Subject: copyrighting photos
From: carylschuetz'

Then i need to say, " I give permission to my clients to use the photos as they please."

>I have photographed quilts and related items for some years. I have neve'
r copyrighted any photo. I feel, that since I am doing work for someone a'
nd they are paying me for the job, the photo should be theirs.

However, the copyright exists, whether you enforce it or not. It exists a'
s the creator creates the work, not as a result of filing paperwork. What'
you're doing is, as the owner of the copyright, giving permission for so'
meone else to use your copyrighted work as they please.
Caryl Schuetz
Woodhaven Studio
Professional Association of Appraisers -
Quilted Textiles
Certified by The American Quilter's Society
Author of "Fabulous Tee Shirt Quilts"


Subject: copyright---yet once more
From: Gaye Ingram <gingram'>
Date: Tue, 28 Jul 2009 10:39:40 -0500
X-Message-Number: 2

I have followed with interest the discussion of copyrights and the abuses thereof when it comes to photographs of quilts.

In some ways, it seems a strange conversation to be having in a world where every jot and tittle has been defined and redefined by law.

The issue seems to be as one poster put it---to pursue the principle legally is not worth the outcome for writers of small issues of books. So, the entire practice becomes moot.

Finally, this is a question of ethics, plain and simple.

Historically, it has been the role of professional organizations to educate and then enforce ethics among its members. At the very least, plagiarism has brought shame and disrepute among one's "guild" members, and barring guilt, shame can be a decent deterrent.

Perhaps we ought to address this issue more clearly and forcefully in our quilt organizations, to demand that ethical behavior somehow be held up clearly as a standard for all members.

And perhaps those organizations need to apprise book publishers of the issue and of their need to help in upholding professional ethical standards. I suspect most publishers are accustomed to dealing with works where issues of copyright are taken seriously by professional writers. Perhaps they assume too much.

But if quilt scholars want to be taken seriously, they will have to recognize within their professional bodies the right to one's own property and to define those rights so clearly that no member can misunderstand them. An organization can hold its membership to higher standards than those of civil law.

Ethics in publishing has really been neglected in recent years. Once good scholars, riding the wave of popularity, palm off their research to graduate assistants, who copy the work of others. Take Doris Kearns Goodwin and Stephen Ambrose as examples. I think many think twice before accepting without question the conclusions of such writers. I have bought a book by neither since their research practice---or lack thereof---became public. Nevertheless, the trend does not excuse professional organizations' neglect of the ethics of publishing in any form--from the paid lectern to the printed page.


Gaye Ingram


Subject: Dolly Madison Star is it early 19c
From: "Deborah Russell" <russhill'>
Date: Tue, 28 Jul 2009 16:50:59 -0500
X-Message-Number: 3

Does anyone know if this block, now called Dolly Madison Star, dates to the
early 1800's or later? Here is a site that shows the block
Thank you for your help.
Debbie Hill-Russell


Subject: Rainbow quilt block patterns now available
From: Sharon Pinka <sharonpinka'>
Date: Tue, 28 Jul 2009 14:14:37 -0700 (PDT)
X-Message-Number: 4

Hello - for those who have asked about the availability of Rainbow Quilt Bl'
ocks, the grandson of the founder now has the website up and running for do'
wnloading original patterns. The address is:

Randy Niemann and his wife, Amy, are adding more patterns daily and hope to'
eventually have all 1000+ designs available. There are also examples of ho'
w the embroidery and/or applique patterns look in block and quilt form.

My connection is not monetary, but Randy was instrumental in providing acce'
ss to his grandfather's archives for my research on the Rainbow Company, wh'
ich I'll be presenting in San Jose.'

I am really pleased that the patterns are once more available for today's q'
uilters.' Thanks, Sharon Pinka



Subject: Latest Quilt Pioneer article is "live"
From: Karen Alexander <karenquilt'>
Date: Tue, 28 Jul 2009 20:01:40 -0700
X-Message-Number: 5

Hello QHLers,

The latest article in my series of "Quilt Pioneers" for The Quilt Show is
now live This is a
series about the Honorees of The Quilters Hall of Fame which TQS has titled
Quilt Pioneers.

As you all know, quilt research is on going and never ending. (Kyra Hicks'
new book on Harriet Powers is a case in point.) There is always new stuff to
discover, it seems, no matter how many times it has been written about. If
you read my new McKim article, let me know any corrections that need to be
made to the list of published patterns. Although this Pioneer series is
intentionally NOT written in the style of an academic paper, I do list my
sources at the end of each article.


