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The Yellow~Ribbons Project - Quilters who care

Date: Sat, 24 Aug 2002 20:27:39 -0700
From: chrisa@jetlink.net

I agree with Gaye that the gender making the art and the gender
writing the
report have something to do with it, as it always has. I think the
Wall
Street Journal should stick to business, not art, and joy and warmth
and fun
and creativity. Just because they recently put color on their pages
doesn't
make them any authority on quilts!

I find the implication that quilt exhibits are popular with the
museums
because they are cheap, insulting! There have been an increase in
quilt
exhibits in museums because of the attendance they bring in, which
the
reporter did briefly touch on. Of course the museum's want people who
don't
ordinarily go to museums, to come into their museum and see all they
have to
offer. If quilts bring them in and make them happy, then it is good
business
to have quilt exhibits. Everyone benefits, the gift shop, concessions
or
cafe, membership, and word of mouth advertising come to mind. In
fact,
people who may have been intimidated by a museum's austere looks may
finally
test the illusion if quilts are the prize.

I was also surprised to have a person from Pasadena, CA put down
quilt
exhibit. Pasadena is a very old (for California) and beautiful town,
sophisticated and steeped in tradition. Do they actually think that
roses
and flowers glued onto floats (lasting for 7 days, if lucky) are more
valuable then an antique or art quilts?? I have seen the floats, up
close
and personal. As beautiful as they are, I can assure you there is no
comparison.(and I will add that more and more they are being covered
with
seeds, barks, and not floral plants. Fewer roses each time I go and
see them
up close. It's been quite disappointing after seeing them on TV) But
it
brings Pasadena huge amounts of tourists every single year, an
immense
amount of free publicity, funds are collected from those companies
wanting
to enter a float, and all the flower growers in greater LA and around
the
world all benefit from this single 2 hour, 5 mile parade once a year.
Oh
yes, the tickets are about $35.00 each, for the regular seats, that
is.

Pasadena has beautiful museum's, the Norton Simon with rare old
paintings,
the Greene and Greene House and other Arts and Crafts homes for
tours, the
Pasadena Historical Society Museum and Mansion, which has quilt shows
and a
textile organization within it that was started recently in order to
have
regular textile and needlework programs because they have been so
successful
for them. And I'm certain there are other museum's in that town. I
don't
live there, but enjoy going there and am really surprised that that
particular town would have a quilt naysayer. Silly man. Maybe the
quilt
groups in that town should do a float one year honoring quilts!! HA
HA!

Kim Wulfert
www.antiquequiltdating.com

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

Date: Sun, 25 Aug 2002 09:22:57 +0100
From: "Sally Ward" <Sally.D.Ward@btinternet.com>

The one positive thing I can see in this report is the long list of
quilt exhibitions which *have* taken place in museums. If there weren't so many the writer would have nothing to rail against. And is his (sorry, I assume 'Brooks' is a he?) little tantrum going to make any difference to that? I long for the day when there are enough quilt shows in museums in the UK to engender a rant such as this in an equivalent organ.. And it is, after all, one man's opinion - to which he is entitled (not his fault its the 'wrong' opinion <G>). What is required now is a cogent and reasoned response in the
same paper. Will that be allowed?

When Curator Joanna Hashagan mounted her ground-breaking 'North
Country Quilts' exhibition at the Bowes Museum in Northumberland, UK, the 'men in suits' vigorously opposed the putting into storage of oil paintings in order to use the gallery space. They were subsequently, of course, astounded by the number of people who travelled the country (and the world)
to visit - to the extent that they allowed the exhibition an
extension to maximise admission sales. The saddest thing, which I suppose should have been no surprise, was that none of the great and good from museums all over the country who were invited to the opening found it in themselves to make
the journey out of London to see this fantastic show.

By all means rail against this silly little article, but be thankful
at the same time that you do have museums willing to take quilt exhibits, whatever their motivation. For the 'suits', bums-on-seats are always going to win the day, so I don't think you have much to worry about<G>.

Sally W
Yorkshire, UK

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

Date: Sun, 25 Aug 2002 06:20:11 -0400
From: Debby Kratovil <kratovil@his.com>
To: QHL@cuenet.com

Hello from a new QHL member (actually, I'm recycled - I was a member
several years ago - maybe that makes me "vintage"?) Anyway, my
special
thanks to Hollis Turnbow for redirecting my recent requests to the
entire
list for info/quilts related to the Nancy Page "Garden Bouquet"
series and
the "Memory Bouquet" series by Eveline Foland (first appearing in the
Kansas City Star in 1930, I believe). I have received many generous
responses - pictures of quilts of both - which help me visualize
these
quilts as they were made from the patterns during those years of
publication.

