The Clarion (Spring 1989) by American Folk Art Museum

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If you collect quilts, please write and tell us what your interests are. We specialize in the hard-to-find.

KELTER-MALCE

A•N•T•1•Q•U•E• S 361 Bleecker St / New York City 10014 / 212-989-6760

STEVE MILLER • AMERICAN FOLK ART.

17 East 96th Street, New York, New York 10128.(212) 348-5219 Hours: 2 pm to 6 pm daily plus by appointment 1

Wythe County,Virginia Dated on backboard twice, 1829. Paint decoration untouched. Original hardware and original signed crab lock (JD). Refer to the following for identical examples: 1. Monroe H. Fabian, The Pennsylvania-German Decorated Chest, page 105. 2. J. Roderick Moore, Painted Chests from Wythe County, Virginia, The Magazine Antiques, September 1982, pages 516-521.

Lynda D.Peters,ne.

(401)934-1472 by appointment

N.Scituate, RI 02857

RAW and unusual Broderie Nese. signed by maker in quilting, c 1830, Vermont. Chintz, 117 x 95

QUILTS 0FAMERICA

The country's foremost collection of antique American quilts and Folk Art from the 19th and 20th centuries. Hundreds of quilts available, including Amish, Patriotic, Album, Chintz, and Applique. Quilts bought and sold. Quilts of America, Inc., 431 E. 73rd St., New York, N.Y. 10021 212/535-1600 Mon-Sat 10:30 to 6:30 or by appointment (.atalog available upon request 8.1 00

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Odd Fellow's heart-in-hand, carved and polychromed wood. Circa 1870. 81/2" high

Fred & Kathryn Giampietro • 203-787-3851 • 1531/2 Bradley St., New Haven, CT 06511

"In Honor Shall Wave..."

Historically important, folksy, embroidered quilt top, dated 1902, New York. Cotton, 85 x 71.

Quilts of America, Inc. 431 East 73rd St. New York, NY 10021 212-535-1600 Hawaiian, Ka! lulani,"My Beloved Flag," c. 1900, Hawaii. Cotton, 781 / 2 x 66.

Mon-Sat 10:30 to 6:30 or by appointment

Catalog upon request-$3.00

MASTERPIECES OF AMERICAN INDIAN ART

Curvetting Horse, Page 49

Warrior Group, Page 57 Two pages from the Henderson Ledger Book, Arapaho, dated 1882

MORNING

STAR GALLERY

513 CANYON ROAD SANTA FE, NEW MEXICO 87501 TEL 505 982-8187 6

MARTHAJACKSON Specializing in 19th and Early 20th Century Quilts

Texas Centennial Flag Quilt 83" x 84", very fine rope diamond and diagonal quilting. The stars in the center represent Texas as the 28th state admitted to the Linton. The stars in the border represent the 38 states in the Union at the time of the centennial.

Exhibiting: The Great American Quilt Festival II New York City, April 26-30,1989

Riverside, Connecticut 06878 (203)637-2152 By Appointment 7

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New York City's largest and most diverse selection of antique quilts, coverlets, paisleys, needlework, home furnishings textiles, folk art and more. 1050 Second Avenue, Gallery 57, New York, NY 10022 (212)838-2596 or by appointment(212)866-6033 Mon.-Sat. 11:30-5:30

THE TARTT GALLERY

CONTINUOU INVENTORY

HOWARD FINS MOSE TOLLIV SYBIL GIBSO JIMMY LEE S GEORGIA BLIZZARD PAPPY KITCHENS LLOYD "BUZZ" BU FRED WEBSTER BUTCH QUINN THORNTON DIAL THORNTON DIAL, Z.B. ARMSTRON RALPH GRIF MARY T. SMI DAVID BUTLER JAMES "SON" THO JOSEPH HARDIN LONNIE HOLLEY J.B. MURRY JAC

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2017 Q STREET NW

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WASHINGTON DC 20009

(202) 332-5652

AMERICAN ANTIQUES & QUILTS

Appliqué Album Quilt Inscribed 'Presented to Mary T Griffin From her mother Esther Griffin. Aged 74 1861."

BLANCHE GREENSTEIN THOMAS K. WOODARD 835 Madison Avenue New York, N.Y. 10021 •(212) 988-2906 •

We are always interested in purchasing exceptional quilts. Photographs returned promptly.