Karen in the Islands


Subject: Interview with Annette Gero
From: Sally Ward <sallytatters'> of 'The Fabric of Society Australia's Quilt Heritage from
Convict Times to 1960' has been interviewed on Australian radio about
the Australian quilt heritage, and her own involvement with quilts and
quilt history. The programme is available on the web here:

To my UK ears, where quilting is rarely taken seriously by the media,
it is wonderful to hear an intelligent interviewer taking the subject

My book is on its way, so I can't comment on it yet, but I think it
has been praised already on list.

Sally Ward


Subject: also copyright- an interesting experience
From: "Nancy Roberts" <aquilter'>
Date: Wed, 29 Jul 2009 09:21:47 -0400
X-Message-Number: 2

I recently took a book to an office supply copy center to have a quilt
pattern enlarged 400% as per the instructions, certainly not a task I manage
on my home printer. The clerk was not willing to make the copy due to
copyright concerns. I pointed out that the pattern instructions indicated
the need to enlarge, but he was having none of it. He took his training
seriously, even though we discussed the idea of "for personal use" and that
I was having a single copy made rather than multiples. We looked through the
book to see if there was a release of any sort that would allow him to
proceed. There was not, but we found the 800 number which he called and
received verbal permission. So the problem was solved and I got the
enlargement, much to my relief as I live a half hour out of town and had
driven in primarily to have this done. But I noted with interest a previous
list comment that some publishers specifically note the pattern pages which
are covered by a release for copying purposes. That seems like a beneficial
step. This was a minor glitch as it turned out, but I was actually very glad
to see that the employee was conscientious about copyright and had been
trained to be mindful. Nancy Roberts


Subject: Dolley Madison
From: Donald Beld <donbeld'>

As a person who truly loves history--not just quilt history, I want to say,'
that in my opinion, Dolley Madison is the most interesting and probably in'
fluential woman in American history.' She actually served as the official'
Executive Mansion hostess longer than any other First Lady--15 yrs and 11 '
months.' (she was both her husband's and Thomas Jefferson's choice).' S'
he was the first woman to accompany her husband on campaign tours; the firs'
t to decorate the White House with government funds and decided to use both'
American styles with classic Greek.' She invented the cocktail hour (yes'
, I said cocktail hour).' She was our first great lobbyist.' She was th'
e last of the founding fathers and mothers to die in 1849 (having known eve'
ry President, First Lady, Vice President, etc for sixty years); and she is '
the person for whom the term First Lady was coined by Zachary Taylor when h'
e gave her eulogy saying that for fifty years, "she was truly the First
Lady of Washington, D.C."
I believe more block are named after her than any other woman.' She was g'
reatly admired by all (except for John Quincy Adam's wife), and was conside'
red to be the most loved woman in America.
You can't go wrong in reading about her.' best, Don


Subject: Re: also copyright- an interesting experience
From: Ark Quilts <quiltarkmv'>

Dear Nancy and QHL--
I have from time to time published my own quilt patterns with copyright sta'
tements etc. and when I went to a local copy center to make the multiple co'
pies (before I had my own equipment at home) they refused to make the copie'
s until I showed them my driver's license'and proved that I was indeed th'
e author of the documents!!' Then they made the copies.''''
I always try to clarify on anything that I self-publish that the purchase o'
f the pattern entitles the buyer to use the pattern to make 1 or 2 copies b'
ut that it'is not for mass production or manufacturing.' I also include'
'a statement that the buyer is entitled to make a "working" copy of the'
'pattern and that multiple copies would be inappropriate use of copyright'
ed materials.' I'was forced to start doing that after another quilting '
instructor took my classes,' copied my lessons'& instructions, and'ta'
ught'my'classes'at her church.' Someone who knew us both'warned'
'me about it and when she signed up for the next class she actually had t'
he multiple copies with her.' I asked her about it and explained that she'
was depriving me of income and that was a legal issue of copyright infring'
ement.''Her reply was that since she was teaching at a church that it d'
id not count!' I explained it to her but could not believe that she knew '
nothing about
copyright guidlines, etc.''

