested we contact Mac Doty, who was then Curator of the Whitney Museum.

Doty in turn, heard us out, and looked at slides and quilts we had brought along, feeling slides could not adequately convey the physical presence of a wonderful quilt. He suggested we submit a proposal to the Museum, and in due course the idea was accepted.

The ingredients for success were

COLLECTING

already in place: New York had become the center of the international art world, and American contemporary painting was always news. The Pop artists and others had introduced new formats and materials, as well as new conceptions of art. Many young artists were looking for sources in the American experience.

There was a growing fascination with the country's past, an increased interest in women's history, and a developing appreciation for America's craft and design tradition, as well as for American folk art. Quilts conveniently bridged many of these interests, and because of their intense painterly qualities, gained instant acceptance in a sophisticated art community.

As knowledge of the exhibition filtered outside of New York, there was great interest, curiosity, and in some cases, feat People wanted to know: Why was this happening? What had they missed? And what did it all mean?

What began to emerge was a new vision of quilts. They went onto walls, where they could be seen and judged as aesthetic objects — as art. At the same time, quilts were severed from their mythic past, enabling people to see them anew. An often heard comment at early exhibitions was:"I've been sleeping under quilts all my life and I never saw them!' At this point there was no turning back. Quilts could never be simply bedcovers again.

What occurred after the Whitney confirmed that there was a worldwide audience for quilts as aesthetic objects.

Quilts from Gail's and my collection were shown both here and abroad. The Whitney exhibition went to three other American museums in 1971 and 1972?

In the summer and fall of 1972, an expanded exhibition was taken by us to four major museums in Europe? These exhibitions attracted extraordinary at81

tention and a new catalogue was printed and widely circulated On our return that year, we assembled an exhibition for the Renwick Gallery in Washington, D.C., which ran from October 1972 until January 1973. Between the tourists and the tremendous press coverage emanating from the nation's capital, this show seemed to reach the widest audience yet. The Renwick show was followed by two exhibitions of 45 quilts each, circulated by the Smithsonian Institution Traveling Exhibitions Services (SITES), which visited twenty-one museums in seventeen states between February 1973 and July 1974.

Shepherding quilts around Europe in 1972, we had sought the roots of the craft. Research in England, France and Holland answered some questions, and after completing research in the United States, I finished The Pieced Quilt, which was published in 1973. This book was part of a new wave of writing in America on the subject?

One of the dramatic effects of the Whitney and succeeding exhibitions was the legitimatizing of the quilt show.

For institutions of all sizes, a quilt show has been a virtual guarantee of crowds.

While most of these exhibitions looked at quilts from either an aesthetic or historical perspective, some sought to breakdown quilt study even further. For example, pictorial quilts, doll and crib quilts, and political quilts were scrutinized!' Regional distinctions, too, were investigated?

From Pennsylvania, and the Midwest, came the Amish quilts which have become the focus of intense interest in the years following the Whitney.

We had three Pennsylvania Amish quilts in that exhibition, and would have had more were they available. But few had come from Amish households at 82

EXHIBITS

that time. Shortly after the Whitney exhibition, however, Amish quilts began to be heavily collected, and their numbers were increased in later exhibitions.

Art dealers were among the first to show Amish quilts. George Schoellkopf mounted one in his New York Gallery in 1973 which attracted considerable interest, and he and other dealers maintained substantial stocks of Amish quilts. We assembled an exhibition for the James Corcoran Gallery in Los Angeles in 1974. And in 1976, the Brandywine River Museum in Chadds Ford, Pennsylvania, mounted an exhibition of 15 Lancaster, Pennsylvania, Amish quilts. Midwestern Amish quilts — the other major group of Amish textiles — were shown, along with Lancaster quilts, in an exhibition circulated by Comprehensive Exhibitions Services to 13 institutions in the United States and Canada in 1979 and 1980.

The compelling graphic qualities of Amish quilts have made them particularly attractive to people interested in modern art, as well as those partial to Pennsylvanian folk culture. Some great collections were formed such as that assembled by Doug Tomkins of Esprit in San Francisco. Recent exhibitions', and a number of books and articles', give a thorough look at the two Amish quilt traditions.

Certainly one of the most interesting developments since the Whitney exhibition has been the scholarship boom — amateur as well as professional — associated with American quilts. Little primary research had been done on the subject before that. Much of what had been written was a mixture of fact and fantasy or, in many cases, opinion. By the same token, myths were often perpetuated from one book to the next, a situation that continues today.

The scholarly interest in quilts was due to a number of factors: The field was, basically, untouched; quilts carry an enormous amount of social and historical information — they are extremely significant as documents of women's history; and a good deal of primary historical material associated with quilts exists. In addition, there is a living quiltmaking tradition which can be studied.

The emphasis on the visual aspect of quilts over their other intrinsic qualities, a position which characterized the Whitney exhibition and others, was a necessary step in freeing quilts from their bedspread/craft/mythology baggage. It wasn't long, however, before scholars realized that, as a result of this emphasis, quilts' relevance to social history was being neglected.