THE CLARION Er.M.. 4 AMERICA'S FOLK Aar MAGAZINE The Museum of American Folk Art New York Coy

Volume 14, No. 2

SPECIAL QUILT ISSUE

Cathy Rasmussen

HIGHLIGHTS OF THE GREAT AMERICAN QUILT FESTIVAL 2

Maude Southwell Wahlman, Ph.!).

AFRICAN-AMERICAN QUILTS Tracing the Aesthetic Principles

Mimi Sherman

THE FABRIC OF ONE FAMILY

Spring 1989

A Saga of Discovery DEPARTMENTS EDITOR'S COUJMN

LETTERS

DIRECTOR'S LETTER

MINIATURES

BOOK REVIEWS

DEVELOPMENTS

MAJOR DONORS

MUSEUM NEWS

SHOP TALK

NEW MEMBERSHIP

INDEX TO ADVERTISERS

Cover: Detail from Summer Spread with Appliqued Farm Scene; Sarah Ann Gargis; Feasterville or Doylestown, PA; 1853; Cotton front, muslin back; 96 x 98"; Gift of Warner Communications Inc. (1988.21.1). Photo: Schechter Lee.

The Clarion is published four times a year by the Museum of American Folk Art.444 Park Avenue South. NY. NY 10016; 212/481-3080;Telecopier 212/545-1035. Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $4.50. Published and copyright 1989 by the Museum of American Folk Art,444 Park Avenue South, NY, NY 10016. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such materials. Change of Address: please send both old and new addresses and allow five weeks for change. Advertising: The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation offolk art and feels it is a violation of its principles lobe involved in or to appear lobe involved in the sale of works of art. For this reason. the Museum will not knowingly accept advertisements for The Clarion which illustrate or describe objects that have been exhibited at the Museum within one year of the placing of the advertisement.

Spring 1989

THE CLARION

Mose T. •, , 1

Didi Barrett, Editor and Publisher Faye H. Eng, Anthony T. Yee, Art Directors Marilyn Brectmer, Advertising Manager Willa S. Rosenberg, Assistant Editor Craftsmen Litho,Printers Nassau Typographers, Typesetters

MUSEUM OF AMERICAN FOLK ART • -.

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Administration Dr. Robert Bishop, Director Gerard C. Wertkin, Assistant Director Cheryl Hoenemeyer, Controller Lillian Grossman,Assistant to the Director Mary Ziegler, Administrative Assistant Jeff Sassoon, Junior Accountant Barry Gallo, Reception Jerry Torrens, Manager, Mailroom and Maintenance

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"Jesus on the Cross," 1988,"Real Paint" on Wood,19" x 32"

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"Man in the Mirror," 1988,Mixed Media on Wood,19" x 29"

Contemporary Southern Folk Art Charlie Lucas Lonnie Holley

Mose T. Jimmie LeeSudduth

2 SWEETGUM GALLERIES POST OFFICE BOX 5202 225 S. DECATUR STREET MONTGOMERY, ALABAMA 36103 (205) 834-5544 12

Collections & Exhibitions Elizabeth Warren, Curator Michael McManus,Director ofExhibitions Ann-Marie Reilly, Registrar Claire Hartman Schadler,Director ofthe Eva and Morris Feld Gallery Dawn A. Giegerich, Assistant Registrar Stacy C. Hollander, Assistant Curator ofCollections Mary Black, Consulting Curator Departments Didi Barrett, Director ofPublications Beth Bergin, Membership Director Barbara W. Cate, Director ofEducation Marie S. DiManno,Director ofMuseum Shops Susan Flamm,Public Relations Director Alice J. Hoffman,Director ofArt Services Johleen Nester, Director ofDevelopment Edith Wise, Director ofLibrary Services Janey Fire, Photographic Services Eileen Jear, Development Assistant Willa S. Rosenberg,Publications Assistant Programs Barbara W. Cate, Director, Folk Art Institute Phyllis A. Tepper,Registrar, Folk ArtInstitute Dr. Marilyn Karp,Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman, Coordinator, New York University Program Cathy Rasmussen,Director, Great American Quilt Festival2 Karla Friedlich, Coordinator, Great American Quilt Festival2 Irma J. Shore, Director, Access to Art Kennetha R. Stewart, Chair, Friends Committee Mary Linda Zonana, Coordinator, DocentPrograms Museum Shop Staff Dorothy Gargiulo, Caroline Hohenrath, Sally O'Day, Rita Pollitt, Managers Karen Johnson, Mail Order, Laura Aswad,Judy Baker, Sheila Carlisle, Elizabeth Cassidy, Muriel Chusid, Sally Elfant, Annette Ellis, Millie Gladstone, Elli Gordon, Eleanor Katz, Annette Levande, Dorothy Lichtman, Katie McAuliffe, Lezi Martin, Nancy Mayer, Sandra Miller, Theresa Naglack, Pat Pancer, Marie Peluso, Colette Pollitt, Erika Sanders, Phylllis Selnick, Myra Shaskan, Rose Silece, Claire Spiezio, Doris Stack, Karen Taber, Mary Walmsly, Gina Westby, Doris Wolfson. Museum of American Folk Art Book and Gift Shops 62 West 50th Street New York, NY 10112 212/247-5611 Two Lincoln Square(Columbus Avenue between 65th and 66th) New York, NY 10023 212/496-2966 The Clarion