My students know more about copyright (they don't want to deal with it most'
of the time) because I keep teaching that in my research instruction!!''
Thanks for sharing an interesting experience.....C. Ark


Subject: Birthday cake in a Marie Webster pattern
From: Karen Alexander <karenquilt'>
Date: Wed, 29 Jul 2009 19:15:26 -0700
X-Message-Number: 5

As you may recall, TQHF and the quilt world is celebrating Marie Webster's
150th birthday this year. Her actual birthdate was July 19, 1859.

TQHF launched a Birthday Party Contest / Challenge on its new website in
January of this year and it runs thru the end of the year.

I have just updated the blog with the first Birthday Party report with
photos to be submitted. You must see this cake! I hope it will inspire
some other groups to hold a TQHF Birthday Party as well. You can celebrate
ANY Honoree's birthday! Think of all those gorgeous QUILT cakes that could
be created! And enjoyed!

Karen Alexander in the islands


Subject: Trip to England
From: c.colom'

Many are looking forward to the major quilt exhibition at the V & A next spring, so I wanted to let you all know that New England Quilt Museum is running a nine-day trip to England, April 5 - 13, 2010, round-trip from Boston, which will include specially arranged tours of the V & A exhibit, The Quilt Museum & Gallery in York, and the collection of outstanding quilts at the American Museum in Bath, plus many other sight-seeing stops and free time in each city. The trip has been organized by Jim West of Sew Many Places and includes airfare, accommodations, and two meals each day. For additional information, contact pubrel'

Connie Colom


Subject: Dolly Madison Star
From: "Steve & Jean Loken" <bravo'>
Date: Thu, 30 Jul 2009 11:41:47 -0500
X-Message-Number: 2

I don't think that block was around in the 19th century. I've not seen it in
early quilts. My favorite way of finding old blocks is to browse the Quilt
Index, and put the date span and "star" in the search
terms. I was looking to make authentic looking 19th century stars with repro
fabrics I had and did just that, and found very few variations: i.e.: stars
made from diamond patches (Lemoyne Star, etc.) and Ohio star and variable
star. Those were abundant, and perhaps there were more complex pieced ones,
but you'd have to look at them one by one. I was going for something I could
make with the strips I'd been given and settled on variable stars.
In any case, browsing the Index is wonderfully educational and great "eye
candy" for quilters.
Jean Loken in MN


Subject: Graveyard Quilt top
From: Judy Schwender <sister3603'>

Hi all,
I was leafing through the show booklet for the AQS Knoxville show (it was t'
he 22-25) and came across an ad for this:
The 1836 Elizabeth Roseberry Mitchell original Graveyard Quilt Top will be '
on special exhibit March 11-12, 2010 at the Highlands Museum and Discovery '
Center in downtown Ashland, Kentucky.
You can find out about the top at'
eyard.shtml'.' There is nothing on the website about the top being on e'
xhibit; the ad was from the Ashland Area Convention and Visitors Bureau.
Judy Schwender


Subject: copyright and copy centers
From: "Kathy Moore" <kathymoore'>
Date: Thu, 30 Jul 2009 16:39:08 -0500
X-Message-Number: 4

Regarding Nancy Roberts' post about her experience at a copy center. A few
years ago I had the same experience at a copy center and finally had to
leave without getting my enlargement. I'm glad it worked out for you. And I
learned from your experience to look for 800 numbers.

Thanks for posting.

Kathy Moore
Lincoln, NE


Subject: A day in Dover
From: "Cinda Cawley" <lrcawley'>
Date: Thu, 30 Jul 2009 20:37:18 -0400
X-Message-Number: 5

Yesterday the Eastern Shore Quilt Study Group went to the
offices of the Delaware State Museum in Dover. Ann Horsey brought out '
Museums newest acquisitions, the Log Cabins and the Crazies. On '
visits we've seen the Museum's great collection of early DE quilts '
quilted petticoats. Thanks Ann for another great day. Note that there '
good provenance for most of these quilts.

We started with a most unusual signature quilt, dated 1933, '
a Methodist church in Wilmington. It is made of a single peach floral '
(used for a single circle in the center of each block and the sashing) '
muslin. The beauty of the piece is in the exquisitely embroidered
signatures. The quilt was a gift to the minister. In 1933 the '
Methodist church made a top of embroidered sunflowers, the petals '
with embroidered signatures. Another top, a Dresden Plate from Milford
circa 1940, had feather stitching around the edges and over the seams.

