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November 3rd, 2011

“Bonny Charley” Textile and Song
Raise Questions as to Provenance

by Patricia L. Cummings, quilt historian/textile specialist

Recently, a reader sent me photos of a red and white monochrome printed textile. Featured on it is a main design and four corner scenes evoking the four (named) seasons. Traditional French cheap generic cialis no prescription fabric often featured similar countryside scenes related to this same theme of changing seasons of the year. The main design is enclosed within a center circle and shows a handsome suitor in buckled shoes strolling with a maiden wearing an apron. This central medallion area is set off by a bead-like line composed of conjoined small circles that creates a visual division that separates it from the four corner scenes (labeled with the individual names of the four seasons) on this 28″ square piece of cloth.

rare textile with song lyrics

A rare textile, possibly from the late 18th century or early 19th century

Beneath the featured couple appear the lyrics to a three verse song titled “Bonny Charley.” My research reveals that the score for this song (for piano and voice) was collected by Lester S. Levy, a sheet music collector who donated his entire collection to John Hopkins University. In citations found on the university’s website, it is revealed that the composer/writer is not known and that this ephemera that consists of two pages may have an English provenance as do others in Box 29-31 in the collection. See http:levysheetmusic.mse.jhu.edu/

The verses, as transcribed from the textile, are:

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Cho5

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Cho5

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Cho5

Chorus

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On the sheet music, “&c.” appears, instead of “Cho5” after each verse.

lyrics
Song lyrics

In looking at the words, the poem/song appears to be of Scottish origin. For example, the verb “ to ken” means “to know” and is often used in Scotland. “Ken” shows up in the song “” that I recorded some time ago for a music file on this website.

The term of endearment, “bonny,” was first in use in Scotland and Northern England during the fifteenth century, according to The New Oxford American Dictionary, and may have its etymological roots in the French word “bon,” which means “good.” It is often used in a poetic or literary sense.

The words on the textile are written in an archaic form of English script in which the consonant “s” looks more like “f.” At first glances, the word “lasses” looks like “laffes” to the untrained eye.

With the English and Scottish clues present, the historic figure of “Prince Bonnie Charlie” came to mind, even though I realized that the spelling of the name “Bonny Charley” on the actual textile differed. I chalked it up to poetic license or to the idea that the textile may have been manufactured after the death of the prince whose life became romanticized as a kind of tragic but lovable personage after the 1746 defeat of the army he had mustered in Scotland to rise up against the English.

Perhaps I was just tilting at windmills to try to make this historic connection. I have consulted a number of books and found nothing about this particular printed textile. It could be a commemorative print that celebrates Prince Charlie’s life or as one dealer/expert in textiles declared, it could have just been manufactured as a whimsical handkerchief that does not have any greater significance. He warned me that it would be a thankless task to try to link this textile to Bonnie or Bonny Prince Charlie. In the meantime, I am trying to follow up on other clues such as the name “Ruffet” that appears on the surface of the cloth. Was this the designer, the manufacturer, or the engraver? The question remains unanswered and all attempts to learn more about Ruffet have so far failed.

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“Bonny Prince Charlie” is the affectionate name given by the people of England and Scotland to Prince Charles Edward Louis John Casimir Sylvester Severino Maria Stuart (1720-1788), also referred to as “the Young Pretender.” He was the son of James Stuart, dubbed the “Old Pretender,” and also grandson of James II, King of England/also designated as James VII of Scotland who was deposed by William of Orange. Prince Charles Stuart was the last of the Stuart line to be a claimant of the British throne.

A look at the life of Prince Charles is fascinating. He is mainly remembered for his attempts to attempt to reinstate England as an officially Catholic country by mustering 6,000 Scottish troops who fought on his behalf. Prince Charlie traveled to Scotland in July 1745 and made his way to Edinburgh where he was named King James VIII of Scotland. The following September, he led successful battles at Preston Paris and at Falkirk. Boldly, he led the Battle of Culloden on April 16, 1746 that ended in a defeat, the last battle to have ever been fought on English soil.

The Battle of Culloden was the result of a war of ideas between the Hanoverians and the Jacobites, not between England and Scotland, per se. Read more about these two factions at and .
After his defeat at Culloden, Charlie found safe harbor in homes across Scotland for five months. He eventually made his way to refuge in France where he lived as an expatriate.

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He has been well-celebrated in various songs. One has been documented as having been written almost a century after his death. The “Skye Boat Song” features words written by Sir Harold Boulder in 1884 and a traditional musical air collected by Annie McLeod in the 1870s. The lyrics make direct reference to the now famous woman “Flora” [MacDonald] who aided the Prince’s escape from Uist to the Isle of Skye and the second two lines of the first verse say: “Carry the lad that’s born to be king/Over the sea to Skye.”

The verses that follow are offer more explicit connections to Prince Charlie include a mention of the Battle of Culloden and its results:

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I note that again the proper name here is “Charlie” not “Charley” as is presented on the textile. The song book Rise Up Singing incorrectly states that Charlie was a child when he was escorted to safety by Flora. He was born in 1720 and the Battle of Culloden was conducted in April 1746, making him about 26 years old at the time!

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Likewise, another song was prepared in recognition of Charlies hiding in France. This song is based on a Scottish poem by Carolina Oliphant (Lady Nairne) and utilizes a traditional Scottish folk tune for its musical score. It was written sometime after the Battle of Culloden and has experienced transmogrifications over the years. A version of it was sung by (the late) Irish singer/Tommy Makem who emigrated from Ireland to the United States and spent many years living in Dover, New Hampshire. A prolific songwriter, some of his original songs have been presumed to have an older Irish tradition. He performed solo and with the Clancy Brothers.

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Another song linked to Prince Charles and the Jacobite rebellion of 1745 is most commonly referred to simply as “Loch Lomond.” Viewed as a song of lost love that states that two people will never meet again a verse in the original poem says this: “For my love’s heart brake in twa, when she kenned the Cause’s fa / And she sleeps where there’s never nane shall waken.”