EDITOR'S COLUMN DID! BARRETT

Fourteen million people is a number often repeated around the Museum of American Folk Art. Fourteen million people, that is, either buy, sell, make, or otherwise have something to do with quilts each year. Indeed, quilts are probably one of the best loved forms of American folk art, appreciated for their aesthetic appeal, craftsmanship and technique, warmth and comfort, and sentimental significance. This issue of The Clarion is devoted to quilts and quilting in celebration of The Great American Quilt Festival 2, presented by the Museum, in association with Sanford L. Smith & Associates, from April 26 to 30, 1989 at New York Exhibition Pier #92. In this issue, Cathy Rasmussen, Director of The Great American Quilt Festival 2, offers a roundup of the

numerous activities scheduled for the five days of the Festival. These include exhibitions, workshops, lectures and, of course, rows and rows of booths selling antique quilts, contemporary quilts, quilting supplies, books and folk art. Maude Southwell Wahlman, Associate Professor and Chairperson of the University of Central Florida Art Department, and a well known expert on African-American culture, has written a fine article on aesthetic principles in African-American quilts. In it she traces contemporary Black quilts to several African, as well as, Caribbean, South American, and North American traditions. Also in this issue is a delightful article by Mimi Sherman, a graduate of the Museum's Folk Art Institute, which

grew out of a research project on two quilts in the Museum's collection. From these two quilts, and a hunch that they were related to a third quilt in the collection of the Philadelphia Museum of Art, Mimi has woven together a remarkable tale of one Pennsylvania Quaker family, and identified three additional family quilts in the process. We introduce a new page in this issue of The Clarion. Called Museum Shop Talk, it is written by Karen Johnson, who runs the Mail Order department for the Museum Book and Gift Shops. This column is geared especially to our many members who can't conveniently visit our two New York City shops, or our shop branch in Warrensburg, NY, in the Adirondacks. I hope you enjoy this jumbo issue. â&#x20AC;˘

STELLA RUBIN Quilts & Country Antiques 12300 Glen Road Potomac, MD 20854 (Near Washington, D.C.) Spring 1989

By appointment

(301)948-4187 13

SOME OF THE BEST QUILTS ARE NOT AT THE QUILT FESTIVAL

AMISH WOOL LOG CABIN QUILT. DATED 1914. HOLMES COUNTY, OHIO.

SUSAic rARRISI4 ANTIQUE QUILTS • FOLK ART • AMERICAN INDIAN ART

390 BLEECKER ST., NEW YORK CITY, NEW YORK 10014 (212) 645-5020 14

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We specialize in and wish to purchase outsider art, 18th, 19th and 20th century Primitive art and objects of uncommonly fine design. We continue to be the exclusive representative of the work of William Hawkins. Appointments are suggested 212.505.1463

Highly nit?Isnot wool Table Rity, Minnesota late 191h century H 56" X W 44"

Edward Savage (1761-1817)

Front (Northeast) View of Mount Vernon Oil on canvas, 22 x 35 inches

Rear (West) View of Mount Vernon with General and Martha Washington and the Custis Children Oil on canvas, 22 x 35 inches

The earliest and most important views of Mount Vernon, painted in 1791. First exhibited: February 26, 1796 in Philadelphia at Savage's Columbian Gallery. April 6, 1802, New York at Savage's Columbian Gallery, Greenwich Street as Nos. 123 and 136 with Savage's notation: "painted on the spot."