I am not an historian, though I do try in my designing to remain true
to
how the original author intended for the quilts to be rendered. I am
still
sleuthing for more background information on these two series quilts.
I
understand there are even more series quilt block sets by Nancy Page.
Most
of what I have are those patterns which appeared in the Kansas City
Star. I
have redrafted all of the 1000+ patterns that are of applique and
patchwork
(this is not including those special series sets). Volume 2 of my
Kansas
City Star CD is due out in a few months, so with that basically
behind me
I've been redrafting all of the more difficult patterns (appliqué,
stencils, redwork) in the hopes I can put these together into a CD or
two
which I will publish myself (like the paper piecing CD I released in
the
spring).

If any of you have information about MORE Nancy Page sets (since her
work
wasn't a Kansas City Star exclusive but Detroit and Chicago items - I
think), please do educate me. I am very teachable!
For those who missed the links to the two pages on my site which
picture
the patterns as I have them so far:
Memory Bouquet:
http://www.successfactors.org/queenb/memory_bouquet.html
Garden Bouquet:
http://www.successfactors.org/queenb/garden_bouquet.html

Glad to be a part of this list and soon to get into those
information-rich
archives! Debby

Debby (with a "y" and not "ie") Kratovil
Quilter by Design
http://www.successfactors.org/queenb

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

Date: Sun, 25 Aug 2002 09:20:43 EDT
From: ZegrtQuilt@aol.com

I know Shelly's on this list - what's her take on being quoted? Was
the
reporter this condescending during the interview?Lisa Evans

This article has caused a furor and well it should. In my opinion it
was an incredibly unintelligent piece for him to write. His is an
elitist,revisionist and antiquated postion. There was very little positive about it and it seemed to be written with the intent to demean a legitimate body of work.
Not all "high art" is any good. Alot of the outsider art is the
"emporers
new clothes" The article is also a very negative read for the
major
museums that are finally recognizing quilts for the right reasons.

When he called me he did not say he was doing the piece from the
negative
side...He seemed to want the correct information and was positive .I
gave him
a number of people to contact and filled him in on much of what is
going on
and why. He seemed very interested and at no time indicated he was,
from the
onset, planning to do a negative article .. He was referred to me by
a very
legitimate source. Yesterday, another source told me that he intended
from"
minute one" to write a negative piece , even more disturbing to me.He
was
never open to hearing from curators,critics or others who value and
respect
quilts as an art form.tion of quilts.

We can turn this into an opportunity .
We need to be very smart and gather as many of your art world
friends and
colleagues, magazine writers, critics, curators, art
historians,material
culture specialists , and others and encourage them to write to the
WSJ. An
outpouring of comments from the museum and academic communities will
help us
tremendously as well as all of the comments from the enormous quilt
constituency..

Where and how quickly we can get our position on this published in
mainstream publications is very important. Remember it was when the
Smithsonian "brouhaha" over the imported quilts went public in The
Washing
ton Post and others that the broader public took notice...and
agreed...and
responded to the quilt world position
Shelly Zegart

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

Date: Sun, 25 Aug 2002 10:09:24 EDT
From: Kittencat3@aol.com

I already wrote a letter to the editor decrying the tone of the
article. I
cited Robert Hughes as a top critic who *does* think quilts are art.
I also
pointed out that quilting was the equivalent of art school for all
too many
19th and early 20th century women, and that being condescending to
the quilts
now is depriving these talented women of their artistic legacy for a
second
time.

Would it be all right if I forwarded copies of the article to a
couple of
quilt shops I patronize? I don't belong to a guild. But this needs
to be
known....

