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Sunday, September 4th, 2011

William Volckening of Portland, Oregon, “Bill” to his friends, is very fond of quilts. In particular, he favors an intricate quilt pattern known most often as “New York Beauty” or “Rocky Mountain Road.” The pattern is not appropriate for beginners, as he points out. A recently published exhibition catalog titled generic cialis online was created to accompany an exhibit of these quilts at the in Philomath, Oregon. The display will be in place through September 2011.

By comparison to the other quilts within the book, the quilt on the cover of the book is no indication of the bright hues to be seen on other quilts of this extraordinary collection. Many of the quilts were collected on eBay. What a wonderful array of quilts brought together in one place! They represent a century and a half of quiltmaking with this particular pattern.

An estimated provenance date is provided with each of the 41 textile images in this 80 page catalog. At the end of the book, Volckening acknowledges the help of many of his friends at the American Quilt Study Group as well as dealers of antique quilts. This book would make a wonderful addition to the library of anyone who enjoys antique quilts, and is of a great size to be a holiday “stocking stuffer!”

book cover - Beauty Secrets
This is the cover of generic cialis online
The book is published by Blurb.com and is available at the following link:

To read more about Bill, his lectures and his work with the Oregon State Quilt documentation project, visit:

To enjoy an interview with him, written by Kim Wulfert, please visit:

Pat Sloan also interviewed Bill on her in conjunction with American Patchwork and Quilting magazine. Enjoy!

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Saturday, January 22nd, 2011

Oh, but how I love Kaleidoscopes! Actually, a few years ago I ordered a kit to make my own, using beads in the bottom. What fun!

About a year ago, I bought software to create Kaleidoscope designs using photos. Thinking this would be a great tool to use for making greeting cards, or as a possible inspiration for art quilts, I gleefully installed the program on the computer but… have not even attempted to use it until today. I am always so phobic when it comes to trying new things, especially those that look like they might be too complicated. I was surprised when I opened the program at how simple it is to use. A couple of steps are all that is needed to create a wondrous new design.

For my first designs, I used a photo of a Rugosa Rose and one of a Daffodil. Here are the results!

rose

daffodil

This software has really come down in price. I paid about $45.00 for it from a local NH shop. This looks like a great deal on amazon.

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Thursday, January 6th, 2011

When I saw a photo of Zylpha Siudara today, for the first time, I wished she were still here so I could give her a hug. Her good friend, Beth Davis, has been saving information about Zylpha for years now and has always found her to be an inspiration. An active and avid quilter, Zylpha did not miss a beat in creating unique new designs, being published, and even appearing on television. She was just 92 years young when she passed away in late December. Beth has written a tribute that I am sure you will want to read. It is located on my website.

Enjoy!

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Sunday, October 24th, 2010

On this dreary, overcast day, a spot of sunshine has arrived in my e-mail. Guila Greer of Tarzana, California has shared two small quilts that she designed. The first one is called, “I’ve Got Lips.” On it she features the words, “Stiff Upper Lip,” “Lip Service,” “Read My Lips,” “My Lips are Sealed,” Loose Lips Sink Ships,” “Tight Lipped,” “Hot Lips,” and “Does a Chicken Have Lips?”.

I've Got Lips quilt

The artist says, “I wanted to see just how many different sets of lips I could gracefully fit into the space AND have them say something appropriate. The problem of how to apply the words was solved with Extravorganza. “I’ve Got Lips” was a fun one to do.”

The second quilt was made as a gift to her yoga teacher and has the words heard in class, “So,” “Hum,” and “Shanti.” She states, “In this case the words may or may not have been needed. However I added them because they were very specific to the routines of our particular class and therefore meaningful to the teacher.”

So hum quilt

Many thanks to Guila for sending photos of her work!

Check out her website at:

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Saturday, October 23rd, 2010

This morning, I add a new article to my website:


If you “like” my Facebook page, you will have already been advised of that fact. However, I know that many of my blog readers do not belong to Facebook, so I mention it here again, for them. Enjoy!

Patricia Cummings

To be a part of the Facebook page for Quilter’s Muse Publications, please check the front page of our website: and click on the appropriate link. Thanks.

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Friday, October 1st, 2010

Since it is autumn, it seems very fitting to discuss cornucopias and their symbolic meaning. The 16th century word is derived from Latin: “generic cialis online,” a term that designated a mythical horn that could provide anything desired. Traditionally, this horn was filled with fruit but could also include flowers or corn, according to the generic cialis online.

Ellen's cornucopia

An example of one of the blocks that Ellen Webster “charted”

A couple of years ago, I wrote a history of the life and work of an exceptional New Hampshire woman (a quilt historian and professor). A cornucopia quilt block is one of the more than 200 designs she “saved” for posterity that are featured on full page entries in my e-book. The appliqué quilt block is absolutely gorgeous, as you can see! In particular, I love the inclusion of the color orange.