It is the social or cultural aspect of quilts which has appealed most to scholars over the last half century, especially among those interested in women's history and art. From the beginning, quilts — and the literature surrounding them — have attracted the attention of feminists. Some of the early writing is characterized by polemics. But more thoughtful criticism, exhibitions and books exploring quilts from a feminist viewpoint predominate!° The widely seen film "Quilts in Women's Lives" will soon be followed by another by the same maker, Pat Ferraro; her consultant on the film, Julie Silber, is one of several scholars who have lectured widely on quilts and their relation to women's history.

Many of these issues surrounding quilts have been explored in quilt journals and seminars. The American Quilt Study Group centered in Mill Valley, California, has had an ambitious study and seminar program since 1980. Papers presented to the group are pub-

WOMEN'S ICONS

lished in Uncoverings, their simple, unillustrated annual journal. The Quilt Digest, an annual first published in 1983, covers all aspects of quilts in a heavily illustrated glossy book that includes a "showcase" of old and new quilts of significant aesthetic interest in each issue. Publications coming out of the proliferation of conferences, meetings and seminars on quilts are dealing with increasingly arcane areas of scholarship.

As the quilt collecting craze gathered force during the 1970s, it became apparent that many textiles were leaving the social matrix in which they had been embedded since they were made. As a result, much valuable information was being lost. This encouraged the first statewide documenting project, The Kentucky Quilt Project, which in 1981 and 1982 sought out quilts from around the state, photographed them, and recorded their technical aspects and social histories. A number of other states have since taken on similar projects. A survey by the Yakima, Washington, Valley Museum and Historical Association produced a book called A Common Thread. Texas recorded some 3500 quilts, the cream of which will appear in an exhibition and book. And others, such as ours in Central New York State, are assembling data which will eventually be fed to computer programs for statistical analysis. A great deal of fieldwork is also being done all over the country, with a concentration on oral histories from elderly quiltmakers.

Another form of scholarship which has emerged is the quilt source book.

The first bibliographies have begun to appear and others are underway. The American Folklife Center of the Library of Congress will soon publish their Quilt Collections Directory, a survey of institutional holdings.

83

In light of all this interest, it is not surprising that a number of quilt study centers have been proposed both independently and in affiliation with other institutions. The first to get underway is the American Quilt Study Center,scheduled to open in 1988, as part of the Department of Costumes and Textiles at the Los Angeles County Museum of Art. Sandi Fox, Senior Research Associate, will direct the project. The center is expected to have its own research and storage facilities, library, and exhibition space. It will seek both quilts and archival material for its permanent collection and, once operational, will launch exhibition and publication programs.

The boom in quilt collecting, exhibitions, and scholarship has been truly remarkable, but perhaps the most phenomenal change since the Whitney exhibition has been the absolute explosion in modern quiltmaking. While the ingredients for such a development were already in place — a nucleus of active quiltmakers and a growing interest in craft since the Sixties, among others — the Whitney and the interest it provoked seemed to provide the catalyst. Quilts and quiltmaking gained new legitimacy. Many who had never even seen a quilt before learned the craft. Quilt teachers emerged and developed followings. Exhibitions such as "The New American Quilt" at the Museum of Contemporary Craft in New York (1976) showed the work of contemporary quilt artists. Others paired academic artists with the quilt medium!'

In 1970, Jean Ray Laury had published her book Quilts and Coverlets — A Contemporary Approach. Other books by professional quilt designers, as well as how-to volumes, have come out with regularity since!2 Seminars, 84

workshops, markets, and festivals, some repeated annually, attract tens of thousands of customers. Contemporary quilt shows abound. The February 1986 issue of Quilter's Newsletter lists 28 contemporary quilt shows for one month alone.

This article comprises at best a partial catalogue of events in quilt history up to and after the Whitney show. If I could live any moment of it again, it would be that one in which the first quilt was hung, and we all — Gail and I, curators and preparators — were, for a long second, speechless with wonder.

As the quilt fell out down the wall, all of our notions, intuitions and feelings rushed together, slamming seamlessly into place, the locks clicking shut.

Then one of the preparators, an artist earning his keep in the halls of art, said softly in the parlance of the day,"Like, wow!" That's what it was like. "Wow!" said softly.

Jonathan Holstein, along with Gail van der Hoof, organized the 1971 landmark quilt exhibition "Abstract Design in American Quilts" at the Whitney Museum of American Art in New York.

He has written a number of books. catalogues and articles, and lectured widely, on quilts since then.

NOTES 1. Marie D. Webster, Quilts — Their Story and How to Make Them, New York: Doubleday, Page & Co., 1915; Ruth E. Finley, Old Patchwork Quilts and the Women Who Made Them, Philadelphia and London: J.B. Lippincott Co., 1929; Carrie A. Hall and Rose G. Kretsinger, The Romance of the Patchwork Quilt in America, Caldwell, Idaho: Caxton Printers Ltd., 1935; Florence Peto, Historic Quilts, New York: The American Historical Co., Inc., 1939; William Rush Dunton, Jr..

Old Quilts, Privately Published, 1946; Elizabeth Wells Robertson, American Quilts, New York: The Studio Publications, Inc., 1948; Margaret White, Quilts and Counterpanes in the Newark Museum, Newark, New Jersey: The Newark Museum. 1948; Marguerite Ickis, The Standard Book of Quilt Making and Collecting, New York: Dover Publishers, Inc.. 1949; Florence Peto, Amen -

can Quilts and Coverlets, New York: Chanticleer Press, 1949; Lilian Baker Carlisle, Pieced Work and Applique Quilts At Shelburne Museum, Museum Pamphlet Series, Number 2, Shelburne, Vermont: The Shelburne Museum, 1957.