One interpretation of these words is that a true love’s heart will break in two as a result of knowing the “Cause’s” father, perhaps “Charlie?,” father of the Jacobite uprising. The recurrent theme of the chorus is that “they” will never meet again [in Scotland]. The reference to “high road” and “low road” also have an in-built historical meaning according to the following online resource:

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The aunt of Robert Cuellar found the printed textile at Woodward and Lothrup, a former high-end department store located in Washington, D.C. In 1973. That day, she purchased the framed textile believed to be a handkerchief or neckerchief framed under glass.

As an aside, the history of the store is interesting in itself. Samuel Walter Woodward (1848-1917) and Alvin Mason Lothrup (1847-1912) founded the store in Chelsea, Massachusetts but later moved its location to the capitol in 1880. Eventually, the store was sold for $277 million dollar in 1985 to a man who was a shopping mall entrepreneur.

In late October 2011, the present owner contacted me to ask if I knew the country of origin or could provide any other clues as to the date of this handkerchief/neckerchief.

The owner previously consulted another (unnamed) textile specialist who thought that it might have been manufactured between 1780 and 1820, a broad range of dates. I considered the possibility that this textile is a reproduction and since it was purchased during the twentieth century at a department store location, we cannot rule out that possibility although it does not seem likely. Several other textile experts have looked at this item and believe there is no reason to doubt that it may be authentic, made from the 1810′s-1840s, according to one source.

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For me, the textile has sent me on a research quest to find answers. So far, nothing definitive about this textile’s provenance has been forthcoming. With no supporting evidence, this has been my own trip of supposition. However, I uncovered some interesting facts. It is interesting to note that one online site mentions that Bonnie Prince Charlie is second only to Jesus in the number of times he is mentioned in writings of the English language. He is also referred to as the “Young Chevalier,” probably due to his connections with France. The novel Waverly by Walter Scott is based on his story. The book cheap generic cialis no prescription by St. George Tucker provides the lyrics to yet another song dedicated to “Charlie.”

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The original song has three more verses and an additional verse, added by a bard, is featured in the Bacon book. Today, this book is available via print-on-demand by the Expresso Book Machine. See:
Prices range from USD $10.25 – $12 dollars (plus shipping).

At the very least, I believe that one could safely call this textile a “conversational print,” a term that is typically given to any textile that would evoke a “conversation.” If this is indeed an early textile, it was made via a type of intaglio work related to etching in which fine lines could be incorporated or if this stems from a date later than 1783 when Thomas Bell in Scotland invented cylinder/roller printing using engraved rollers to print on cotton. The engravings were all done by hand until the nineteenth century!

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As to country of provenance, was this textile manufacturer in France, England or Scotland? All three countries are likely possibilities. Right now, I have only found clues. I am wondering if there is information printed on the edge of the textile, as suggested by one individual I contacted. Perhaps, some wording is currently obscured by the frame. The name of the manufacturer or country of origin may be printed there or possibly a date. If more information is uncovered via further investigation by the owner of this textile or a reader’s direct knowledge, or the “find” of a photo in a resource book, or some other discovery, I shall update this file. I have learned a great deal so far (although nothing to back my initial impression). As always, I am always appreciative of the chance to try to learn more about wonderful pieces held in collections. If anyone has more information about this particular textile, please contact me at:

Update on 11/4/2011: Robert Cuellar took the textile out of the frame, as I suggested, and states, “I found that this handkerchief is marked Williamsburg Fabric by Williamsburg Restoration, Inc.” Williamsburg Restoration CW 4xx is a trademark of the Colonial Williamsburg Foundation which creates “decorative textile fabric piece goods.” We now have our answer that this is a 20th century textile!

My latest book will be available very shortly! It can be ordered at a pre-release price now from any number of online booksellers, including amazon.ca,, amazon,uk, amazon.au and amazon.fr.

Copyrighted by Patricia Cummings. All rights reserved.
owner,
Concord, NH

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October 29th, 2011

This is the same advice that I provide as a guide to eBay sellers of military collectibles known as Sweetheart and Mother Pillows. I decided to share the information here, as well.

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Again, I have taken the time to fully research all aspects of the history and care of these specialty collectibles. My findings, thoughts and advice are included in my latest book, cheap generic cialis no prescription, available soon!

My best,

Patricia Cummings

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October 28th, 2011

Steve Grace and Patty Grace - 1960s

Steve Grace and “Patty” Grace on one Christmas Day in the 1960s at our parents’ farm.

The date “October 28″ weighs heavy on my heart. In 1944, my older brother Steve was born. He was closest in age to me in a family of four children. I can’t believe that it is 17 years ago (short of two months) that he was laid to rest at the age of 50 in December 1994.

Life was always a struggle for Steve. He was only five pounds when he was born as a premature baby, the son of a heavy smoker. As a child, he developed a stuttering problem that eroded his self-confidence. As you know, anyone who is “different” is always subject to a certain amount ridicule at school. A redhead with blue eyes and freckles, he was a tall kid and later a 6’3″ adult. My parents took him to doctors and speech specialists but he did not overcome his speech problem until high school.

He decided to attend Alvirne High School in southern New Hampshire because he heard they had a great program in agriculture and he loved animals, even though or perhaps because he was brought up in a city. Influenced by a certain teacher whom he really admired, he joined the Future Farmers of America Club. To encourage his new interest, my Dad bought a farm in Londonderry, New Hampshire so that Steve would have a place to put to use his new found skills of forest management. Dad rented the house on the farm to a family, and our family visited the land on weekends to picnic and enjoy the country air while Dad helped Steve do some forestry work.

Future Farmers of America proved to be a great organization for Steve. He wrote a speech that compared the state of agriculture in the U.S. to that of Russia under Communism and he presented his talk and won state and regional competitions. He was selected to compete in the national FFA convention in Kansas City, Missouri. Later, he decided to major in agriculture at our state university and was the first of my siblings to graduate from an institution of higher learning, with a degree in teaching. The family was so proud of him!