Lisa Evans

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

Date: Sun, 25 Aug 2002 19:26:00 -0700
From: Judy Knorr <jknorr@optonline.net>

I hope you can clarify a discussion I had with a fellow quilt guild
member. We were examining a 1930's quilt brought by a non-member.
(The quilt was in very bad condition). I commented that many of the
fabrics were feedsacks as I had seen the prints in my Grandmother's quilts and in feedsack collections. Another member disagreed as they were fairly close woven fabrics. She said feedsacks were only loosely woven fabrics. Not being an expert by any means, I didn't argue but,
decided
to check in with my experts....on this board! Were feedsacks
available
in both loosely woven and tighter woven fabrics???
Thanks,
Judy

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

Date: Sun, 25 Aug 2002 20:04:25 EDT
From: SSQuilt@aol.com

Hello,

Thank you so much for the information that you've shared about Bertha Meckstroth. I am still astounded that I have one of her quilts. When I purchased it on ebay a couple of years ago for next to nothing I had not idea what I was buying. I simply thought the quilt was very unique in design and from the 1930s which is one of my favorite time periods. I never dreamed when I listed it again on ebay last week that I'd begin a wonderful research project. I'm very grateful to the person on ebay that brought the story of
Bertha to my attention. I still intend to sell the  quilt but am going
to have Shelly take a look at it and hopefully a suggestion on who I could contact. 

It's definitely not going to go just anywhere. I want to be sure it
will be
cherished and cared for. Any further info will be of a great help. If
anyone
wants to see a picture of the quilt email me privately and I'll
direct you to
the photos.

Gay Bomers
Sentimental Stitches
4759 Boyd NE
Grand Rapids MI 49525
Phone: 616-361-9255 / Fax: 616-363-1904
www.sentimentalstitches.com

Date: Sun, 25 Aug 2002 21:12:27 -0500
From: "Dale/Jean Carlton" <djcarlton@att.net>

Judy,
I've seen both fine and coarse feed sacks - the coarser fabrics were
used for different commodoties than those that were more closely woven. Unless you have the whole sack and can see the holes where the thread held it together ( or in the case of plain sacks you might see printing from the product logo) you can't be sure it's feedsack or yard goods woven at that time. Yardage was being produced with the same types of prints and some of that was coarse too!
It's always safe to say feed sack 'type' prints of the 30's. Once
they are cut into pieces for a quilt it's impossible to prove their origin.
Jean Carlton
MN Quilt Appraiser

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

Date: Mon, 26 Aug 2002 12:03:13 -0500
From: "Nancy Kirk" <kirkcollection@kirk.omhcoxmail.com>

Chicken feed was sold in the more loosely woven sacking. Flour was
sold in more densely -- finely -- woven cloth sacks. When you stop to
think about it, it's easy to understand. There is a mill is western
Nebraska which still sells flour in patterned cloth sacks. I'm sending them a note to ask about buying samples.

Some of the same designs were also sold as yard goods in both weaves. The only way to know if you for sure have a piece of a sack if it has been opened and cut, is if the sewing holes are showing (but fussy quilters would have trimmed these off.)

What you CAN say for sure is something like "I remember my
Grandmother using feedsacks (or flour sacks) with this same pattern. I wonder if that is how this piece of fabric started life?"

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

Date: Mon, 26 Aug 2002 12:50:02 -0500
From: "Avalon" <malthaus@idcnet.com>

Does anyone know who/how freezer paper came into use as template
material?

Mary

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

Date: Mon, 26 Aug 2002 13:15:27 -0500
From: "Karan Flanscha" <sadierose@cfu.net>

The first time I heard of Freezer Paper being used for Appliqué
was in June 1985. "Country Home" magazine had several pages on
the country home of Jerry & Ellie Bennett. There was a small
appliquéd wall quilt in red, green & yellow (sort of Baltimore
Album or Pennsylvania Dutch looking) show along with some of
Ellie's other quilts. At the end of the article, it said that
you could order a booklet with the patterns for that little
quilt from Ellie Bennett. I sent for the booklet, and that is
where I first read about FP patterns for appliqué. Here is a
quote from her book:
"The designs included in this booklet were inspired by the
lovely 19th Century Album Quilts. In my "Little Quilt" I used
red, green and yellow prints on a muslin background. These
colors seem to predominate in the antique album quilts, though
you may want to use any color combination that you find pleasing.
Each pattern is drawn to fit onto a 6 inch square. I enjoyed
the challenge of working on a small scale, but if you wish, these
patterns could be enlarged to fit any size square. You might also
make a smaller wall quilt by using fewer squares.
Some quilters find appliqué rather frustrating and tedious.
Several years ago a very clever new technique was introduced to me.
I have used it often and incorporated it into The Appliqué Workshops
that I teach. The method involves ironing freezer paper, which has
been cut to the finished size of each shape, onto the back of
fabric..."
©Ellie Bennett 1985
She goes on to explain in more detail how she uses FP (on the back,
and basted). She does not say who she first learned the method from.
She lived in Littlestown, PA back then.
For perspective, Elly Sienkiewicz' "Baltimore Beauties & Beyond:
Studies in Classic Album Quilt Appliqué Volume One" was published
in 1989, and I think by that time, using FP for appliqué templates
was quite common.
Will be interested to hear if others have more info...
Karan from sunny Iowa