2. Everson Museum, Syracuse, New York; Walker Art Center, Minneapolis, Minnesota; Los Angeles County Museum of Art, Los Angeles, California.

3. Musee des Arts Decoratifs, Paris; Musee des Arts Decoratifs, Lausanne; Palais des BeauxArts, Brussels; Stedelijk Museum, Amsterdam.

4. Jonathan Holstein, Quilts, Lausanne: Editions des Massons S.A., 1972.

5. Carleton Safford and Robert Bishop, America's Quilts and Coverlets, New York: Dutton, 1972; Patsy Orlofsky and Myron Orlofsky, Quilts in America, New York: McGraw-Hill, 1974; Lenice Bacon, American Patchwork Quilts, New York: Morrow, 1973: Joel Sater, The Patchwork Quilt, Ephrata. Pa.: Science Press. 1981; The English writer Averil Colby's Quilting was published in 1971, following Patchwork (1958) and Quilts(1965).

6. "American Pictorial Quilts:' Vassar College Art Gallery, Poughkeepsie, New York, January 20-February 16, 1975 (Catalogue); "A Child's Comfort:' Museum of American Folk Art, October 5, 1976-January 23, 1977; "Small Endearments:' Los Angeles Municipal Art Gallery, December 9, 1980-January 15. 1981 (Catalogue); "The Political and Campaign QuiIC' Old State Capitol. Frankfort, Kentucky, October 1-November II, 1984 (Catalogue).

7. "Pieced Quilts of Ontario': Royal Ontario Museum, Toronto, Ontario, Canada, 1975 (Catalogue); "Alabama Quilts:' Birmingham Museum of Art. Birmingham, Alabama, December 13, 1981-January 24, 1982, Montgomery Museum of Art, Montgomery, Alabama, September I6-November 14, 1982 (Catalogue); "North Carolina Country Quilts:' Ackland Art Museum, University of North Carolina at Chapel Hill, December 17, 1978-January 21, 1979 (Catalogue); "Social Fabric — South Carolina's Traditional Quilts: McKissick Museum, University of South Carolina (Catalogue);"In the Heart of Pennsylvania:' Center Gallery, Bucknell University, April 28-June 10, 1985 (Catalogue).

8. The following exhibitions were presented by the Museum of American Folk Art: "A Pieced Paradox: Amish Crib Quilts:' Equita-

BOOKS

ble Gallery, New York City. June 7-August 31, 1983; "Quilts from the Pennsylvania Amish': Museum of American Folk Art, New York City, June 21-September 18, 1983; "Quilts from the Indiana Amish: A Regional Collection: City Gallery of the Department of Cultural Affairs, 2 Columbus Circle, June 28-August 21, 1983; and "Continuity and Change, Amish Quilts from the William and Dede Wigton Collection:' Museum of American Folk Art, New York City, March 20-April 28, 1985.

"Amish Quilts:' Nassau County Museum of Fine Art, Roslyn Harbor, New York, March I7-May 12, 1985.

9. Jonathan Holstein, The Pieced Quilt, Greenwich, Connecticut: New York Graphic Society Ltd., 1973, pp. 93-110; Robert Bishop and Elizabeth Safanda, A Gallery of Amish Quilts, New York: E.P. Dutton Co., 1976; Phyllis Haders, Sunshine and Shadow, New York: Universe Books, 1976; Rachel T. Pellman and Joanne Ranck, Quilts Among the Plain People, Lancaster, Pennsylvania: Good Books, 1981; John Rice Irwin, A People and Their Quilts, Exton, Pennsylvania: Schiffer Publishing Ltd., 1983; David Pottinger, Quilts from the Indiana Amish, New York: E.P. Dutton, Inc., 1983; Rachel Pellman and Kenneth Pellman, The World of Amish Quilts, Intercourse, Pennsylvania: Good Books, 1984; Julie Silber, The Esprit Quilt Collection, San Francisco: Esprit de Corps, 1985.

10. Patricia Cooper and Norma Bradley Buferd, The Quilters: Women and Domestic Art, New York, Anchor Press/Doubleday, 1978; C. Kurt Dewhurst and Betty MacDowell and and Marsha MacDowell, Artists in Aprons, New York: E.P. Dutton, Inc., with the Museum of American Folk Art, 1979;"American Quilts: A Handmade Legacy:' the Oakland Museum, Oakland, California, January 13April I. 1981(Catalogue);"Threaded Memories: A Family Quilt Collection': Roberson Center for the Arts and Sciences, Binghamton, New York, August 21-December 31, 1984(Catalogue).

11. Ludi Strauss, Artists' Quilts, Published in Association with Harold I. Huttas, 1981; Charlotte Robinson (ed.), The Artist and the Quilt, New York: Alfred A. Knopf, 1983.

12. Beth Gutcheon, The Perfect Patchwork Primer, New York: David McKay Co., Inc., 1973; Jinny Beyer, Patchwork Patterns, McLean, Virginia: E.P.M. Publications, Inc., 1979.