After being awarded a B.S. degree, he agreed to teach high school classes in agriculture. “Ag” was looked down upon by administrators as an inferior subject. Consequently, he was sent every kid who had a disciplinary problem in the school. Being serious about his subject matter but frustrated by the circumstance of having to deal with juvenile delinquents instead of teaching, he left the classroom for good.

Now a married man, he became a herdsman at a dairy farm and he and his wife had two children. Even though he worked very hard physically. life was a financial struggle. Skilled in the building trades, he later accepted work as the building maintenance man at an elementary school where he was well-loved by students and faculty alike. By that time, he was experiencing increasing chest pains, exacerbated by the difficult labor of cleaning and waxing the gym floor. Rarely did he see a doctor and when he did, he did not want to follow their advice. The last time I spoke with him, on December 27, 1994, he reported being in a lot of pain although he was his own jovial self and seemed more talkative than usual. Call it woman’s intuition but in the back of my mind, I suspected that the conversation might be our last.

The next day, I learned that he had died, the victim of sudden cardiac arrest. Only 50 years old, death stepped in to end his suffering. He did not take his own life. Despite his prayers, his good intentions and all of his hard work, life was difficult for Steve from beginning to end.

No one knows when our time on earth will end or how huge a gap our leaving will be for those who love us. Days like today trigger so many memories. In looking back, I treasure the fact that I knew Steve and that I was the last family member to have the opportunity to chat with him. I would not want the suffering Steve back again. I am sad to think of all that he has missed in the last 17 years. He never knew any of his grandchildren. He loved to sing and he did so often, in his deep, resonant voice, so strong, so full of life! I hope that he is now singing with the angels. He left me behind, a sister who loved him then and continues to love him now. Until we meet again on God’s golden shore, Steve, until we meet again…

“Patty”

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October 28th, 2011

Sotheby’s has slated an auction for January 12, 2012 to liquidate the collection of 175 Samplers owned by researcher and writer, Betty Ring. Sampler dealers, Carol and Stephen Huber, have prepared an illustrated catalog with descriptions of each Sampler. All items to be sold are shown.

The catalogue, priced at $53 dollars each, can be ordered by calling Sotheby’s:

U.S. (1+) 212-606-7000

e-mail option:

Here are two of Betty Ring’s own books that she wrote about her collected Girlhood Samplers.

This information is provided as a public service announcement by Patricia Cummings, Quilter’s Muse Publications, Concord, NH.

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October 27th, 2011

Photos of quilts with scarecrows are quickly being replaced by fellow quilters who are now posting their quilts with snowmen, in online venues. It is true. Late fall is quickly giving way to an early winter as the first snow is predicted today in New England. It’s time “to batten down the hatches,” as they say, and think about the holidays, making gifts, decorating, cooking and baking, and planning reunions with friends and family.

The transition of seasons seems to sneak up on us in this part of the country. Not long ago, we were enjoying the brilliant foliage. Today, again, the trees are “standing naked in a row,” and the “warriors of winter give a cold triumphant shout” (words from the song “Urge for Going” sung by Joni Mitchell). The song says that “all that stays is dying; all that lives is getting out.” That is almost true. Today, a good friend will wend her way back to the Sunny South to spend the winter in a warmer clime. I don’t blame her. When I lived in Arizona, I wondered what all the chatter was about “Snow Birds” until I realized that the words are a euphemism for retired folks who “winter” among the cacti and return to cooler climes during summer months.

As for Jim and I, we are happy to stay put. Our fall project of making over a little-used space in our home and transforming it into a “cozy den,” as I call it, has our utmost attention. Jim has one more coat of poly-acrylic to apply to the knotty pine board walls he installed, and much more insulating to do. The space was previously unheated altogether. We plan to install an electric fireplace that should be more than adequate for the 150 square foot space.

two wild turkeys of 15 that day

Two wild turkeys of a flock of fifteen seen from our back window this week parade past a granite sitting bench that sits above the old millstream, assembled by James Cummings and James Patrick Gorham. In the Spring, melting snow increases the volume of rushing water in this area in a swoosh that is very audible; at other times, the sound is pleasant and soothing.

The back windows of the room provide a view of the old millstream. Our main theme for decorating is based on the idea of bringing “Nature” into the space by installing a window bird feeder, an aquarium, and houseplants with a grow light (since it is a room that receives no direct sunlight). Of course, the poly-acrylic treatment for the walls was chosen because it is the best barrier to prevent wood acids from leaching into the quilts that will decorate the walls as part of the room’s decor.

Our food choices seems to change with the seasons, too. Potato salad and lunch meats, barbecued hamburgers and boiled hot dogs are being replaced with homemade soups and stews and homemade bread, roasted root vegetables, and favorite pasta dishes like Lasagna and Chicken Casserole, staples of our winter fare. Since crisp new apples are readily available from the orchard right now, they are finding their way into many items we are cooking or baking. We are revisiting our pumpkin recipes as well.

Fall is a time to celebrate the fruits of the earth and to be thankful for all the gifts that provide and enhance the quality of life, including you! Take a look around you today. Instead of concentrating on what you don’t have or what you wish to own, take time to enjoy the people and things that surround you. If you have any doubt as to the goodness of life, just take a walk and enjoy the still-blooming flowers – in my case, the Dahlias in our garden that will soon be snow-covered. If you are lucky, you can look out your window and observe wildlife, scurrying to find a bite to eat. Like the flowers of the field that neither toil nor spin, as described in the Holy Bible, animals are dependent on the Author of Life for their subsistence. It is a comfort to see birds and animals surviving by their own steady work of gathering bits and pieces of whatever the earth has to offer.

A simple key to Happiness is to develop a spirit of thankfulness and you can begin to feel like the richest person on earth!