Moreover, I love what the block represents: the gift of the harvest; the gift of abundance. What does abundance mean? Of course, applied to individual lives, the word can take on different meanings. In the case of Ellen Webster who prepared the quilt block that you see here, abundance could have meant: 1) having a loving family; 2) enjoying meaningful work; 3) taking delight in the natural world of birds and plants and yes, her beloved discovery of luminous moss. She never was left “wanting” material goods because she had the resources and the intelligence to obtain what she needed in life. Part of her blessings were a fine and upstanding husband, a dentist and valued member of his community. Yes, Mrs. Webster had many blessings in life and she also gave much back. Isn’t that part of being blessed — being able to share?

Every time I see this particular cornucopia quilt block, I smile. It reminds me of a horn-shaped basket filled with (artificial) grapes and other fruits that my mother would place on her kitchen table this time of year. As we go through life, we have to savor the abundance that is ours: good food, good friends, and the good health to enjoy them. Wishing you abundance in your life!

A partial exhibit of the quilt charts of Ellen Webster continues to be available at the New Hampshire Museum of History in Concord, NH until January 11, 2011.

Patricia Cummings, author of generic cialis online – 355 pages; 340 photos

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Friday, September 24th, 2010

This is a short photo essay about some of the decorative pillows in my collection. The first one I’d like to show you is one that I bought from a local store that sold Oriental Rugs and also served as an outlet for some of the pillows made by the Rubia cooperative in Kabul, Afghanistan. My pillow is signed in Arabic (in embroidery on the back). Most of the women who are taught how to embroider through this program did not even know how to write their own names before learning how to do so in needlework.

Rubia pillow

All of the fibers and materials used to dye the pillow are from the local area in Afghanistan.

In a totally different vein, here is a pillow that I made from a “Bird of Paradise” kit that my son brought me from Hawaii. The use of a solid color on a white background is very typical of Hawaiian quilts.

Bird of Paradise design

This design really does remind one of the “Bird of Paradise” plant.

I have long enjoyed the work of the Hmong people and the next pillow, decorated with embroidered animals, is a real treasure.

Thai pillow

The colors of this pillow are most attractive!

Next is a pillow cover that is two layers with an opening to insert stuffing. The fabrics are all from the 19th century. Note the interesting way in which the quilter begins in the middle with a Nine Patch block, set on point, and keep the idea of a square as she works out to the edges. Very interesting fabrics!

19th c. pillow cover

I love the variety of fabrics the quilter used in this scrapbag pillow cover!

A blue calico, Bear’s Paw design appears on this pillow cover made in the 1970s by a member of the Lewis family. The color blue is very bright and riveting.

Bear's Paw pillow

The following pillow was most likely made by the same person. It is embroidered and decorated with candlewicking, a form of embroidery that relies on use of a special heavy cotton thread and “Colonial Knots.>”

candlewicked pillow

The final pillow I am going to share today is one that I made a few years ago. The motifs are “stuffed” for a 3-dimensional effect. The corners of the pillow are turned over and I have sewn the fold flat by adding “animal” buttons that duplicate the same animals as are created by stitches on the pillow proper. The pillow is hand quilted in an echo quilting fashion.

my hand quilted pillow

I hope that you have enjoyed this overview of some of the pillows I like a lot! Do you have any interesting pillows to share with readers? If so, send any photos to: pat@quiltersmuse.com Please avoid sending really low-resolution photos. I need to be able to work with them in Photoshop to maximize them for their full enjoyment. I WILL mark your name on any photos you send. Thanks.

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Monday, August 23rd, 2010

Little did I know that I would get such a huge response to my request from art quilters to share any quilts they have made that feature words. Since yesterday, I have published two huge files of examples and have begun uploading images for a third file.

quilt by Sherry Boram

Learn more about this quilt by Sherry Boram, in the website file!

As you will see, quilters have found innovative ways to add “words,” a term that can be interpreted broadly to include letters, names, and partially visible words. All of the work takes my breath away. I hope that you feel the same way.

I hope that my work has showcased a handful of very talented individuals. I know there are more of you out there (lurking). If you have the urge, take a photo and send it along with a few words about the piece(s). The photo will be digitally marked with your name and you will be given full credit and appropriate links to your blog, etc.

Here is the link to the first file. From there, you will be able to click onto the second file.

Update: There are now FOUR files in all, with more quilt images promised! All of the contributing artists are listed on the home page of my website with the file in which their work appears.

Thanks to all who sent photos.