85

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JAMAR TEXTILE RESTORATION STUDIO

Experienced Restoration of 18th, 19th and 20th century textiles, quilts, American floor coverings and vintage clothing

By appointment only, Tracy Jamar,250 Riverside Drive New York, N.Y. 10025(212)866-6426 (,South

Eighth Annual

Iltoadnat. Lebanon. Ohio 41016, 1311) 412.8246

Exhibit and Sale of 175 Years of Quiltmaking

ILTS:

An American Romance May 13 through 16, 1987 Somerset Mall, Troy, Michigan

Coolidge at Big Beaver, during regular business hours.

Antique Quilts and Coverlets, Linens and Lace, Hooked and Rag Rugs; Handcrafted Items, Amish Quilts, Selected Fabrics and Supplies, Books, On-going Demonstrations, Appraisals, Special Exhibition of American Patriotic Quilts: "Stars and Stripes Forever".

Workshops and Lectures by: Cuesta Benberry, Jinny Beyer, Sarah Deasy, Marston & Cunningham, Arnold Savage, and Julie Silber.

Free Admission

88

Free Parking

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2277 Edgewood Done• Grafton. Wisconstn 53024 Telephone (414) 377-9116

Creative Designs in Quilting....by Luella Doss

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Handmade Salt Glaze Stoneware

Cathy Smith ,epeeadiptgat-6 ea&&)tuateitat

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Museum Quality Reproductions Visit ourfactory store.

ROWE POTTERY WORKS 404 England Street, Dept. VS6 Cambridge, Wisconsin 53523 • 1-800-356-5510 Send $1.00 for color catalogue

89

Great American SalvageCo. ARCHITECTURAL ANTIQUES Building Materials and Artifacts from Another Time Doors • Stained Glass • Mantels • Columns• Bars Lighting •Pedestal Sinks • Tubs • Objects D'Art

4

C-QUILT14 244, hi JULY 11,12,13, 1986 Norwich University, Northfield, VT? ' i • 4 11.1441414AAA........4 ;....:.:.:AAAA14111 A 1 1 A A A

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lai r rr 1 111111\1111141111.11111111: A • Major Quilt Exhibits • Contest • Appraisals A • Concord-Fairfield Fashion Show • Merchants Mall Workshops/Lectures with Virginia Avery, Jinny Beyer, Nancy Crow, Nancy Halpern, Michael James, Jean Ray Laury

A 34 Cooper Sq.(near 3rd Ave. & 6th St.) N.Y.C., NY 10003 (212) 505-0070/Mon.-Sat. 9:30-6:00 3 Main St., Montpelier, VT 05602 (802) 223-7711/Tues.-Sat.9:00-5:00

A A A A

For more information (avail. 5/1/86) send 39C postage to: VERMONT QUILT FESTIVAL Box 349QF, Northfield, VT 05663(802)485-7092

One of the finest in the country.

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PAID IN PART BY STATE OF VERMONT FUNDS

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CONSERVATION AND PRESERVATION MATERIALS FOR QUILTS, GARMENTS, COSTUMES and OTHER TEXTILES Acid Free products Tissue Boxes Crepeline Polyester (Stabiltex) GORE-TEX(R) Orvus WA Paste (for washing) Additional supplies for art restoration, hand bookbinding and archival storage of documents and photographs in stock.

The next best thing to visiting us in New York, Ardmore, Dallas, or Beverly Hills is browsing through our catalog.

Feast your eyes on one of America's largest selections of old and new patchwork quilts, rag rugs, antique wicker and other handcrafted country things.

To order your catalog send $4.00 to: 213

V/est

3541

Street, Ne

York,

N.Y 10001-1096 • (212) 736-7744 The Gazebo of New York 660 Madison Avenue, NY,NY 10021 90

EDWARD LARSON Dropped the A-Bomb on Japan"

Contemporary History in Quilts

Texas Flag Quilt 1847 cotton quilt 84 x 84" Quilted to commemorate Texas joining the Union

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available through

MONIQUE KNOWLTON GALLERY 153 Merccr Strce4 New York, New York 10012 • Telephone 1212 431-8808

MONIQUE KNOWLTON GALLERY 153 Meaer Street, New York, New York 10012 • Telephone (212) 431-8808

The Hands All Around Collection of quilts and accessories, designed by Addie Havemeyer,& Tanya.Thomas Smith,features historic patterns & traditionat workmanship.

Made in Vermont, they embody the spirit of antique quits, yet are durable &fimctionaL Can'tfind a quilt injust the right colors?

Custom design your own, choosingfrom over 50 different cottonfabrics.

Unique gifts: pracemats, pillows, tablecloths, waft& crib quirts.

Said $2.00for cofor catalog. Deafer inquiries welcome.