P.S. We plan to set up our Christmas tree in one corner of this “new” den this year! Can’t wait. :-)

Patricia Cummings

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October 25th, 2011

Not only people moved from the east to west in the United States during the nineteenth century, but quilts made that journey, too. An important historic quilt associated with the American Civil War was found in a thrift store in California and given to (the late) Jan Coor-Pender Dodge, a resident of that state. This morning, I have just been reading the research paper that Lorie Chase presented at the last annual seminar of the American Quilt Study Group and now a mystery is solved!

Not having seen the detailed inscriptions on the quilt, or ever having viewed the quilt in person, I honestly had wondered about one person’s idea that the quilt must have originally been larger (with 60 blocks rather than 40 blocks). He presumed that 60 women had worked on the quilt.

Looking at a photo of the quilt, which is long and narrow and intended for a soldier’s cot, that theory did not seem logical to me. I thought to myself that if 60 women did work on the quilt, then perhaps some were involved with finishing it rather than making individual blocks.

Current scholarship reveals that the number “60″ listed on one block refers to the number of Army volunteers who mustered from Dublin, New Hampshire. Information about the quilt was kept “close to the chest” as is often the case when someone has research that has not yet been presented. Now, the truth is out!

Dublin NH Sanitary Commission quilt

A version of the original Nine-Patch quilt donated to the U. S. Sanitary Commission during the Civil War. This one was pieced by Patricia Cummings, using Civil War reproduction fabrics, and was custom machine quilted to Pat’s specifications by Tracy Zimmerman Szanto on her Gammill-Staedtler machine. This (pseudo) reproduction quilt was made as part of my own efforts to acknowledge the 150 years that have passed since the beginning of the conflict on April 12, 1861 when Confederate soldiers fired upon Union-held Fort Sumter, and was shown at the New London Historical Society in New London, NH on August 16, 2011 in conjunction with my talk about Civil War quilts and textiles.

To read all the wonderful details uncovered in Chase’s paper, be sure to order a copy of cheap generic cialis no prescription, the journal of the American Quilt Study group, at the following link:

I can’t wait to read the rest of the volume!

Patricia Cummings, member of AQSG who served for one year as the first Regional Coordinator (NH, ME & VT)

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October 23rd, 2011

In March 2010, I posted the following blog entry about quilts from Haiti:

Currently, there is an exhibit of Haitian Art Quilts displayed at the New England Quilt Museum titled “Patience to Raise the Sun: Art Quilts from Haiti and Their Power to Change Women’s Lives. The museum, located at 18 Shattuck St., Lowell, Massachusetts, is planning some special events in connection with the exhibit (which will remain in place until December 31, 2011):

Save these dates:

October 29, 2011 – 1 p.m.
A “Haitian Celebration” with food, music and more!

November 12, 2011 – 11 a.m.
Haitian Quilters Workshop
Participants can make blocks for a fundraiser quilt for Haiti.

November 17, 2011 – 10 a.m.-3 p.m.
Haitian quilters and New England Quilt Museum Community
Quilters’ get-together. Everyone welcome.

For additional information, visit the or call 978-452-4207.

This is a public service announcement brought to you courtesy of .

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October 22nd, 2011

The following announcement was made by Marsha MacDowell:

The Michigan State University Museum and the MSU College of Human Medicine have launched a Quilts and Health Project; see
. This blog is a first
step in building a community of individuals who make, use, and study health-related quilts.

Bloggers are Beth Donaldson, Clare Luz, and Marsha MacDowell all based at Michigan State University.

About the blog: “Name a disease or illness and you will find at least one quilt related to this disease that has been made in support of
personal well-being, health education, patient advocacy, memorialization of victims, and/or fundraising. For some diseases you
will find not just one quilt but literally thousands as in the case of the NAMES AIDS Quilt Project. Collectively, the number of quilts
made and used by individuals, their caregivers and advocates, and by health professionals around the world is in the tens of thousands.
The number of quilts is staggering.”

This announcement is provided courtesy of , Concord, NH.

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October 20th, 2011

Why Quilts “Matter”: A Quilt Discussion
by Patricia L. Cummings

quilt in progress

This particular quilt which I named “Die Gedanken Sind Frei” is composed of reproduction blocks based on various antique quilts in my collection or traditional quilt blocks I have made to illustrate designs for published (printed magazine) articles when originals were not available. I started quilting this by hand about a year ago and hope to resume working on it again, soon! I’ve been sidetracked with research and writing articles and books! Both nineteenth and twentieth century quilt block representations are included in this quilt.

Although no one has ever asked me for an opinion as to why quilts matter, this topic has been a theme in many of my previous writings. Since I am counting sheep instead of zzz’s on this already too long a night at 12:53 a.m., I have begun thinking (again) about quilts and this very subject of why they DO matter.

Most people who consider the “value” of a quilt, think in terms of dollars: how cheaply they can buy a nice quilt for their bed, or an antique one to collect, or how inexpensively they can make a quality quilt. Perhaps, they recall quilts made by their own grandmother, aunt or mother. Some quilters compare their own talents to those of others who are reaping monetary rewards in big shows, galleries or in private sales, and conclude that they would like to make competition quilts in the hope of winning a big cash award. Just maybe that could happen! Everyone likes to think that their work is so unique and so precious that it is certainly valuable in a way that translates into collecting money for parting with (i.e. selling) some of their own artist “statements.”

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In a world awash with quilts in every corner of the globe and with the number of coolie laborers who churn out the “hand quilted” two stitches per inch quilts in third world countries (sold in U.S. department stores), not to even mention the number of quilts that are being generated by people of more skill, it is clear to see that in the future, museums will be collecting less and less quilts. They will simply run out of room! The baby boomers, age 55+, are among the most prolific quilters today! (They have the money and the time to engage in this (now) rather expensive “hobby” with $30,000 sewing machines, fabric at at least $10 dollars per yard and that cost escalating. Even cotton thread is more expensive these days, its price increasing due to shortage of cotton and failure of cotton crops on the world market).

