Notes from the Studio Quilt Study group meeting held at Judy Grow's new
home in Flemington NJ on Tuesday, November 15, 2005.
Notes taken by Norma McAfee, annotated by Judy Grow
Everyone arrived at our new location without any problems!
Before flapping our quilts we spoke of quilt happenings in the larger
Barbara Garrett mentioned a quilt and textile show that is being held
at the Cape May County Historical Society through the end of December. She
went to the show and recommends it to all; although the quilts are folded
and not hung flat out they can be seen and appreciated, it is still worth
Karen Dever reported that she attended the AQSQ seminar in Lakewood
Colorado, as did Barb Garrett and Sue Reich. Karen attended the WW II
study center presented by Sue and said it was wonderful. She especially
enjoyed all the paper presentations, studies and talks.
Barbara Garrett reminded us that Judy Roche's quilts, which were the
special display at the Vermont Quilt Festival this past summer will be on
display at the Brandywine
Museum starting late January 2006.
For the Joy of It: Appliquéd Quilts from the Judy Roche Collection
January 21 through March 19, 2006 In a world of quilt competitions where
precision and technical skills are paramount, the creativity and passion
of quilt makers are often underappreciated. For this exhibition, guest
curators Deborah E. Kraak and Lynne Z. Bassett have selected 23
appliquéd quilts from celebrated expert Judy Roche's extensive
collection that clearly demonstrate excellence in design and the joy
that quilt makers derive from their craft.
* Judy Grow reported that she had recently read "The Belles of New
England" by Wm. Moran and recommended it as a study of the history of
the textile mills as seen from the working girls' perspective.
* She also shared her book purchased on the internet "Andrinople,
Le Rouge Magnifique," a new French book documenting the history of
Turkey red with glorious photographs in full color. Not yet translated
into English and difficult to find.
* She showed an antique wood block about 12" square, stamped
"Mc Laughlan, Paisley" (Scotland), the design realized in a soft
metal in a paisley stripe repeat print, used to stamp printed fabric.
Listed below are some of the quilts we shared for study.
*1930's; pieced pillow case with 6 broken dishes blocks on a pink
*1875-1900 ; scrap quilt "double T" blocks on point,
containing madder prints, with a striped double pink sashing
*1875-1900; A top of mourning prints and striped shirtings (mostly), in
a flying geese variation block, blocks set without sashing. One indigo
block among the mourning prints really stood out.
*1875-1900; Log Cabin top made up of unusually wide strips, set in a
barn raising pattern, with pink and yellow strips as the outermost in each
*1900-1925; unfinished 16 large blocks Red Work quilt top with
different designs done in pearl cotton in a perfect tiny chain stitch, but
a mess of carries and long threads on the back side.
* Trudy passed around a book, "Anna Williams, Her Quilts and Their
Influences" by Katherine Watts with Elizabeth Walker.
* Trudy showed us an Anna Williams quilt top she had purchased that she
was quilting herself. We had a long discussion about the characteristics
in common, if any, of African American quilts, and what has made them a
hot commodity in today's marketplace.
* c.1970 ; a quilt top of red and white 2" squares, some
polyester, arranged in a star pattern reminiscent of our beloved
Bowmansville PA. star quilts, and purchased on e-bay.
* 1875; scrappy Evening/Ohio star quilt top; 4" star blocks set
with alternate plain blocks, centennial, faded purples, madders and dark
colors typical of NY State
* 1875-1900; large Turkey red appliqué paper cut blocks alternated
with red roosters with stars and crowns, appliquéd on white, the red
abraded to almost a pink color.
* 2 New table mats or mini quilts that Judy K. is making from old
10 blocks, c. 1860 red and green flowers on white with perfectly circular
red rouched flowers. (above)
* C 1940 quilt of embroidered music with the title, words, and first
notes of over 25 typically patriotic American songs all in patriotic flag
* Whole cloth quilt of brown and pink and white cheater cloth, with a
horseshoe and butterfly in one printed block, puss in a corner in another,
arranged alternately in a stripy set, with printed picot lace at the
* 1875-1900 tied block sampler quilt ; assorted pieced blocks, some
earlier, typically New England in color and feeling.