Patricia Cummings
Quilter’s Muse Publications

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Saturday, July 3rd, 2010

Whig's Defeat quilt block by Patricia Cummings

Whig’s Defeat seems to be a curious name for a quilt block. The name “Whig” dates to revolutionary war times when anyone with radical ideas earned that title.

The Whig party attracted some notable politicians and had two elected U.S. presidents, and two vice-presidents who came to the office of president through the back door. William Henry Harrison, our beloved 9th president, died in 1841 after giving the longest-ever inaugural speech in the rain. He caught pneumonia and died, and John Tyler replaced him as president from 1841-1845.

The only other elected Whig president was Zachary Taylor who served from 1849-1850. Former vice-president, Millard Fillmore, served as president from 1850-1853. By 1856, the Whig Party was essentially defunct.

The “Whig’s Defeat” block is one that I always assumed was both pieced and appliquéd, as was stated in Rose Wilder Lane’s book. Recently, it has come to my attention that in the southern states of the U.S., the quilt block was entirely pieced, a way of working that makes no sense to me!

When I made this block a couple of years ago, I thought it to be somewhat difficult, but I liked the finished product which I have now incorporated into a wall quilt.

Have a wonderful 4th of July!

Patricia Cummings

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Thursday, May 20th, 2010

Sherri Winter's Mammy Quilt from TX hills

Mammy quilt from the Texas hills

The image above represents yet another “Mammy quilt.” Of the ones I have seen so far, they are all very different. This one features solid color fabrics for the dresses, in red, orange, beige, green, electric blue (my name for it), and tan. Notice that each “mammy” is wearing her hat a different way. The owner, Sherri Winter, states that she thinks the quilt is over 100 years old. It is always more difficult to guess the age of a quilt that has only plain, not printed, fabrics.

Although some folks would consider something like this a sign of racial prejudice, keep in mind that it is only a material object, and the maker probably had a fondness for mammies, those beloved and nurturing members of many a southern family.

Thanks very much for sharing this quilt.

I have posted other information about mammy quilts on this blog. Use the “search” function to find the other files, if you wish.

Patricia Cummings

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Sunday, May 2nd, 2010

I’ll tell you folks. I have purchased just about every version of Electric Quilt Software that has been put up for sale. The latest release is EQ7. It is touted as a great design product and The Quilter magazine even has a step by step tutorial in the July 2010 issue that is just out. The verdict is not in as to whether I will buy it. You see, I have never taken the time to pass the learning curve stage of all of the other EQ software packages, and I am not optimistic that this time, I’d do anything different. That said, the directions seem clear cut, in the magazine. I was trying to talk a teacher in my local area into giving a class. If so, I’d buy the product in a minute.

I can see how it would totally come in handy. What I do is kind of like cave-man style today… with the graph paper, or compass, and prismacolor pencils for coloring designs. Now, that seems pretty primitive, doesn’t it. I understand that with EQ7, one can drop swatches of the latest fabrics into place, using a Fabric Library. How cool is that?

Maybe someday, I’ll make it to the 21st century of quilting, but don’t count on it. I’m still pretty happy with hand quilting, even if it takes me a very long time to finish a quilt. For me, the joy lies in the process, not in how fast I get something done. So, I suppose my resistance to some of this new technology is somewhat based on my dislike of machine interventions (I chuckle as I am using software to share this message!)

Have a good week!

Patricia Cummings

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Saturday, March 13th, 2010

A reader has sent some photos of her recently-acquired “Mammy” quilt found to purchase in an antiques mall in Texas. The quilt is full-size and features a “Mammy” image on each block. All the sashed blocks are set “on point,” are signed with a first name only, and each “Mammy” has teeth showing, a seemingly unusual feature.

Mammy quilt with teeth

Mammy quilt close-up, photo courtesy of “Deborah.”

I know of two other finished quilts that depict the faces of Black women, in the style of the early “Aunt Jemima.” One was given to a museum in Chicago by a prominent collector. Another was collected in Texas recently by the former owner of a Texas quilt shop.

Mammy quilt top assembled by Pat

There is a file on my website, “,” that shows some “Mammy,” pre-made, appliqué pieces (recently made) that I purchased on eBay and appliquéd onto an ochre-color background. These shapes are “face-less,” that is, no features are delineated.

Some would argue that all of these types of quilts are representative of degradation, prejudice, or hate. Somehow, to me it does not seem possible for anyone to construct a quilt, with the motive of hate in mind. I can’t wrap my mind around that idea. I view these kinds of quilts as part of American quilt history, whether one agrees with the subject matter or not. We can’t change history.

Well, now we have seen four examples of the use of Aunt Jemima or Mammy figures in quilts. I wonder how many more such quilts are “out there,” waiting to be found. I bought my appliqués from someone in Texas, so that state seems to have been the source for these four examples. Has anyone seen similar items made elsewhere, or know specific dates that they were constructed?