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The term “museum quality” quilt has always seemed like a misnomer to me as it does not always reflect the quilts that typically have found their way into museum holdings. I have to wonder what that term means to most people. There are some “nice” quilts in institutional collections but based on certain collections I have personally seen and/or studied, I’d hazard a guess that many of them were collected just because someone wanted to find a “good home” for them. Some are falling apart, have little provenance, or were not well-constructed in the first place. To automatically assume that a “museum quality” quilt denotes a pristine and terrific quilt is to guess wrong. Museums today are becoming more discerning in collecting any new items and often request a donation to care for a quilt “in perpetuity”. A disclaimer is also provided that the museum may “de-accession” the quilt, at any time. The term could mean selling it to another institution or otherwise “getting rid” of it.

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As a related aside, I’ll mention that today, I was reading (the late) Cuesta Benberry’s ideas about the naming of quilts. In her study of fictional literature, especially of the nineteenth century, a time when some quilt historians have believed that no formal names for quilts existed, she found references to certain quilt patterns that would have been known by readers of the day who shared knowledge of the given names as a common point of reference. She concludes that the quilt designs would not have been mentioned by name had they not generally been known.

Benberry continues her analysis by saying that when the quilt name is noted in a short story, the name of the quilt is not capitalized nor is it in quotation marks. Rather, it is presented in a lower case format, as if to say that the quilt, a common everyday object, just did not carry enough clout to be recognized by its own proper name. This situation has changed, especially when quilt patterns were offered regularly in nineteenth century catalogs, journals, magazines and later, books. I found her views to be very insightful and a refreshing approach to customary and standard pat observations of those who have studied quilt history. It is always good to consider new perspectives and ingenious of Benberry to study the connection of literature and quilts.

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As a quilt maker, not just a casual observer of quilts made by other people, the value of any quilt goes far deeper than is visible by any mortal other than the quilter who envisioned the textile. Advanced quilters and certainly quilt artists strive to make their quilts just a little different from others they have seen. That goal is the driving factor in the variety of pieced and appliquéd quilts that we see with a nineteenth or twentieth century provenance.

People live by copying, that much is true. However, they also like to put their own “spin” on things to take a traditional pattern and make it their own. That could mean changing the color choices, the size of the blocks, setting blocks on point rather than in a straight alignment and a myriad number of other ways that someone can take an idea and manipulate it to suit themselves. It happens all the time, and more than the public would realize.

There are certain timeless design themes that are found again and again: flowers, animals, children at play, plants, the sun, people, landscapes, geometric shapes, interlocking shapes, the sea, the mountains, holiday themes, etc. Quilts often reflect the world in which we live. Some modern quilts explore fractal geometry, a fascinating subject that is more and more being studied as a way to better understand the universe, including biological/medical implications.

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Quilts celebrate traditions! As the Holy Bible states, there is little new under the sun. The beauty of any quilt is found in the love that is put its creation as well as the quilter’s desire to create something that never existed before. To that end, the quilt artist selects fabrics, cuts them into various shapes and assembles the pieces according to their own creative inspirations.

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There is something about a quilt that makes people want to reach out and touch it. That is especially true of old quilts that have been washed, again and again, and as a result are very soft and cuddly. Even animals realize the comfort of quilts. Even dogs and cats manage to pull off any quilt or crocheted afghan draped on the back of a sofa and paw it into their own little “nest” that surrounds them with warmth.

As quilters, we make quilts for many different reasons: to honor people, to share ideas, and to leave a trace of ourselves behind when we are no longer here, and for many people, as a source of income. Some of us challenge ourselves to improve and update our skills and with experience and persistence, most quilters become better at their craft, over time. The learning curve needed to make all of the different styles of quilts is a challenge in and of itself. No quilter ever needs to be bored or worry about finding something meaningful to do. Work is always available and if one likes to quilt by hand, a project can always be taken along to pick up and put down at will, when one has a few moments available.

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Textiles of all kinds, among them quilts, embroideries, woven and printed fabrics (old and new), and certainly, clothing, can be clues as to the lifestyle of the people who made them and the culture in which they originated.

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Quilts and other textiles, from needlepoint kneeling cushions to quilted banners and embellished/embroidered garments of church officials are used for ecclesiastical celebrations. Ceremonial bibs and other special textiles such as baptismal gowns are worn and often passed down through a number of generations. Quilts often are given in honor of the birth of a baby. They are most certainly associated with weddings. Historically, they have a long tradition of being given to departing loved ones (to family members heading west during the years of America’s expansion or to a minister who was assigned to another congregation, especially during the nineteenth century when those elegant quilts were made in Baltimore, Maryland for Methodist ministers.

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Quilts matter to me because I have been immersed in their study and in their making for almost three decades. Before becoming a quilter, I engaged in many other creative outlets including oil painting, doll making, embroidery techniques of all kinds, home sewing, crocheting, stenciling and making other crafted items. In quilting, I found a means of expression that exceeded anything creative I had ever attempted before.

As an active and avid quilt researcher, I try to bring some of the excitement of my own personal findings to light in my many articles published in print venues, books and (for free perusal) on my website and on this blog. I have enjoyed the past twelve years of writing my own quilt history column for The Quilter magazine and more articles are in the works!

Quilting as a hobby, or rather… as a passion, has longevity and has far more significance to a quilter than any non-quilting person would be able to imagine. Quilts have an intrinsic value that far exceeds their associated dollar value. The prices of quilts, like books, on the secondary market would probably astound their original makers, especially those stay-at-home moms in other centuries, some of whom never “earned” a penny in their lives, yet worked tirelessly for the comfort of their families, including making quilts to keep them warm.