What a thrill to see a newly arrived early quilt. A huge '
Star made circa 1830 in Middletown by Mary Hyatt Roberts, a member of a
wealthy farming family. The star points (indigo, turkey red and several
beige prints) reach to edges of this enormous quilt; the triangles are
fabulous indigo floral and the corner squares a brown and beige '
print. Barbara Brackman's Encyclopedia of Pieced Quilt Patterns saved '
day, enabling us to identify a delightful elongated hexagon design '
#4107, Grandmother's Dream). The sheer variety of 1890s prints in '
pristine piece meant that we hovered over it a long time. One of our
number remarked that if you squint at a quilt and see mostly black '
probably 1900 since by that time brown was out of fashion. '

Ann put a box of doll quilts on the table at one time. We
played (not very nicely) a quilt historian's version of musical chairs '
circling the table so that everyone had a close-up look at each piece. '
found Centennial prints in a Postage Stamp and a crudely made (by a '
perhaps) Four Patch with wonderful 1840s fabrics. I loved the Quiltie
Quaddies (I never can remember the word order here) nursery rhymes '
blue embroidery on white with a scalloped border.

They came the Log Cabins starting with a stunning wool Light '
Dark (1900) with a piano keys border. The blocks of purple, cream and '
wool with red centers included many plaids. We find that lots of super
quilts were made throughout the 19th century in Milton, DE including a '
Chinese Coins decorative throw and a shimmering Sunshine and Shadows '
circa 1880. A wool Courthouse Steps has a label appliqu'E9d to the back
containing the names of the women who worked on it at the Methodist
Episcopal Church in Camden, DE in 1871 (those women were ahead of their
time). It was hard to choose a favorite but the wool Courthouse Steps '
by the wife of a man who brought home scraps from one of the Wilmington
woolen mills on the Brandywine River is definitely a contender '
since the blocks are tiny and who can resist small scale).

I don't like Crazy quilts! There, I've said it and '
I'm sticking
to it, but I always meet those quilts which force me to eat my words. '
instance, crazy patchwork Diamonds arranged in strips of 1890s silks and
velvets or the Crazy signature quilt dated 1900 made by the Asbury '
Church in Smyrna in multicolored silks with a ruffled salmon colored '
border. But truly the most beautiful quilt of the day was the Crazy '
made in
Smyrna in 1887 to commemorated Delaware's (that's why it's called '
the First
State) adoption of the Constitution of the US in 1787. It is composed '
4'94x5'94 rectangles which included every embellishment ever conceived '
by the
mind of a needlewoman. The icing on the cake are the harlequin edges '
eagles, peacocks, flags, sailing ships and on and on, topped off by '
It is incredible and in nearly perfect condition.

Once again, thank you Ann Horsey.

Cinda on the Eastern Shore


Subject: Event on the Eastern Shore
From: "Cinda Cawley" <lrcawley'>

The Queen Anne's County Historical Society will present "A Quilt
Affaire" on Saturday, Sept. 19 from 11 to 4 in Centerville, MD. There will
be display of antique quilt and refreshments. Tickets are $5.00. The
website is <> and the phone #
is 410-3010.



Subject: quilts in 1850
From: "Rose Marie Werner" <rwerner'>
Date: Fri, 31 Jul 2009 13:17:18 -0500
X-Message-Number: 1

Here's a glimpse of quilting that children were doing in 1850 Baltimore. It
comes from a letter to the German Court Chaplin from Sister Caroline Friess,
a German nun who came to America with a group of nuns to teach the children
of German immigrants.

"This year we hope to conduct our school examinations publicly for the
second time with these pupils and to have an exhibition of their needlework.
But America has such a different type to display! Nothing but laces is
knitted. Every piece of clothing is trimmed with lace - lace on the sleeves,
on pants, on everything - in short, the whole child is enveloped in laces.
No one would think of knitting stockings or of sewing any piece of clothing
because you can buy such articles in the store very cheaply. Besides
knitting lace, the children usually make quilts. Each one is generally three
or four yards square. They sew from 100 to 1000 patches together; these are
varied in color (red, blue, green, gray, etc.) as well as material
(cotton,silk, canvas). The patches are of different sizes and shapes and
when sewed together they make various designs - stars, three or four
cornered with oblique and straight lines. At our public examination such
quilts covered our walls. On these we attached the handmade laces for
exhibition. However, each year we hope to prepare better needlework. The
pupils have made a good start already knitting stockings and making simple
articles of clothing, even dresses."
from "The Letters of Mother Caroline Friess, School Sister of Notre
Dame" by Barbara Brumleve, SSND; St. Mary's Press, Winona MN