HANDS ALL AROUND, INC. 25 Fifth Ave, Dept AF, New York, NY 10003 By appointment: 212-475-8442 91

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Kentucky Quilts

Sixty-two of the finest antique quilts in

eq

LON E STARS A 1,4,mey qf Thxas Quills,

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8/ 1 2 x 11 in., 156 pp., 110 full color and 33 b&w photos $29.95, hardcover; $18.95, paperback

80 pages Illustrated with 63 color plates and 12 black and white photographs. $14.95 plus $1.50 postage and handling

Include $2.00 postage & handling and appr. sales tax

To order, send check or money order to: Dicmar Publishing Dept GA PO. Box 3533 Georgetown Station Washington, DC 20007 202/338-2049

1./.• WO -I

At bookstores or order from

e-v-% University of Texas Press BOX 7819 * * * * * * * * * **

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AUSTIN, TEXAS 7871 3

** * *** * * * **** * * * **

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An exquisite publication documenting the Kentucky Quilt Project—a one year search for the best and most unusual quilts from the hills, hollows, and towns of the Bluegrass state... the project that stirred a nation ofquilters to search their various state's quilt heritage (-1() 1) ( 0 pi r•-‘‘ II (-N\ (•\ ‘i A

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Kentucky Quilts... the project that STARTED the state quilt search movement.

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QUILTING ,' BOOKS UNLIMITED

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THE CONTEMPORARY SAMPLER • By Katie Pasquini •

Featuring 700 books on Quilting and Folk Arts QUANTITY DISCOUNTS MONEY-BACK GUARANTEE fast, friendly service * SEND $1.00 FOR CATALOG *

QUILTING BOOKS UNLIMITED 156 S. Gladstone, Aurora, IL 60506 / rr _ A 312-896-7331

only $995 plus $1.50 postage & handling California residents add 6%

WHOLESALE INQUIRIES WELCOME Sudz Publishing

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2931 Albee Street, Eureka, California 95501

_

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(707) 443-7487

Tae Watermeron Tack A DISTINCTIVE QUILT SHOP AND COUNTRY STORE LOCATED ON LONG ISLAND FEATURING: 'An Extensive Collection of 100% Cotton Fabrics •Selected Pieces by Today's Traditional American Craftsmen 'Seasonal Quilt Classes (516)365-6166 • 444 Plandome Road,Manhasset,New York 11030

The Strawberry Patch Calico Shop

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• Gifts • Fabrics • Classes • Accessories

Country Flavor - City Taste Selections from our 2000 bolts of quality cotton at prices that please.

"THE QUILT SHOP WITH LOVE"

Jeanne E. Wilber R.D. #3 Box 44 Columbia Cross Roads

Pennsylvania 16914 (717)549-6111

Call us for those hard to find fabrics & books the

Blueberry Cottage Randi Destefano 159 Water St., Exeter, N.H. 03833 603-772-6387

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n COME QUILT WITH ME,inc.

CountryCurtains.

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Suppliers of the finest Quilting Materials at . ,

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A New England tradition .

30 years of old-fashioned quality and conscientious service. Curtains in cotton muslin or carefree permanent press. Some with ruffles, others with fringe or lace trim.

Also tab curtains, lined and unlined insulated curtains, bed ensembles, wooden rods, pillows and much more. All perfect with antiques, Victorian or 20th century furniture! Free color catalog available by calling 413-243-1805 or write Country Curtains, Dept. 3206, at the Red Lion Inn, Stockbridge, Massachusetts 01262.

I

I L T April 23-27

OLFA WORKSHOPS GINGHER LECTURES MARIE PRODUCTS CLASSES

SEND FOR FREE COLOR CATALOG

COMPLETE SUPPLIES CATALOG. WRITE

Come Quilt With Me, inc.

Pat Yamin, Proprietor P.O. Box 1063-L Brooklyn, N.Y. 11202 718-377-3652

Visit our retail shops.

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We salute the Statue of Liberty Centennial.

Write for a catalog:

Evening Star Farm, Inc. 12621 Overbrook Road • P.O. Box 7806 Leawood, Kansas 66209 • 913-491-0844 94

Pieced Q_uilt8 in Wood by artists

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" Charles Detweiler and Linda Detweiler o• •• •• •• o• o• o• o• o• o• •• o• o• o• o• o• •• o• o• •• o• oo o• o• o• •• •• •• o• o• o• O•

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If it were French, we'd call it a brasserie.

If it were Italian, we'd call it a trattoria.

Since it's American, we call it a festival.

Keeping New York hours and serving world-class American food with spirit.

### ### Festival Cafe Americatan Rockefeller Plaza In the center of the center of New York.

20 West 50th Street. Reservations:(212)246-6699.

Breakfast, Lunch, Dinner & Supper Mon. thru Sat.

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AMERICAN QUILT STUDY GROUP

III The American Quilt Study Group — the people who find and publish the history of quilts, quiltmaking and textiles — announce Volume 5 of Uncoverings.

•In Uncoverings the research papers from AQSG Seminars are published each year. Five volumes are now available, each priced at $13 postpaid.

•Your membership and participation are invited.

Annual dues are $15.

•For more information please send a self-addressed stamped #10 envelope.

American Quilt Study Group 105 Molino Avenue, 415/388-1382 Mill Valley, CA 94941

Weekend Brunch and Sunday Dinner.

LADY'S CIRCLE PATCHWORK QUILTS 105 East 35th Street New York, N.Y. 10016

LADY'S CIRCLE PATCHWORK QUILTS is the magazine for quilt lovers, quilt collectors, and quilt makers! The unusual format of this bi-monthly publication allows the reader to travel the highways and back paths of America in search of quilts from the best of the old to the most modern "art quilts." Included are sections on museums and museum collections as well as on quilt artists and quilting groups. There are at least a dozen full-size quilt patterns in each issue and short articles on design, color, technique, or simply the joy of quilting.