* Judy G.; Sampler quilt of the same period from Lebanon Pa, shown
together with Sue's to see the real difference in color ethos.
* a quilt in a block called "Connecticut" c. 1860, pieced
blocks, predominantly two colors, typical green with black and yellow
prints, and for the light, a white with green and pink flowers in brown
seaweed reserves and a white with red flowers. The blocks are large and
form secondary patterns around the quilt. It is quilted in parallel lines
* Brown and pink and white cheater cloth, in a strip set block pattern,
with a printed horseshoe and butterfly in one block, another in a
puss-in-the-corner variation. Interesting fake picot lace at the pseudo
* a sampler quilt of blocks 1875-1900, tied , not quilted, assorted
pieced blocks, some earlier. Typically New England in colors and set.
* Judy G brought out her Pa. block sampler of approximately the same
period to see how startling the difference was in color and fabric usage
between the two areas of the country.
*1875-1900 quilt top of red cut work on white. 9 blocks.
*1875-1900 Log cabin in barn raising set, faded, damaged, with repairs
appliquéd on top of original quilt and very visible.
*1860 Old Maids Ramble predominantly double pink fabrics for the center
squares, and many older prints including Prussian blues for the half
*1920-30's top of scrappy Schoolhouse blocks with some older fabrics,
unfortunately damaged by a burning cigarette ash which fell on it while it
* 1860; 8 pointed stars, with octagonal appliquéd centers set with
orange sashing, in a streak of lightning layout. Turkey red prints for the
stars on printed backgrounds. Although the block pattern is like many NJ
signature quilts we have seen, this one was not intended as a signature
* 1875-1900 Pink flying geese on yellow with turkey red strip set,
geese flying both up and down. Colorful back strippie set of cheddar and
red, typical of Berks Co. PA.
* 1870; 4-block , cradle quilt; yellow, rust and brown Rolling Stone
blocks with pink sashing and rusty red border.
* 1920 unfinished child's dress, (size 1 or 2) black with embroidery
* 1890's; Log cabin quilt top with design of 4 blocks sewn together
darks to the center, with narrow sashing to separate the groups of 4. Some
older fabrics. Typical yellow and green fabrics used in the sawtooth outer
* 1875-1900 ; Very scrappy predominantly brown prints with shirtings,
very small square-in-a-square blocks, with older, larger pieced blocks
sewn on 4 sides to make borders.
* 1875-1900 ; Crib quilt . Court House Steps blocks with small squares
set 7 x 9 having narrow strips and 4 borders.
* 1875-1900; The prize winner of the day -- if we gave a prize for
anything! Heavily quilted quilt with blocks in a 5x5 patch layout, (sort
of like a Devils Claw block), pieced blocks alternating with plain blocks,
each with its individual wreath quilting design, superior quilting.
Typical of Ohio quilts. We all thought it was earlier until we saw the
typically late 19th century prints included.
* 1890's quilt of small scale "Four-patch-in-nine-patch"
blocks, each of 3 colors, but scrappy thoughout the quilt. Mourning print
back. All the light fabrics in the 4-patches run in the same direction and
give the illusion of broken diagonals across the quilt.
* New Baltimore Album Mary Simon reproduction quilt top she just
finished, (almost - it still needs borders) with superior workmanship and
use of color and specialty fabrics. Nancy is using this as a teaching tool
in her applique classes. Her bird's eyes are perfectly formed and Nancy
admitted that she collects fabrics from everywhere that have even the
smallest areas that can be used as a 3/16" circular bird's eye --
* Liza Prior Lucy showed two of the quilts she made for her new book
with Kaffe Fassett, "Museum Quilts, Designs Inspired by the Victoria
and Albert Museum." She had copies of the book to sell. The quilts
were just what we've come to expect from this talented pair of designers -
usually simple designs of repeated shapes made with glorious fabrics used
to greatest advantage. They lit up the room!
We shared a 3-foot long hoagie for lunch and had our choice of 2
delicious desserts provided by Trudy and Nancy G. We only had 3 Judys at
this meeting, and could have had 5 if everyone had showed up. Wouldn't
that have been fun.
Judy, now in Flemington NJ aka The Ringoes Kid email@example.com