Rosie Werner


Subject: re Baltimore 1850
From: Gaye Ingram <gingram'>
Date: Sat, 1 Aug 2009 8:52:23 -0500
X-Message-Number: 1

Rosie Werner quoted from letter of German Catholic teaching sister in Baltimore, 1850, thus:

knitting lace, the children usually make quilts. Each one is generally three
or four yards square. They sew from 100 to 1000 patches together; these are
varied in color (red, blue, green, gray, etc.) as well as material
(cotton,silk, canvas). The patches are of different sizes and shapes and
when sewed together they make various designs - stars, three or four
cornered with oblique and straight lines. At our public examination such
quilts covered our walls. On these we attached the handmade laces for
exhibition. However, each year we hope to prepare better needlework. The
pupils have made a good start already knitting stockings and making simple
articles of clothing, even dresses."

Thanks so much for calling our attention to this, Rosie.

This letter certainly displays a lack of enthusiasm for quilts, doesn't it? And that regard implicitly seems to be consistent with the church and country to which she is reporting. One senses that quilts struck her as frivolous things, showy needlework. Vanity, when what was needed was attention to the practical arts of knitting and home sewing of garments.

Can you discern to what extent her opinion represents or differs from that of the Palatinate Germans and Swiss, who had settled earlier in PA, NY, and NC? especially their early impressions? Of course, a sizable proportion of them had spent time in England and Ireland in the early 18th century, at invitation of Queen Anne, which might make a difference.

Thanks again for posting this.

Gaye Ingram


Subject: A new Welsh Quilt Centre
From: Sally Ward <sallytatters'>
Date: Sun, 2 Aug 2009 19:16:23 +0100
X-Message-Number: 1

A lovely little piece from BBC News, with quilts to feast your eyes on.

Sally Ward


Subject: quilt documentation
From: "Brenda & Roger Applegate" <rbappleg1'>

We have successfully documented quilts in 2 counties in western Pa. So '
far we are pleased with the number and the quality as well as the '
interesting quilts that have been brought to our sessions.

We are unhappy with the tape that we are presently using on the back of '
the quilts to label them. Could anyone please suggest what they have '
used in their documentations and possibly where to buy the tape. We '
know that one place purchased a stamp, but we do not know what substance '
they were using to stamp the tape with. Any guidance will be greatly '

Also I purchased Block Base and had a lot of fun with it yesterday. It '
was quicker to start with the computer and then to follow-up with '
Brackman's book. Thanks to all who recommended it!

Brenda Applegate
western Pa.


Subject: Re: quilt documentation
From: Kittencat3'

Might I ask which two counties? I own a quilt that was made somewhere in
Venango County in the early 1960s but is very similar to quilts from the

Lisa Evans
Easthampton, MA


Subject: Cincinnati
From: Andi <areynolds220'>
Date: Tue, 04 Aug 2009 17:31:49 -0500
X-Message-Number: 1

Anything quilt-related I should look up in Cincinnati the weekend of
August 15?

Andi in Paducah, KY


Subject: RE: Cincinnati
From: "Kim Baird" <kbaird'>
Date: Tue, 4 Aug 2009 18:29:59 -0500
X-Message-Number: 2

Always, St. Theresa's Treasure Trove


Subject: V&A Exhibition News
From: Sally Ward <sallytatters'>

The plan for Sue Pritchard, Curator, to do a Q&A for us has been
overtaken by the plans of the V&A Press Office to launch a
comprehensive information pack on 2nd September. I've been promised a
copy as soon as it is available and will then spread the authoritative

All I have been able to find out about the seminar is that they intend
to put out a call for papers on the 1st September.

Sally Ward


Subject: Re: Trip to England

I am thrilled to see that the V&A museum is getting such exposure and
additional tours going from the States. It is going to be a great exhibit, but
there is so much "great" in terms of quilts in Great Britain.

Also of interest is the new Quilt Gallery opened this week in Wales by Jen
Jones. For a BBC clip, go
to:_ (

For those who may be interested in going to England and Wales during the
V&A symposium in June, I have a tour going with a few spaces left. Amazing
visits through Britain's quilt and textile treasuries are planned,
including archival access to quilts and pieces rarely seen by the public in both
England and Wales.
One has their choice of a 10 day tour or extending the tour to a full 18
days; included with both is time in London for the V&A symposium. Proceeds
from the tour will be donated to organizations that support Quilt History.
For more information please contact me at _textiletours'aol.com_
(mailto:textiletours' .