FULL-SIZE PATTERNS 1 114 FOR YOUR PLEASURE 1-ady Circle

IPATC11 QUIL MEET MARGE MURPHY OF BILOXI THE LIGHT AND LOVELY QUILTS ALONG THE GULF COAST DIXIE HAY WOOS TELLS HOW TO GET A QUILT ON AND OFF THE FRAME IN A JIFFY

COLUMNREFLECTIONS

BY BARBARA S. WYSOCKI

95

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QUILTS from the foothills of the Cumberlands.

Each one is unique and original, quilted by the patient hands of Appalachian women who were trained at their gradmother's knee.

15" Pennsylvania Amish Girl and Boy Doll.

Patterns: Color photo & instruction sheet included for girl/boy doll & appropriate clothing - packaged comes with straw hat.

Pennsylvania Country Deanna Hayes Nardozzo 935 Oak Ridge Avenue State College, PA 16801 (814) 237-4560

. NEW PATTERN

COMING!

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411111

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Pat DuVal Route 4, Box 46 Albany, KY 42602

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PUT SOME FUN BACK INTO YOUR STITCHING!

Drawing from yesterday for today and tomorrow...

Send $1.00 for four Issues of THE AARDVARK TERRITORIAL ENTERPRIZE The most unique needlework catalog available today.

AARDVARK ADVENTURES P. 0. Box 2449 Livermore CA 94550

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Designs

a & 360 Higginsville Road, Neshanic Sta., NJ 08853 Phone 201 - 782-6938

ORIGINAL DOLLS

Houston's 12th Annual

Quilt Festival

"VICTORIA"

America's premier quilt show & sale 20". Cloth.

Catalog $2.00

Oct. 29 — Nov. 2 Exhibits Albert Thomas Convention Center Classes Hyatt Regency - Houston, Texas

1500 antique & new quilts for sale 3208 Clearview Austin, Texas 78703 512-476-5021

100 exhibitors

Almost 100 classes & special events by top faculty including:JinnyBeyer, Jean Ray Laury. Virginia Avery, and others.

oeiAololei010101010AototooVio SEMINOLE SAMPLER

•OVER 140 SOLID COLORS •OUR FAMOUS FABRIC PARFAITS •MOLAS & GIFT ITEMS •THE BEST IN NOTIONS •BOOKS & PATTERNS Including: •Scrap Quilts •Color Study •Amish Quilts •Hawaiian Quilting •Mon and Sashiko •Seminole We invite you to have a copy of our catalog, no charge. Swatches 2.50 postpaid.

P.O. Box 658, C, Ellicott City, Maryland 21043

AT,41 Ten spectacular special quilt exhibits r, •

Tours to see "Lone Stars: A Legacy of Texas Quilts", "The Great Texas Quilt Round-up", and Houston's quilt shops Wild Wild West Rodeo and Barbecue

You won't want to miss The Houston Show this year as we celebrate Texas' 150th Birthday !

Quilt Festival is worth saving for...

For information, send a long stamped, self addressed envelope to: Houston Quilt Festival, P.O. Box 79164, Houston, TX 77279

97

A NEW QUILT POSTER BY MARGIT ECHOLS

Inspired by children's building blocks, the ALPHABET quilt by Margit Echols is now a new poster of exceptional quality which perfectly captures the quilt's bright colors and exquisite detail. A wonderful gift anyone would love, the ALPHABET poster is at home in any decor: a child's room, family room, office, school and library. 24 x 32 inches, it is printed on the finest cover stock, suitable for framing. One of the few quilt posters on the market today. $28.00 ppd. unframed.

PollyAnna PLUS The Quilt Sweater

ROWHOUSE PRESS Posters & Books Dept.

PO Box 20531 • New York NY 10025 •(212) 662-9604 The Qui(ter's Start-to-Finish Workbook by Margit Echols is a down-toearth, start-to-finish workbook for the beginner and the advanced quilter.

Twenty traditional patchwork quilt designs to choose from •Four diagrams of each design to color • Ready-to-use full-size accurate patterns to cut out — no tracing or enlarging necessary • Complete step-by-step sewing instructions with diagrams. 224 pages, $10.00 ppd.

The Quilt Sweater is the exclusive line designed and created by PollyAnna Ltd., combining the timeless crafts of knitting and quilting.

For the Beginner and the Advanced Quitter Includes Ready-to-Use Full-Size Patterns to Cut Out Mary Echols

16 pages of knitting, crocheting and quilting designs in ladies' S-M-L-XL plus children's sizes 2-12.

Patterns and Instruction Book — $10.00 Postage Paid.

Come celebrate with us on the Exhibition Pier during The Great American Quilt Festival.

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THE QUILT SWEATER

5645 E. Ninth St. • Tucson, AZ 85711 98

ERWIN ROWLAND

Exhibiting wool and cotton landscape quilts and very special handsti tched , applique embel li shed clothing, at the Great American Quilt Festival.