Inquires Invited 11111111

704 North Wells Chicago 60610 (312) 943-2354

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Folk Art at Christie's Every year Christie's holds three major auctions of American furniture and folk art, attracting buyers from across the country. Record prices have been set for decoys, needlework pictures and primitive paintings. Let us put our knowledge and experience to work for you. To arrange an appointment to discuss buying or selling American folk art at auction, please contact John Hays or Jan Wurtzburger at 212/546-1181, Christie's, 502 Park Avenue, New York, NY 10022. A fine pieced and appliqued cotton quilted coverlet, Palama Mission, Hawaii, 1899, sold for $44,000 at Christie's New York,January 21, 1989. A record for Hawaiian textiles.

CHRISTIE'S NEW YORK

ATE AND JOEL KOPP

MERICA*HURRAH 766 MADISON AVENUE • NEW YORK, N.Y. 10021 • 212-535-1930

Amish Bars & Blocks, Miflin Co.,PA C. 1910 Wool,82" x 80"

ANTIQUE AMISH QUILTS BOUGHT SOLD RESTORED 18

Collectors and dealers are invited to call or write. Confidentiality assured. Photographs promptly returned.

WANTED FOLK SCULPTURE:IN WOOD,METAL &STONE

KATE AND JOEL KOPP

ERICA*HURRAH 766 MADISON AVENUE • NEW YORK, N.Y. 10021 • 212-535-1930 Collectors and dealers are invited to call or write. Confidentiality assured. Photographs promptly returned.

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Shelly Zegart Fine quilts bought and sold Lectures Exhibits Appraisals

12-Z River Hill Road Louisville, KY 40207 (502) 897-9766 By appointment. • For offices and corporate spaces • For city and country settings • For collecting

Baltimore Album Quilt, c. 1854, documented Exhibiting at the Great American Quilt Festival, NY 1989

Quilts

THE

AMES GALLERY AMERICAN

FOLK ART

2661 Cedar Street Berkeley, California 94708 415/845-4949

We specialize in exceptional 18th-19th Century handmade objects. Our extensive selection of quilts, carved canes, tramp art, folk paintings and sculpture are available for viewing. Phone for exhibit information, hours or appointment.

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Maldonado Planet—Boxing; Alex A. Maldonado; December 17, 1986; 20 x 24".

Ruth

Bigel

743 Madison Avenue, New York, NY 10021 Telephone 212/734-3262

Antiques

Specializing in Canton Porcelain, Fine Painted American Country Furniture, Weathervanes. Monday through Saturday, 11 am to 5 pm

New Hampshire "Grain Painted Step Back Pewter Cupboard" Ca. 1790 Red and yellow grain painting with darker tiger striping on trim molding. 701 / 2x 54 x 17" Shown is part of Canton collection.

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TIQUES

ELIZABETH

ENFIELD

(508)

546-2434

Box 66, Rockport, Massachusetts 01966 Massachusetts Summer Quilt 1870s 72" x 78"

Exhibiting at the Great American Quilt Festival 2, April 26-30, 1989, Pier 92, W. 52 St. & Hudson River, NYC, NY

mbricated quilt, each square

composed of concentric circles of overlapping, folded, pieces, terminating in tiny starshaped centers. This complex technique results in a very

JAMES I DONNIE UDELL ANTIQUES

pleasing, three-

IN NEW YORK CITY, BY APPOINTMENT ONLY 212 840-1140

dimensional quality which enhances the circular movement of the design. Late 19th century 63" x 70".

call째ftts americani_,-) filkart ommarnimuS lommu"S bettie mintz p.o. box 5943 bethesda, maryland 20814 301-652-4626

Eagle, carved wood. New England, c. 1850 Wing spread: 45". Fine condition.