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

Date: Mon, 26 Aug 2002 13:29:42 CST
From: jocelynm@delphiforums.com

On Sun, 25 Aug 2002 09:22:57 +0100 "Sally Ward" wrote:
For the 'suits', bums-on-seats are always going to win
> the day, so I don't think you have much to worry about<G>.

Sally,
I know that what Brits call 'bums' we call 'behinds' or 'bottoms' or
'rear ends' (among the more presentable phrases) ....but I had a
mental
image of a grandstand filled with hobos and tramps, applauding nicely
at
a quilt show. <G>

Jocelyn

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

Date: Mon, 26 Aug 2002 15:47:50 EDT
From: QultFrFn@aol.com

We were using FP as an applique base AND as a piecing/sewing template for detail work at the Quilter's Ranch classes in 1983-84.

Have no idea why or how we started. We may have seen 'something'
during the
Houston Quilt Market during Fall of 1983
Nancy Brenan Daniel

 

Date: Mon, 26 Aug 2002 23:04:29 EDT
From: AndreaBlackhurst@aol.com

I think the freezer paper applique technique was started, or used
very early
by Anne Oliver of Northern Virginia. It might be a place to begin if
you are
looking for information.

Andrea Blackhurst

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

Date: Tue, 27 Aug 2002 12:26:05 +0100
From: "Sally Ward" <Sally.D.Ward@btinternet.com>

This is not something you will see very often - a folio of
approximately
1600 painted designs for printed cottons, 1885-1860, being sold by
Sotheby's on ebay with an opening bid of $1,150 (reserve not met). I
envy
the collection it ends up in.

http://cgi.sothebys.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1854420471

Sally W

(Click on the thumbnails below)

i-1_B_L.jpg (56007 bytes)

i-3_B_L.jpg (43534 bytes)

 

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

Date: Tue, 27 Aug 2002 09:09:08 -0400
From: Lesters <jeanlester@ntown.com>

My clothes, as a child, came from feed sacks, that I got to pick out.
My grandparents had a chicken farm in eastern CO. My scraps (yes
there are a few left) are pretty finely woven. Definitely not the
loose weave that I have seen in some whole sacks.

As to the mill in Nebraska, I have some of their sacks--some
polyester! Times change! It's good hard wheat and great for bread,
though.

Jean (in TN)

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

Date: Tue, 27 Aug 2002 11:06:24 -0400
From: Kevin Champ <kchamp@nrtco.net>

I have a GFG quilt top that I bought on ebay..its in very good
condition
and I want to finish it. However it has not been ironed and the seam
allowances go everywhich way in a random sort of un-ironed way.
Is there a recommended way to iron these seam allowances...what I
mean
is, do they go the center of the 'flower' or out to the edge of the
flower??
I have been putting this off for ages just because of the
ironing...and
would appreciate any advice...
Val
ps: on the feedsack note..I have some old sugar sacks...I believe
that
is what they are cause they were smaller...they were all white or
antique white...wonderful to work with and would rival many muslins
today...I have used almost all of them up but they were a pleasure to
work with.

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

Date: Tue, 27 Aug 2002 16:35:37 EDT
From: Hazelmacc@aol.com

Anne's Story

Regarding freezer paper use in quilting, this is the story told to me
by Anne
Oliver who lives in Alexandria, Virginia and makes prize-winning
quilts.

"It began with sugar paper". Remember those little wrapped sugar
cubes? One
side of the paper was plastic. She used that medium to help turn
under her
seam allowance for applique. The paper not being firm enough caused
she and
her husband to look for a heavier paper. They found a one-sided
plastic
paper used by McDonalds. The search continued until they heard about
a
wrapping paper used during deer season. Reynolds was the maker of
this
product, but it was only, at that time, available during deer season.
Today she uses Reynolds freezer paper and on the box they have
included
"quilting" on the box when telling of other uses for the product.