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Today, those who traffic in quilts, shows, fabrics, fibers, books, magazines, notions, sewing thread, classes, workshops, lectures, retreats and everything else that makes up the commercial world of quilting represent what is referred to as the quilt industry. This worldwide enterprise generates billions of dollars in trade each year. Even if all that were to go away tomorrow, we would still have “little old lady” quilters to whom quilting and quilt friends are vital components of life, necessary as the air they breathe. In summary, these thoughts delineate just a few of the reasons why quilts matter!

Quilts today collectively represent tradition, innovation and vision. Non-quilters who are non-conversant with the richness of the quilting legacy would have a much better appreciation of the meaning of quilts if they only knew more about quilt history and how styles of quilts have evolved and developed over time. It is a beautiful study and one that has enriched my life immeasurably! Quilting engages the soul and the mind and one cannot overstate its importance. This essay cannot begin to reveal the significance of quilts as objects of material culture.

Cheers!

copyright 2011, Patricia Cummings
, Concord, NH

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October 18th, 2011

Press Release

Lecture Series – October 23,2011
All Girls Allowed Speaks Out on
Human Rights and Gendercide
Susan B. Anthony Birthplace Museum

67 East Road, Adams, MA – 3:00 pm, Sunday, October 23, 2011

Adams, MA – Brian Lee, Executive Director for the Boston-based education and advocacy group All Girls Allowed will speak about human rights and gendercide in China at the Susan B. Anthony Birthplace Museum, 67 East Road, Adams, MA, 3:00 pm, Sunday, October 23, 2011. Lee will speak as part of the Birthplace Museum’s 2011 lecture series. The public is invited to attend free of charge.

China’s one-child policy, instituted 30 years ago, has been the subject of protest by human rights groups principally because of its enforcement through gendercide, the systematic killing of young girls and mothers.

Lee will share the group’s mission: to restore life, value, and dignity to girls and mothers while revealing the social injustice of China’s inhumane policy. Lee says, “I mainly want to convey just how tragic the situation is for girls and mothers in China, and also paint a picture of hope that something can be done to make a difference, and that Americans can be a part of that.”

In addition to discussing the work done by All Girls Allowed and its many supporters, Lee will talk about the book published this month, “A Heart for Freedom: The Remarkable Journey of a Young Dissident, Her Daring Escape, and Her Quest to Free China’s Daughters,” by group founder Chai Ling. Ling was the commander-in-chief of the student protesters at Tiananmen Square and witness to the massacre of thousands of Chinese civilians in the 1980s. Ling was hunted for ten months by Chinese authorities, escaping imprisonment and fleeing to the U.S., where she earned degrees from two Ivy League schools, started a family, and began a number of successful businesses. A two-time Nobel Peace Prize nominee, Ling created All Girls Allowed in June 2010.

Signed copies of the book will be for sale after the talk.

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Through education, advocacy, strategic partnerships, and legal defense, All Girls Allowed strives to end gendercide, educate abandoned orphans, rescue trafficked children and defend mothers. For more information, see

For more information, contact the Susan B. Anthony Birthplace Museum, 413-743-7121, info@susanbanthonybirthplace.org or visit

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Fall/Winter (Columbus Day-Memorial Day): 10:00 am – 4:00 pm, Thursday-Saturday.
Spring/Summer (Memorial Day-Columbus Day): 10:00 am – 4:00 p.m., Thursday-Monday.
Call to arrange private tours: 413-743-7121.

Admission: $5.00, adult; $3.00 student or senior citizen; free, children six and under.
The Susan B. Anthony Birthplace Museum was recently restored, and opened in spring of 2010.

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October 18th, 2011

Press Release

Concord, NH –The League of NH Craftsmen is holding a grand opening reception to celebrate its new Craft Center and headquarters in the SMILE! building on 49 South Main Street in Concord on Thursday, October 27 from 3 pm to 8 pm. The reception, which is open to the public, will feature craft demonstrations, try-it classes, refreshments, and light appetizers. There is also a fine craft exhibition on display called Setting the Standard, which features the work of master craftspeople that serve as jurors for the League’s juried membership process.

PR image

The first thing visitors will see when they enter the Craft Center and Headquarters is the handcrafted reception desk and with an installation, called “Hands at Work.” This area is a collaborative project by five juried members of the League: David Little created the iron work; Seth Kiedaisch built the wordwork; Peter Bloch created the pendant lamps; Steve Hayden created the enameled copper panels; and Jeff Cooper carved the detailed black walnut bas relief, which depicts how different types of fine craft are made.

“Our new facility is a showcase for the creativity and beauty of fine handcraft, and also enables us to more effectively carry out our mission of education. Since we moved in at the end of August, we have held several classes and demonstrations for the public,” says Susie Lowe-Stockwell, executive director of the League of NH Craftsmen. “This is truly a dream come true for the League and our juried members.”

The League also has a permanent collection of fine craft spanning from the early 1920s to present day acquisitions that will be on display at its new facility. “Our Permanent Collection Museum is a truly unique cultural resource and will help bring visitors and tourists to downtown Concord,” said Lowe-Stockwell.

The League is presently running a capital campaign, called Craft our Future, which has raised just over $2 million to date in cash and pledges over a five-year period. “We still have to raise over $700,000 to reach our minimum campaign goal of $2.85 million to support education programs, technology, and an endowment. We are pushing to raise more so that we can purchase an additional 1,000 square feet for more classroom space,” said Lowe-Stockwell.

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Founded in 1932, the League of NH Craftsmen is one of the oldest and most prestigious craft organizations in the country. The League was formed during the years of the Depression to help New Hampshire craftspeople make a living during difficult financial times, through education and by building an audience and market for fine handmade craft. The League continues this mission today.

The League of NH Craftsmen’s mission is to encourage, nurture and promote the creation, use and preservation of fine contemporary and traditional craft through the inspiration and education of artists and the broader community. The League represents the signature of excellence in fine craft, through the work of its juried members, and its rigorous standards for self expression, vision, and quality craftsmanship.

For additional information about the League’s new educational programs, its new facility, or the Craft Our Future Capital Campaign, contact Susie Lowe-Stockwell at 603-224-3375, email , or go to .