Reverand Howard Finster David Butler Clementine Hunter Mattie Lou O'Kelley Mary T. Smith Jimmy Suduth Mose Tolliver Maria Palatini (Swiss) Rita Hicks Davis (Canada) Agnes Bischof Dudli (Swiss) George W. Smethurst (England) Ann Griffin (England) Cate Mandigo James Wallace Baker Steve L. Cull Theodore Jeremenko Juanita Rogers Henry Speller Jas. "Son" Thomas Willie White

Catalog Available

Folk Art

Fine Art

Sailor's Valentine Gallery "Sunday Afternoon"

Rita Hicks Davis

acrylic, 23" x 19"

38 & 40 Centre St. Nantucket, MA 02554 (508) 228-2011

CL44cIvko/144 NANTUCKET COLLECTION

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A collection of contemporary and traditional hand hooked rugs designed by Nantucket artist Claire Murray. Call or write for our catalog; $5, Refundable on first purchase. THE NANTUCKET COLLECTION P.O. Box 2489, Dept. F Nantucket, MA 02584 1-800-323-YARN Info: 1-508-228-1913

Strawberry Basket, 241 / 27,4321 / 2', A Claire Murray Original, $195.

Exceptional Whirling figure 19th c. Height 23 in.

AMERICAN PRIMITIVE GALLERY 596 BROADWAY NY NY 10012 AARNE ANTON 212• 966 • 1530 Our new gallery is open in SOHO. Featuring 19th and 20th century Folk, Indian, and Outsider Art. Unique sculptural Americana, Furniture, and custom bases for art. 25

LETTERS

CYNTHIA BEN EDUCE ANTIQUES the miniatures collection to preserve Joyce's memory. The project deserves the support of all interested in American folk art.

• 388 BLEECKER ST., NYC 10014,212 645-5037

Lee Kogan Shaskan Fellow Museum of American Folk Art New York, NY Editor's Note: For more information on the Joyce Hill Collection of American Painted Miniatures at the Museum of American Folk Art see page 91 in this issue of The Clarion JOSEPH B. MARTINSON

•

PUNCH CIRCUS CARVING POLYCH ROMED WOOD CIRCA 1900-1920 30" HIGH

AN ARTIST SPEAKS OUT

We've found our founder!In our I am a self-taught artist. Also I recent timeline (The Clarion, have been collecting Folk Art Vol. 14, No. 1) another photo for 25 years. I would not be worthy of my was substituted for this one of Joseph B. Martinson, founding standing in the accent society father of the Museum of Ameri- (Brothers of the Brush) if I did can Folk Art and first president not take strong exception to the article by John M. Vlach,"Plain of the Board of Trustees. Painters"(Vol. 13, No. 3). This kind of thinking which has alREMEMBERING JOYCE HILL ways been the main impediment to the appreciation of art for arts I wish to express my grief over sake — to grade or categorize the death of Joyce Hill, out- more appropriate to craft or standing scholar and mentor to trade than to the arts. And yes, many students from the Folk Art honesty, vigor and strength are Institute of the Museum of the important issues in art. Not style, technique,or even ability. American Folk Art. Joyce established high stan- In our view, seeing is the key — dards for scholarship and an seeing is beyond thinking in art. The artist in his struggle to enthusiasm for research which powerfully impacted on all express himself is always selfthose who knew her. She dem- taught. This is so for all artists. We will continue to support onstrated a keen interest and respect for her students and in- your efforts in presenting nonfinite patience in teaching effec- academic or folk art just for tive research techniques. She what it is. Individual artistic was always generous in sharing expression. Some don't get it. Never did. ideas and information. So many of us depended on Never will. So be it. Joyce's encouragement when we David Bradstreet Wiggins discussed our findings with her. NH Tilton, impasse, an at were we When Joyce usually offered some practical alternative approach. letters On a personal level, Joyce's THE CLARION welcomes on all issues related to American carried tenacity integrity and folk art. Correspondence should be over into her day to day life. She addressed to The Clarion, Museum was a truly remarkable and un- of American Folk Art,61 West62nd forgettable human being. Street, New York, New York The Museum is to be com- 10023-7015. Letters may be edited mended on the establishment of for length and clarity. The Clarion

AMERICAN FOLK AND OUTSIDER ART BY APPOINTMENT

834 B WESTMOUNT DRIVE LOS ANGELES CA 90069 213 . 657 . 6369

Antique quilts, hooked rugs, primitive and folk art, American paintings.