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JoDiggs Applique For information on commissions, lectures and workshops, or clothing brochure, write: P.O.Box 6685, Portland, ME 04101 207-773-3405

• Add charm to your home with one of these free-standing jointed fabric figures. You'll be amazed at how easy they are to make. Each pattern retails for $4.

Look for them at your local store or write to us for more information.

4 Symbolizing Courage, Fidelity, Fertility, and Love Designed by Erwin Rowland and presented to Prince Charles and Princess Diana by J.C. Penney as their official gift to celebrate The Royal Visit.

By Appointment—(212)249-1246 Color catalogue $5

Inc. 6060 Chickadee

Erwin Rowland 181 East 73 Street, New York, NY 10021

Place • Westerville, Ohio 43081 99

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DICMAR PUBLISHING presents...

The Nancy Donahue Series

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,t4 !PAN BUTTERFLIES by Nancy Donahue The largest collection ofbutterflies ever!

89 full-size pattern, 42 color plates. $12.00

CATALOG

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THE QUILT-ASYOU-GO-GUIDE

by Nancy Donahue Easy-to-follow, clearly illustrated instructions for making lovely quilt-asyou-go quilts. 227 diagrams, 21 color plates. $6.00

INSPIRATION AND INSTRUCTION FOR THE NEEDLE ARTS

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2. Exciting new patterns...

3. "Pretty Baby" wearables collection...

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SHADOW TRAPUNTO

by Nancy Donahue A delightfully new and different colored trapunto technique for creating clothing, quilts, pillows and ornaments. 92 patterns with complete and easy instructions. $8.00

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PLUS ••• THE WHOLE QUILT SHOP DIRECTORY United States Edition State-by-state quilt shop listings plus 10 specialty cross indexes. 64 pages. $5.25

iWHOLE 32 QUILT : 1.'1 SHOP 1E3

KENTUCKY QUILTS - 1800-1900 An exquisite publication documenting the Kentucky Quilt Project—the project that STARTED the state quilt search movement Illustrated with 63 color plates and 12 black and white photos. $14.95 To order any of the above publications, send check or money order plus $1.50for shipping and handling to: I

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dicmar Publishing

P.O. Box 3533, Georgetown Station Washington, DC 20007 or call:(202)338-2049 DEALER INQUIRIES INVITED 100

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LITTLE PATCHWORK THINGS

by Nancy Donahue How to get started with miniature.

104 pages of patterns, projects and enchantment 34 color plates. $7.00

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Superior Quilting Designs and Motifs from Award-Winning Needle-Artists Wallace-Homestead books feature expert advice on how to achieve professional results ..regardless of your level of skill.

Creature Comforts: Quilter's Animal Alphabet Book, by Marie Shirer and Barbara Brackman. The authors, both associated with Quilters Newsletter Magazine, present fifty scaled block designs plus 13 projects. #0-87069-455-3 $16.95.

Award-Winning Quilts and How To Make Them, by Judy Florence. Four quilts and two seasonal quilted wall hangings. Includes full-sized templates. #0-87069-45-5 $14.95.

Creating Pa nDau Applique, by Carla J. Hassel. An all encompassing guide to this cross-cultural craft. #0-87069-390-5 $12.95.

The Pieceable Kingdom, by Mary Jane Lamphier. Exciting collection of new projects, all basic, traditional patterns assembled in 20th century design. #0-87069-426-X $12.95.

Snowflakes in the Sun: A How-To Guide to Hawaiian Quilt Making, by Charlyne Stewart. Twelve quilting projects using the snowflake-like motif. #0-87069-451-0 $14.95.

You Can Be A Super Quilter: A Teach-Yourself Manual for Beginners, by Carla J. Hassel. Most popular quilting book on the market today.

Step-by-step instructions and plentiful diagrams. #0-87069-294-1 $10.95.

Super Quilter II: Challenges For The Advanced Quilter, by Carla J. Hassel.

Thirteen patterns teach drafting, precision piecing, and quality quilting.

Instructions and templates. #0-87069-371-9 $14.95.

WRITE FOR OUR FREE CATALOG Visa and Mastercard holders call Toll-free. Nationwide: 1-800-328-1000.

In Minnesota: 1-800-862-1336. Ask for extension 90.

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P.O. Box 6500, Dept. AFA Chicago, IL 60680

Diana Gordon Design 1452 George Court•Benicia, CA 94510•(707) 745-3928

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We have many traditional and modem quilt designs in easy-to-sew, time saving pre-cut kit form.

Surprisingly low prices. Beginner kits too. Please send $2 for fabric sample swatches, color catalog & discount coupons.