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October 17th, 2011

Every other year, the Soo Nipi Quilters of Newport, New Hampshire set up a display of their quilts in gallery space owned by the public library. It is always a treat to see what members have been creating during those long cold New Hampshire winters. This year was no exception. The first three photos are overall shots of certain parts of the exhibit.

quilts

more quilts

even more quilts

I especially enjoyed the following three quilts.

This quilt was made by B. Foote Lacroix, New London, NH and was previously featured in cheap generic cialis no prescription magazine in 1999. It is hand and machine pieced and employs applique as well as other quilting techniques. The person who made it used to commute to Boston on a train that departed from the small town where she lived.

quilted coat

This beautiful quilted coat was made by Louise Chowanski of New London, NH who cut 24 fat quarters into (288) 5″ squares that were then cut on the diagonal and reassembled into the blocks that make up the coat’s exterior. The design is based on a published pattern by Indygo Junction and the fabrics are Civil War reproduction fabrics.

miniature quilt

“Remembering Grandma” is a miniature quilt with hexagons inspired by a photo of a quilt in a magazine. Betty Caterino of Cornish, NH added her own design for a scalloped border to create this hand pieced and hand quilted treasure.

New Hampshire State Quilter’s Fall 2011 Meeting

Many thanks to the Soo Nipi Quilter’s Guild for arranging the opportunity for attendees of the NH State Quilter’s to visit their exhibit in the morning. An afternoon meeting of the statewide group was held in the Newport Opera House, just down the street from the exhibit, on October 16, 2011 with guest speaker, Jacqueline Patton, fabric designer and quilt artist.

One of Jacqueline’s new lines of fabric, printed by Red Rooster, is called “.” Before the meeting started, Jacqueline mentioned to me that she has developed a unique way of creating designs with her own “stencilscapes” technique. Read more about her work in the of her, provided on the Red Rooster website. She was a delightful presenter with charming stories who gave details about her personal creative journey.

The good weather and beautiful foliage combined to make this Sunday outing to both the show and the meeting a day to remember! The Soo Nipi quilt display will be in place until October 28, 2011!

Patricia and James Cummings

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October 17th, 2011

Jim and I are always amazed at the amount of variety we see in the quilts displayed at the annual Cocheco Quilt Guild Show in Rochester, New Hampshire. This year was no exception. Here are a few of the quilts we really enjoyed among a sea of exceptional entries!

“Liberty Puzzles” pieced by Lorayne Dodge and quilted by Lisa Cronin measures just 12″ x 12″ and features 2″ Fool’s Puzzle quilt blocks and Liberty of London fabrics.

Quinnie Jones, age 11, loves monkeys and made this quilt that was quilted by Betty Jo Quin. The quilt called “Crazy Monkeys” measures 34″ x 36″.

best of show

This “best of show” quilt, “Bigger Baltimore,” made by Carol Barstow, measures 102″ x 102″ and was quilted by Linda Bevins. Carol says that the book cheap generic cialis no prescription inspired the quilt.

signature quilt

In the true spirit of friendship, this 55″ x 55″ quilt made by Gladi Porsche and quilted by Linda Bevins carries the name “Retirement Quilt.” It was made in honor of the work of retiring nurse, Bridget Curtis, a colleague of Gladi. The back is signed with “names, well wishes and remembrances.”

This 60″ x 60″ quilt named “July” was made by Susan Coop-Silva and quilted by Donna Tetrault and is adapted to paper piecing from an original design by Cherie Ralston who created a pattern named “Another Dozen.”

A final favorite is an original design by Mary Furber who created a 23.5″ x 22″ art quilt by making a photo collage based on an image of a horse chestnut tree that formerly grew in Portsmouth before being cut down to make way for building on a house lot. The quilt features printed organza and printed lawn fabrics.

This show represents thousands of hours of work, not only in terms of quilting but also organization. The vendors worked very hard to have attractive booths. Luckily, we arrived just in time to see some beautiful state flower quilts designed by Faye Labanaris for her latest book. She gave a brief talk about them which was a real treat!

We so appreciate all of the quilts we saw, including the beautiful raffle quilt based on a Kim Diehl pattern. If anyone thinks that quilting is on the wane, think again. The ART of quilting is alive and well in New Hampshire and this show testifies to that fact!

Best wishes and happy quilting!

Patricia Cummings
– link to our main website where you will find many articles and special features!

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October 14th, 2011

News received via e-mail from Jeff Warner:

Jeff Warner has a new album! It’s called “Long Time Travelling,” and is just out on the English label, WildGoose.

WildGoose Records is a respected UK label, focusing on traditional folk music, mostly English. They asked Jeff to record because of his many appearances at UK folk clubs and festivals, and because much of his music shows its British roots. Nine of the eighteen songs on “Long Time Travelling” were originally English or Scottish – or are American songs that became popular in 19th-century Britain.

In England, Keith Kendrick added his peerless Anglo concertina work to five tracks, and Vicki Swan offered her flute accompaniments and the ancient-sounding nyckelharpa to several songs. In America, Pete Sutherland contributed authentic East Coast fiddle backing and David Surrette displayed his New England’s-best mandolin playing.

Vocal harmonies were provided by Barbara Benn, who also appeared on Jeff’s Jolly Tinker (Gumstump, 2005), and Carolyn Robson from the northeast of England, widely recorded and known for her work with the harmony singing group Craig; Morgan; Robson.

The songs on “Long Time Travelling” are from the California Gold Rush, the American Civil War, 19th-century seafaring, mountain churches of North Carolina and from men who worked on America’s rivers. All eighteen songs are out of American tradition. Half of them are from the Anne and Frank Warner Collection, recorded by Jeff’s parents in rural America between 1938 and 1966. “Travelling” reflects their work and the respect they had for the tradition bearers.