Anne began teaching freezer-paper applique in 1979. In 1981 an
article by
Anne on this technique was printed in the magazine Quilt. Her method
is with
the fabric face down she lays the paper plastic side up, then with a
hot iron
presses the turn-under over the paper. The fabric adheres to the
plastic and
can then be appliqued down with more design accuracy. Other quilters
have
devised several other methods but the end result is the same. When
she won
awards with her Painted Metal Ceilings (THE TWENTIETH CENTURY'S BEST
AMERICAN
QUILTS, p. 67) she then explained "freezer paper design work".
Articles
about the freezer paper techniques have been published in nearly 30
magazines. She also related that the quilters in UK have been using
what
they term "grease paper".

Hazel Carter in No. VA

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

Date: Tue, 27 Aug 2002 14:27:22 -0700
From: chrisa@jetlink.net

Gaye-
I have my notes now on the quilt by Bertha I saw at the Shelburne,
made in
reverse appliqué, old English style lettering. It was called
the"Pelican in
the Piety", because of the bible verse chosen, and was made in 1930.

In determining who or where your quilt came from and might want to
go,
perhaps the following will help you out. Bertha left 85 quilts to her
arm
amateur Radcliff and Barat Collage in Lake Forest, Illinois (a
northwest
suburb of Chicago). She intended for them to be used to further the
education of young ladies.

I'd like a picture of yours and I've deleted your personal address.

Thanks,
Kim Wulfert
www.antiquequiltdating.com

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

Date: Tue, 27 Aug 2002 23:10:35 -0400
From: "judygrow" <judygrow@rcn.com>

I have a London Sotheby's catalog of a sale dated March 4th and 5th,
1998
that is titled "Important Costumes, Textiles and Fabric Swatch
Books." There is a man who shows up at our local flea market on a regular basis with
tables full of sales catalogs for approximately $2.00 each. This
particular
sale included items from the Calico Printers Association Archive, The
Chicago Museum of Science and Industry European Samplers, and The
Charleville Gallery Textile Collection.

In the introduction to the sale it is stated that the Calico Printers
Association was formed in 1899 in order to buy their raw material
more cheaply and to promote exports. The association ceased in 1968 and a
small
proportion of their books were given to local Lancashire museums.
Twenty
two books c. 1800 - 1870 are split between Manchester City Art
Galleries
(Platt Hall), Manchester Museum of Science and Industry, Manchester
Central
Library, Salford Museum and Art Gallery, and Manchester Metropolitan
University. The books in the 1998 sale were thought to have been
lost and were found in a redundant textile factory building.

" The cottonmills and printworks of Lancashire have largely ceased to
exist.  The LoveClough works (established 1790) was closed in July 1990 in the face of increasing cheap Far East imports and reduced consumer spending.  The Calico Printers' Association Archive is a rare and remarkable record  of the excellence of the British textile industry -- the quality and range of the printed fabrics, the diversity and innovation of designs is a testament of the pride and craftsmanship of the workforce that labored to produce
it."

Judy in Ringoes, NJ
judygrow@rcn.com

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

Date: Wed, 28 Aug 2002 08:30:28 -0500
From: "Vergamini, Linda" <lvergamini@chsomaha.org>

Consolidated
Mills" I tried ebay and did not see anything. Anyone have one that is
available for sale?? Please let me know privately if you do at
vergaminicat@worldnet.att.net Thanks!

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

Date: Wed, 28 Aug 2002 08:42:23 -0500
From: "Dale/Jean Carlton" <djcarlton@att.net>

Lorraine,
Thanks for the website reference on the Dargate book. Very cool!
Jean

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

Date: Wed, 28 Aug 2002 17:06:59 -0400
From: "Cinda Cawley" <lrcawley@dmv.com>

Returning home from a visit to Fran in the mountains of western Maryland
I feel the way I do after Thanksgiving dinner: stuffed and lucky.  Each
meeting of the group produces such wonderful things to see and so  much to learn. There were a lot of 9-Patches on Monday, each interesting in
its own way. One was chrome yellow and double blue, looking as bright as the day it was made 100 years ago. Most of the Vintage Friends have a serious
weakness
for PA quilts and discussions of Lancaster/double/oil-boiled blue
often come
up. Barb Garrett and I have had to defend our preference for calling
it
"oil-boiled blue," a designation that we, as native Pennsylvanians,
have heard at home. We are now triumphant since Barb found an entry for fabric of "oil-boiled colors" in a 1902 Sears catalogue. Several of us had brought examples of repro "double blues." The winner, hands down, is Pepper Cory's Lancaster Blue. Not only is it the perfect startlingly clear shade of blue, it has what seems to be the most common motif, a drooping lily of the valley-like flower. Congratulations Pepper!