THE QUILT GALLERY 1611 Montana Avenue Santa Monica Calif. 90403 (213) 393-1148 Wagon Wheels Var., New York State, 19th C. Spring 1989

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WORKS OF ART THAT WORK ook closely at the design in any braided, hooked or handwoven rug from L The Rug House. Our custom made rugs will enrich any decor you're contemplating. Look at the detail, richness of the wool, distinctive texture and beauty of vibrant color handcrafted into each work of art. Take a closer look at The Rug House. Then you'll understand why the superior craftsmanship, quality and design constitute such a wise investment. For more information call (513) 871-0890 or write for details.

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Post Office Box 3042 CINCINNATI, OHIO 45201

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EXHIBITOR, THE GREAT AMERICAN QUILT FESTIVAL II

STEPHEN HUNECK R.ED. 1 ST. JOHNSBURY, VT 05819 BY APPOINTMENT 802-74-8-5593

Bronze Garden Sculpture By Vermont Artist Stephen Huneck, Circa 1989 40" Long X 23" High. Inquires invited. 29

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LETTER FROM THE DIRECTOR DR. ROBERT BISHOP

A QUILT FESTIVAL HISTORY The Great American Quilt Festival, presented by the Museum of American Folk Art in April 1986, was intended to be the most important quilt gathering in modern times. In every aspect our goals were achieved. Nearly 25,000 people from 17 different countries around the world attended. This Museum of American Folk Art event was sponsored by Scotchgard brand products in celebration of the Statue of Liberty Centennial. It brought enhanced public knowledge and appreciation for the quiltmaking tradition in America and provided widespread recognition for the creativity of American quiltmakers. One of the impressive projects was a national quiltmaking contest, which resulted in a winning quilt being selected from each state of the United States. These quilts were brought together to form the exhibition "All Flags Flying: American Patriotic Quilts as Expressions of Liberty:' The exhibition not only served as a tribute to the theme of liberty but honored the talents and accomplishments of an exceptional group of quilters. Following the close of the Festival, these remarkable, handmade textiles toured for ten weeks under the auspices of the May Centers, Inc. During this time over 2.5 million people visited the show. A national and then an international tour followed, with four subsequent quilt festivals organized around the exhibition in Japan. In all,4 million people or more viewed the exhibition and had an opportunity to expand their understanding of quilt design, technique, and workmanship. The Great American Quilt Festival 2, presented again by the Museum in New York City, is being held from April 26-30, 1989 at Passenger Terminal Pier No. 92, West 52nd Street and the Hudson River. Every indication is that the event will be even more significant than the first. Somewhere between 35,000 and 50,000 visitors throughout the world are scheduled to participate in Spring 1989

Cathy Rasmussen and an assistant display a quilt entryfor thejudges' examination.

the festivities. A special exhibition of prizewinning quilts from the recent contest "Memories of Childhood" will be one of the highlights. This exhibition, accompanied by a full-color book to be published by E. P. Dutton, is then scheduled to tour both nationally and internationally. Cathy Rasmussen, Director, Great American Quilt Festival 2; Karla Friedlich, Program Chairman, Great American Quilt Festival 2; Janey Fire, Director, Photographic Services; Phyllis Tepper, Director, New York State Quilt Project; and numerous other staff members have worked with show organizer Sanford L. Smith and Associates to make this year's event unique in the history of American quiltmaking and scholarship. We are pleased to announce that the Great American Quilt Festival 3, developed around the theme "Discover America':in honor ofthe 500th anniversary of Christopher Columbus' voyages ofdiscovery, will be held in 1991, with a traveling exhibition schedule slated for 1992. An international quilt contest has been planned, and contest rules are available through Cathy Rasmussen at the Museum.