Samples of the songs can be heard at the WildGoose website:

Jeff Warner with his dancing toy
Jeff Warner at a concert in Hampstead, NH in 2009. Photo by James Cummings
See Jeff performing some of his songs on YouTube. A favorite of ours, using this toy, is “Buffalo Gals.”

In the US and Canada, the album can be ordered from

Click “Music.”

We also want to mention another WildGoose album called “Short Sharp Shanties,” released this past May. It brings together several folk revival artists from the UK – and Jeff – to give their interpretations of work songs sung on Yankee sailing ships in the 1860s.

In 1914, Cecil Sharp collected some sixty shanties from English sailor John Short. Devon Folklorists Tom and Barbara Brown have worked tirelessly to make these often unique versions available to us all. Jeff leads a couple of songs on this album and lends concertina, banjo and vocal harmonies to others.

You can read a great deal about it on the WildGoose website:

Currently, the only place to get the album in North America is on Jeff’s website: http://www.jeffwarner.com

We hope to see you again this coming year, at home or abroad.

–
Jeff Warner – American Traditions
Portsmouth, NH, USA
Office e-mail: jeffwarner.office@comcast.net
Jeff’s e-mail: jeff@jeffwarner.com
Jeff’s website: http://www.jeffwarner.com

This is a courtesy announcement by Quilter’s Muse Publications. We have seen Jeff Warner in concert and thoroughly enjoyed the experience. If you love music in the folk art tradition, you will appreciate his efforts to keep these songs in the public realm. A one word description of any performance by Jeff would be “wonderful!”.

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October 11th, 2011

In honor of this (150th year) Sesquicentennial Anniversary of the Civil War, a special exhibit of Civil War Tribute Quilts were made and displayed by members of the Common Threads Quilt Guild at their 2011 quilt show in Morrisville, Vermont in October 2011. The exhibit consists of two parts. In the first section, the personal quilts of Carolyn Babcock, challenge quilt organizer, were displayed.

quilts made by C. Babcock
All of the quilts seen in this photo are the work of Carolyn Babcock

In the background, we see three large quilts. The one on the far left is named “For the Fallen 1861-1865″; the Nine Patch quilt next to it is a reproduction of a quilt made in Dublin, NH and given to the U.S. Sanitary Commission quilt for the use of a soldier. The original quilt was the subject of a paper presented by Lorie Chase at the American Quilt Study Group Seminar at Cherry Hill, NJ this past September. That quilt was found in an antiques store in California by Jan Coor-Pender Dodge (recently deceased). Hanging to the right is “Virginia Star” described on the “key” shared with viewers as a popular mid-nineteenth century quilt pattern also known as “Prairie Star” and “Ship’s Wheel.”

Various quilts are draped on a display table including a Mariner’s Compass quilt, a doll bed quilt in brown and pink based on a similar quilt from c. 1860; unfinished LeMoyne Star blocks, etc. A nice selection of reproduction fabrics were carefully chosen for their colors and types of printed designs which Carolyn Babcock identifies with tags. Carolyn made additional quilts not seen in this photo and was working on a quilt in a frame that she named “Fort Sumter.”

The Butternut and Blue Quilt Challenge she issued called for quilters to use a palette of light gold to deep warm brown fabrics and medium blue, indigo, or deep blue (almost black) fabrics. Quilts could be appliqued or pieced or employ a combination of the two techniques. Their size was to be at least 10 inches x 10 inches but could be as large as 30 inches x 30 inches, although they did not need to be square. A description of the quilt in one or two sentences, stating its connection to a person, event or battle of the Civil War was requested.

The following photos do not provide a total overview of the exhibit, a very popular one. Though not all of the 17 quilts that were entered into the challenge are featured here, these images will give you an idea of at least some of these lovely little gems.

first set of challenge quilts - A, B, C
Three challenge quilts

On the far left is “Log Cabin Fields and Furrows” by Andrea Blaisdell, a reminder of Abraham Lincoln, “The Rail Splitter.” The quilt in the center of the photo is “Blind Man’s Fancy” by Phyllis Fletcher made to honor the Civil War wounded. The third quilt by Sharon Perry is called “Four Score and Seven Years Ago” and is dedicated to her great-grandfather of her husband. Hiram Riley Perry (1842-1915) served in the 14th Regiment of Vermont Volunteers and was wounded at Gettysburg. The quilter states that the colors she chose, brown, blue and red, symbolize the battlefield of Gettysburg, the Union Army and the blood shed to preserve the Union.

M, N, O, P, Q
More challenge quilts

The “Kansas Troubles” block was made by Barbara O’Toole and dedicated to Mahala C. Doyle, a widow whose husband and two of her sons were murdered in the Pottawatomie Massacre of 1856 in a raid led by the infamous John Brown, “saint” to some; “sinner” to others.

An untitled block by Julie Rohleder is dedicated to Frank K. Larabee, an ancestor who fought at Antietam, and as a Captain in the 27th Colored Troops saw action at the Crater at Petersburg.

“Harriet’s Baskets” by Caroline Hitchcock recalls the life and work of Harriet Beecher Stowe, author of cheap generic cialis no prescription.

The “Louisiana Block” by Hilda Tallman is made in remembrance of the fact that by 1860, Louisiana’s plantations grew indigo, rice and tobacco and its population had swelled to more than 700,000 people, its economy based on slave labor.

The final quilt seen in this photo is called “Duty Faithfully Performed: Robert E. Lee, 1807-1870″ by Carolyn Babcock. The quilt is dedicated to the memory of Robert E. Lee’s words at Appomattox, Virginia on April 10, 1865, the surrender that marked the end of the Civil War.

This exhibit represents a lot of “woman” hours, insight and creativity. We were so pleased to have had the opportunity to view all of these wonderful tribute quilts and the comments about their inspirations. Congratulations to all who participated in making the 2011 Common Threads Quilt Guild Show a very special event and a special thank you to Carolyn Babcock who seems to have been a major driving force in both organizing and quilting for this event!

Best wishes,

Patricia Cummings

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