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Custom Made Stretchers for displaying Quilts & Hooked Rugs Rag Carpets sewn together for Area Rugs

Pie Galinat 230 w 10th SL, n.y , n y. 10014 (212) 741-3259

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Index to Advertisers

Aardvark Adventures America Hurrah American Primitive Gallery American Quilter's Society American Quilt Study Group Ames Gallery Amfern Galleries Amity Publications Marna Anderson Antique Center at Hartland Laura Ashley Bertha Black Antiques The Blueberry Cottage Bonner's Barn Darwin D. Bearley Calico Country Robert Cargo Margaret Cavigga Quilt Collection

102

96 39 23 60 95 26 6 100 7 87 3 86 93 31 33 88 86 34

Cavin-Morris Christie's The Clokeys Come Quilt With Me Country Curtains Country Home Detweiler Folk Art Dicmar Publishing Dicmar Publishing-Kentucky Quilts Jo Diggs Applique E.P. Dutton Pat Du Val Leslie Eisenberg Epstein/Powell Evening Star Farm Fairfield Processing Corporation Felicity Quilts & Patchwork Laura Fisher Pie Galinat

28 21 31 94 94 38 94 100 92 99 58 96 32 30 94 25 28 35 102

Donna Gallagher 99 Gasperi Folk Art Gallery 32 The Gazebo 90 36 Sidney Gecker 37 Good Books Diana Gordon Design 101 90 Great American Salvage Company Great Expectations 62 86 Pat Guthman Antiques Rebecca Haarer's Country Arts & Antiques 64 Phyllis Haders 9 Hands All Around 91 101 Hearthside 11 Martha Jackson 88 Tracy Jamar 103 Jay Johnson Kelter-Malce Inside Front Cover

Chadwick House

by Sylvia Alberts,1985 Oil on canvas 24"x 26"

JOHNSON JAY America's Folk Heritage Gallery 1044 Madison Avenue, New York, N.Y. 10021 Daily, 11 a.m.-6 p.m.(212)628-7280

CM

91 Monique Knowlton Gallery 95 Lady's Circle Patchwork Quilts 19 Deanne Levison Inside Back Cover Liberty Tree 98 Louise's Fabrics & Quiltworks 8 R H Love Galleries, Inc. 65 Don Mackey Shows 62 Main Street Antiques & Art 10 Frank Maresca-Roger Ricco 61 Midwest Quilt Exchange 1 Steve Miller 87 Sandra Mitchell 86 David Nichols 88 Oh Suzanna 36 Susan Parrish 61 The Pattern Factory 63 William Pease Cabinetmaker 96 Pennsylvania Country

Phillips Auction 63 Pieces of Olde 64 Polly Anna Ltd. 98 Quitter's Newsletter Magazine 59 Quilt Festival (Houston) 97 Quilting Books Unlimited 92 Quilting Creations by D.J. 101 Quilts Unlimited 29 Raspberry Hill Patchworks 89 Restaurants Associates 95 Erwin Roland 99 Rowe Pottery Works 89 Rowhouse Press 98 Stella Rubin 26 John Keith Russell Back Cover David A. Schorsch 12 Scotchgard 17 Seminole Sampler 97 Shoot the Chute 87

Sotheby's South Bay Auctions Cathy Smith(MD) Cathy Smith(NJ) The Strawberry Patch Calico Shop Sudz Publishing Sweet Nellie Talas Judie Tasch University of Texas Press Vermont Quilt Festival Wallace-Homestead Book Co. Watermelon Patch David Wheatcroft Whistler Gallery Elaine Wilmarth Thos. K. Woodard Shelly Zegart

2 39 89 96 93 92 33 90 97 92 90 100 93 30 35 34 4 27

103

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Classified Advertising

Quilt Tops Handquilted By Expert Amish Quilters

Hooked Rug Restoration and Repair

Quilts From Cincinnati Collections

Send self-addressed stamped envelope for price list. Millicent Agnor & Associates, 1443 Arthur Avenue, Cleveland, Ohio 44107.

(As seen in N.Y. Times) — Rag carpets sewn together — Custom designed hooked rugs made to order. Stephen T. Anderson, 212/431-8354.

40 pages, 36 color plates: $14.50. Accompanying color poster: $10.50. Address orders to: Cincinnati Art Museum, Publications Department, Eden Park, Cincinnati, Ohio 45202.

Homespun — Chintz — Patterns — Country Garments

No More Sore Fingers

Carol Overdorf Antiques

Stainless steel thimble protects fingers under quilt from needle.

Unique finger shaped design. $2.35 EZ Stitch, Box 5881, Peoria, IL 61601.

Quilts — Linens — Decorative Objects — Antique Classes. 1210 31st Street NW, Washington, DC 20007; 202-337-2222.

Visa Travel & Tours

David Ziff Cooking Inc.

Will Guide You Through America's Art Treasures with a special professional touch.

4 Mineola Avenue, Roslyn Heights, N.Y. 11577; 516-625-1800; 212-432-2441.

184 East 93 Street — New York City 10128; 212-289-6199.

Send $2 for Catalogue & Swatches. Country House Quilts, 170 South Main — Dept.

FA, Zionsville, IN 46077.

Patches and Patchwork — Quilt Fabric Shop 216 Main Street, Portland, CT; 203-342-4567. Books... quilting, craft and cross stitch.

Custom quilting both hand and machine. Our patchwork windsock flies Tuesday — Saturday, 10-5.

104

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BRAVO AMERICA 138 Spring Street, Newport, Rhode Island 02840 Telephone(401)847-5925

PM. N,EITH RUSSELL ANTIQUES,EW.

Important Painted and Carved Hudson River Valley Kas of Diminutive Size.

Poplar, Circa 1800, Measuring Only 57" High, 39/ 1 2" Wide, 11" Deep.

SPRING STREET,SOUTH SALEM, WESTCHESTER COUNTY, NY. 10590 (914)763-8144 • TUESDAY-SUNDAY 10:00-5:30