All the best,
Deb Roberts



Subject: NY Beauty revisited
From: "Cinda Cawley" <lrcawley'>
Date: Wed, 5 Aug 2009 15:03:55 -0400

Here's my very late addition to the discussion. The quilt
exhibit at Genesee Country Village several years ago included a Sampler '
made by Alicia Timberlake in a wide variety of late 19th century '
She wrote the names of the patterns in ink on strips of paper which she
sewed to the blocks. What Alicia labeled New York Beauty looks very '
Burgoyne Surrounded. The top is on p. 17 of A Stitch in Time, the '
of the exhibit by Beth Davis. The block in question is fourth from the '
on the right. '

Cinda on the Eastern Shore


Subject: Re: NY Beauty revisited
From: Gaye Ingram <gingram'>
Date: Wed, 5 Aug 2009 20:45:51 -0500
X-Message-Number: 4

Cinda, I don't have the museum booklet you mention for the Genessee Ct. Village exhibit, but Lorie Stubbs' report of the exhibit on Kim Wulfert's website shows an indigo and white quilt in what I would call the Reel Plus Little Bitty Thing (maybe a laurel leaf? very stylized oak leaf). Is that the same pattern?

So far, my own study suggests this basic reel pattern is the grandmother of the patterns that acquired sawteeth and stylized feathers and corner decorations----a lot of frills and furbelows---,so popular in the Mid- and Deep South and appearing quite early. Maybe not the grandmother, but certainly a lineal forebear.

In the 19th-century, it becomes Sunburst, Sunrise in the Pines, Whig's Defeat, a whole host of circular saws, and, I believe, the family of patterns variously called New York/Richmond/Georgia Beauty, Step Around the Mountain, Rocky Mountain, etc. One sees the familiar center in the Double Wedding Ring patterns and a lot of Baby Buntings, etc later.

And the use of it to apply to this quilt pattern could be a real clue, depending on its origin. Was it Ms. Timberlake's title or a copy of one named that in 19th century?

If you have Carolyn O'Bagy Davis' "Pioneer Quiltmaker: The Story of Dorinda Moody Slade, 1808-1895," you can see how a single quiltmaker returned to the basic reel format repeatedly to create a variety of patterns, even one called "The Victory Quilt" (1861) which seems to be original and uses pieced circular "balls" instead of diamonds and triangles for elaboration. She continues to elaborate on that pattern until her death, adding diamonds and triangles, sashing it differently, and so on.

Dorinda Moody Slade was born in Iredell County, NC, in 1808, Ulster Scots. With her family, she moved first to Georgia, then to Alabama, where she married and bore three daughters. In 1834 she was widowed. A year later she joined her extended family for yet another move westward---to Harris Ct., Texas (Houston area).

There she met and married Michael Roup Goheen who had been born in GENESEE COUNTY, NY area and had also ended up in Texas with a lot of land as a result of his militia service there. They accumulated a large cotton farm and ranch. Michael was the love of her life, and when he died circa 1852, probably of pneumonia, Dorinda was distraught and desperate. Very shortly thereafter she joined the large Mormon congregation in her area of Texas. Thie Mormon church offered the consolation that she would be reunited with Michael in another life, that their family would be reassembled. She prepared to travel with this group to Utah.

Near departure time, she realized the near impossibility of a woman with children and a herd of cattle making the journey alone, and she made a marriage of convenience with a man who himself was recently widowed. Her family had always farmed cotton and raised sheep, and she had become a weaver at an early age. She took her cattle with her on the journey and eventually lived in the Little Dixie section of Utah as part of the Cotton Mission, where the Church had sent members to try to set up cotton plantations, hoping to make money selling cotton to the Union in the imminent Civil War.

Dorinda used the same basic set for most of the quilts she made in her lifetime, elaborating it in ways used in the communities in which she lived, though her quilts were often distinctive, especially in their borders. Her last quilt, made in early 1890's shows the result of this continued practice with the same form. It is fundamentally like the pattern known as Whig's Defeat, but varied with colors and with the appliques at the points of the "reel." It has an extraordinary appliqued border and is stripped with those "NC colors" of blue-green and cheddar with a starburst cum flower bud at the jointures of the border.