Two quilts are contenders for the most unusual of the day: A
pristine 9-Patch backed with a commemorative print of shields printed with stars and the word "Union." Does anybody have any idea of the date for that fabric? A tied comforter made of "Mikado" fabric, scenes from the Gilbert and Sullivan operetta which premiered around 1895. The entire back was this fabric, on the front it alternated with a simple pieced block.
Several members burst into song at the sight (they were not encouraged to continue!).  Another 9-Patch had an 1880s top in a variety of browns backed with a lovely peach colored polished cotton (obviously quilted in the 1930s). The quilting was so beautiful that looking at the quilt from the back it
was a
spectacular wholecloth.
There weren't a lot of stars this time. But we saw one exquisite
example: a silk top of small Lemoyne Stars on black. We dated it
about
1850. Most of the stars were of jewel toned silks in pretty good
shape.
Fran offered some good conservation hints. This beautiful thing was
found
tossed on the floor in a corner of an antique mall.
We saw a top made of large rectangles of "porch furniture"
fabrics, the
seams decorated with feather stitches. The owner had to buy it in
order to be allowed to buy a spectacular Flying Geese strippy with bars of
poison green. The sacrifices we make!


From Cumberland, MD there was an 1840 Hexagon quilt looking just
like a Grandmother's Flower Garden except that it was made of chintzes
including pillar prints. I think that the National Road brought lots of good
stuff to Cumberland in the early 19th century.
We thought that an embroidered crib quilt in a 1930s yellow was
most unusual for having cut-out corners and one block which included an
elk's head and a swastika. The other blocks were typical baby animal
motifs. Makes you wonder. There was an a neat and crisp quilt made of tiny Ts set on point. The edges were filled with blocks which had been cut into halves
and quarters as needed. Who said our fore-mothers were always
thrifty?
Pennsylvania was heavily represented: I brought my latest
acquisition.
It's a Sawtooth Diamond from Lancaster County in green on white,
beautiful
quilting and, the reason I bought it, a circle of folky flowers in
the center and more flowers in the corners. Most unusual to see applique
on such a quilt. We saw a turkey red and chrome yellow pieced
pillowcase. You just can't get more PA German than that. Well, "splashers" with German inscriptions are pretty PA specific too and we had three of them to look at. We don't limit ourselves to quilts. One special item was a salesman's sample box (Fernware) for Clark's Thread, Glasgow.

Yikes! Time to fix dinner.
Cinda on the Eastern Shore where it is RAINING!

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

Date: Thu, 29 Aug 2002 07:22:34 -0400
From: "Dee Stark" <dee@nf2g.com>

I very much enjoyed reading Cinda's account....and have a bit of
information.

> A tied comforter made of "Mikado" fabric, scenes from the Gilbert
and
> Sullivan operetta which premiered around 1895. The entire back was
this
> fabric, on the front it alternated with a simple pieced block.

Oh, I would LOVE some pics of that fabric!!!!

The Mikado had its first American performance on July 6, 1885 at the
Museum
in Chicago, Illinois.

dee
www.deestark.com

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

Date: Thu, 29 Aug 2002 17:33:31 -0300
From: Barbara Robson <robsonbh@hfx.eastlink.ca>

Hi Everyone,

I am posting this for my good friend Anne Morrell Robinson whose
amazing
quilt was stolen from the NY State Fair. This is what she
wrote...please
check out the picture and keep your eyes open for it!

<< On Sat. night at the NY State fair my quilt (Anne Morrell
Robinson's) was
stolen off the wall during show hours. It was the only one taken.
Nobody
knows why or how but with sometimes one hundred thousand people a day
wandering around there has to be some rotten people in there. The
media
coverage has been great-front page of newspaper, radio, TV news, etc.
Not a
good PR moment for the fair. Lots of sympathy coming in from the
quilt world
but what I need now is lots of people keeping an eye out for it. If
you watch
E-bay keep it in the back of your mind and spread the word around in
your
quilt circles, both sides of the border. Have been mislead by our
insurance
company and are fighting that battle as well as dealing with the
stress and
pressure of what is very similar to losing a loved one. You can get
the photo
and details from this web
sight...http://www.lostquilt.com/BirdsOfColor.html

many thanks,
Barbara Robson
Fox Point, Nova Scotia  

 

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