Patricia Cummings

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Saturday, March 6th, 2010

A short while ago, a pattern for Caesar’s Crown block was requested by a reader who had seen the one that I made to illustrate an article about (one of several articles about the topic that are currently on our website). Not able to put my hands on the design, not having the time to hunt through sources, and not remembering whether or not I drafted the block myself after seeing a small line drawn image of it (which was probably the case), unfortunately, I came up dry. The reader was undaunted and her tenacity to find and re-create the block design paid off, when she was able to locate a pattern elsewhere.

Today, Peggy Arbuckle sent a photo of a beautiful quilt block. The background is a white on white fabric. She had success finding the “Roman” and “jewel” fabrics at Hancock’s, she states. While my block was totally hand-pieced, she decided to piece hers on the machine. She reveals that it was a challenging task but “after several mistakes, (she) finally got it.” The result is gorgeous!

Caesar's Crown quilt block

This Caesar’s Crown block was made for a monthly quilt block exchange at a quilt group that calls themselves “Peaceful Partners,” and Peggy made it “to represent the ‘Ides of March’.”

Thanks so much to Peggy Arbuckle for sharing her beautiful block. The colors are just grand!

Patricia Cummings

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Tuesday, March 2nd, 2010

Country Bride Quilt

The Country Bride Quilt designed by Rachel T. Pellman and Craig N. Heisey/ made by Patricia Cummings

The quilt that you see above was “two years in the making” as its label states. It is the first large appliqué project and the first completely hand-quilted quilt I ever made! I worked on the appliqué squares while watching the news reports from “Desert Storm.” I was glued to the television for that coverage.

Later, I bought a large quilt frame from Keepsake Quilting and set it up in a then unused room on the second floor (now, my office). The quilt is queen-size, and if I ever set the frame up again, it will be in my yard. In this old house, the rooms are relatively small.

Country Bride label

Label that was sewn on the back of the quilt

Even though I didn’t know what I was doing, at the time, I thoroughly enjoyed the project. My mother had just given me a rhinestone setter and I decided to use rhinestones for the birds’ eyes. I like the effect better than embroidered eyes.

This quilt, as you can see, was meant to be a bed quilt and is actually too long to adequately hang in our usual spot for photographing large textiles. The design is from Amish Country. The authors of the book, generic cialis online, published in 1988 by Good Books in Intercourse, PA, sometimes commission Amish and Mennonite women to stitch their designs.

We visited Intercourse, PA in 1999 on a fabulous road trip that stands out in memory. Included in our agenda wa a trip to the Country Store there run by these same folks. The second floor houses the much-acclaimed People’s Place Quilt Museum. We were able to view some wonderful examples of very early quilts from the “two valleys.” I enjoyed seeing Amish-style hand quilting, up close and personal.

Pennsylvania has been a hot bed for quilts and crafts. Of course, there is the annual crafts fair at Kunztown that attracts countless visitors. Following our trail of thought in yesterday’s blog post about Jonathan Holstein’s “discovery” of Amish quilts as art, I would say that this artistic tradition has been magnified since that time, and that the quilt shown on this page is an example of artistically-inspired work. Don’t you agree?

I live in the city, but will always be a “country girl” at heart, having lived on a farm and loved being in the country. In New Hampshire, country folks are special! I hope you have enjoyed seeing a quilt that I made. No one except a few close friends and family members have ever laid eyes on it … until now. Is it any wonder that John Denver’s song, “Take Me Home Country Roads” is one of my favorites?

Patricia Cummings

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Sunday, January 31st, 2010

Today, I have received an e-mail from Margaret Mathews who told me that we have a wonderful site and she likes what we have done with it. Thank you, Margaret!

I visited the link she provided at the end of the note and found a very rich blogspot with all kinds of beautiful images of appliqué work and opportunities for ordering pattern designs for quilt blocks that are based on authentic antique designs, many of them Baltimore Album reproductions or made in that style.

It was refreshing to see ladies meeting together in a private home to share the fun of quilting, just like the “old days.” One woman is seen holding up a beautiful quilt block. Fun to see all the smiling ladies.

Be sure to see Margaret’s fine blog:

We have five files on our website about Baltimore Album Quilts and their origins. An Index of the files is available by clicking on the word “Baltimore Album” that is located on the left side bar of our main website, Quilter’s Muse Publications. (see live link at the bottom of this note).

I love needleturn appliqué and “test drove” a few patterns for Future Heirlooms Co. about 10 years ago. Here is a link to one that Margo Rose calls “.”

I love to hear from those who enjoy our website. Words of appreciation are welcome and I consider them my “paycheck.”

Patricia Cummings

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