Looking at it on the cover of the book I see elements that remind me of NY state and more that I know are typical of the South. I suspect that border, though vaguely similar to one on an 1861 quilt, might not have happened had Dorinda not moved into a confined community that gathered into itself people from all over the nation and, indeed, from Europe---but especially from NY state, Ohio, PA and Midwest.

But at its heart is that central reel that this quilter used again and again and that forms the heart of a large body of quilts, including the NY Beauty.

Cinda, I am so glad you called this name to our attention! Information like this is why I save your "reports."

This name suggests so much, doesn't it? A real clue in understanding the development of the pattern, if the maker was playing off the indigo quilt in Lorie's article.

Is Ms. Timberlake related to Bob Timberlake of NC? That would be interestinger still.

Gaye Ingram


Subject: Ephemera
From: Teddy Pruett <aprayzer'>

Y'all call it "Ephemera." At the moment I am calling it bits and pieces o'
f junk that I no longer want. I have pulled together a stack of paper item'
s' with the thought of sending them to the AQSG auction but it occurs '
to me that in amongst all the goodies at San Jose' this may be - well''
bits and pieces of junk that no one else particularly wants. '


Items include:


An article from the Sept 1947 LHJ with colored photos of quilts. There is '
a pretty scrumptious Whig's Defeat (slight variation) that they call "Lotus'
" and state that it was inspired by an Egyptian frieze. (Get that Gaye?) T'
he ads are as good as the article'3B one is for rayon curtains' one is fo'
r Nashua combed percale sheets' and a full page ad touts the advantage of'


Pattern entitled "Crazy QUilt." But it isn't. It's actually a pattern for'
the technique for a potholder style quilt wherein a square of men's tie si'
lk is stuffed and folded' stitched shut' and a billion or so of those a'
re joined into a quilt that is magically the same on the reverse as it is o'
n the top! The hairstyle and clothing of the woman illustrated are of the '
early 1950's.


Illustration page for an ALice Cabot quilt # 7032. It's a lovely appliqued'
quilt' and instructions from start to finish make a pretty short paragra'


Catalog of Farm Journal and Farmer's Wife quilt patterns.


Ladies Art Company catalog (1928) in the original mailing envelope with 2 o'
ne-cent stamps addressed to Flavia Dietzel of Dorsey' IL. DOncha just kn'
ow someone with that name would be a quilter? And I am certain she also cr'


Photocopy of an early Indian Head ad.


A newer colored photocopy of Marie Webster's Primrose Wreath quilt accompan'
ied by a few original tissue paper patterns.'


Big envelope from Stearns & FOster containing "The Quilted Pillow SLip-COve'
r Project." '


Catalog of "Aunt Martha's Favorite Quilts"


Catalog entitled "Museum Quilts"


1960's reprint of the booklet "Sears Century of Progress in Quiltmaking". '
I especially love the hint on the last page that suggests soaking fingers '
in hot alum water will prevent blisters to the quilting fingers. I suppose'
if you put up pickles you might have some alum hanging around the house. '
I don't make pickles. To me' "alum" is what you are when you finish coll'


Clipping from the 1972 Christain Science Monitor. General article about ant'
iques including quilts.


Clipping from the 1971 Washington Post showing a hexagon quilt and a Baltim'
ore Album quilt' the latter in color. WHat Ifind interesting is the date'
of the article which was right on the heels of the Whitney exhibit. '


Black & white 8X10 glossy promo photo of ALy Goodwin engulfed in quilts. '
I think it came out of a book I bought somewhere.


The best thing of all' as far as I am concerned' is a full file folder '
of ads and patterns and clippings compiled by a woman through the 1930's. '
SOme are loose' some are glued to paper' but all show the heart of a wo'
man who loved quilts. It isn't a Mildred Dickerson type find by any means'
' but its about an inch thick.


So' that's it for this pile of ephemera. If anyone wants all or part' '
I can send it on' or if the verdict is that it's worth sending to AQSG I''
ll do that. '

Teddy Pruett'

I want to die with a needle in my hand.
Not stuck in the meat and bleeding' you understand'
just held between my thumb and finger. '


Subject: Re: Ephemera
From: "Stephanie Whitson" <stephanie'>
Date: Wed, 5 Aug 2009 21:49:05 -0500
X-Message-Number: 6

Teddy, if it isn't spoken for I would love the 1928 Ladies Art catalogue. .
. but I would think this would be a gold mine for the AQSG auction.
STephanie Whitson