The Museum has developed many additional programs for the quilt enthusiast. A new, special membership category has as one of its benefits a subscription to the Museum of American Fork Art Quilt Connection, a newsletter of interest specifically to quiltmalcers and collectors. The Museum's New York State Quilt Project is a program designed to identify and catalogue the wonderful quiltmaking heritage of the Museum's home state. A series of quilt exhibitions, workshops, and educational events is planned. To signal this commitment, a new credit card, illustrated with a quilt from the Museum's collection, is being offered by the Maryland Bank. Portions of the fees for this card are returned to the Museum for development of quilt programs. Our new "quilt checkbook" is certainly a happy addition to any quiltmaker's purse and again will return earned revenues vital to the Museum for the further expansion of its quiltrelated programming. For those of you who are unfamiliar with the quilt universe, I ask that you consider joining us for the Festival. This is an event of remarkable dimensions! 31

MINIATURES NEWS AND EVENTS FROM AROUND THE COUNTRY

Cistih ;few tools Ali Chia The California Heritage Quilt Project holds its Folk Art & Quilt Celebration May 12-14, 1989, at the Sonoma Country Fairgrounds, Santa Rosa, CA. For more information write to Celebration, 55 Arroyo Way, San Francisco, CA 94127... A "Sunbonnet Sue" block contest has been organized by Dorothymae and Harold Groves, P.O. Box 5400, Kansas City, MO 64131. The deadline is June 1, 1989 — only Sunbonnet blocks will be accepted. An exhibition of quilts will debut on July 2-4, 1989 in Kansas City and then travel to Dallas, Lubbock, Indianapolis, Osage Beach and Paducah... The Merrimack Valley Quilters' Guild presents its 9th annual quilt show May 19-20, 1989, featuring more than 200 quilts, demonstrations and a raffle to benefit the New England Quilt Museum. The show will be

held at the Universalist Unitarian Church, 15 Kenoza Avenue, Haverhill, MA... At the New England Quilt Mu-

seum, 256 Market Street, Lowell, MA 01852, tel. 508/452-4207, is the "Mary Schaefer Retrospective,' selections from the collection of

Atexagm 4.ioldbogtabo 19614989 Alexander A. Maldonado, the well-known, self-taught artist died on February 10, after a brief illness, at the age of 87. Maldonado was discovered in 1973 at San Francisco public television station KQED when a painting he donated to their annual auction was selected for a special award. In the next few years he gained widespread recognition; his work is in the collections of the Museum of American Folk Art and the National Museum of American Art and has been included in numerous exhibitions. Born in Mazatlan, Sinaloa,

Otol 1444s Polsoiseb Illinois' most famous primitive paintings owned by the State of painter, Olof Krans, was hon- Illinois. The new museum is loored during 1988, the sesqui- cated in west-central Illinois, centennial of his birth, with a about 150 miles southwest of Swedish postage stamp pictur- Chicago. It is open every day, ing two Krans paintings and a except Christmas, as are many new museum in the village of other historic buildings, craft Bishop Hill — the communal shops and restaurants in the resociety where Swedish immi- stored Bishop Hill community. grant Krans lived and painted — to house the collection of Krans NERIGS e;i-s*ea 4160.1 1,:

Gwen Marston and Joe Cunningham... The DAR Museum, 1776 D Street, NW, Washington, DC 20006-5392, will be holding American Textile Identification Clinics and Quilt Workshops at the Museum. For reservations and further information call 202/879-3241. Also at the DAR, "Collecting Quilts II" through September 11, 1989... Through May at the Indiana State Museum, Indianapolis, are Indiana Amish quilts from the Pottinger collection focusing on the role that quiltmaking played in the lives of women in Amish communities...

Mexico, Maldonado moved to San Francisco with his family in 1911. His father died in 1914 and Maldonado went to work selling newspapers and caring for the milkman's horse. He boxed professionally under the name Frankie Baker and worked as a riveter, shipping clerk and production worker. He shared a house in San Francisco with his sister Carmen until her death in 1985. It had been at her suggestion that he took up painting at the age of 60. Maldonado painted his fantasy of the future, sometimes incorporating the frames into his composition. He recalled having seen Halley's Comet as a child and astronomy, space travel and the future remained sources of fascination for Maldonado. — Bonnie Grossman

"Tribute to Tradition — Timeless Traditions & Tomorrow's Traditions" is the title of a quilt contest sponsored by the Eastcoast Quilters Alliance of Massachusetts. Slides and entry forms are due for jurying by September 1, 1989; selected entries will be exhibited at "A Quilters' Gathering': a 4-day event to be held November 2-5, 1989 at the Westford Regency Inn, Westford, MA. For further information call 508/256-2672 or 508/692-2857... Quilts from the 1840s through 1930s will highlight the Rhododendron Needlers Spring Quilt Show, April 29-30, 1989, at the Norfolk County Agricultural School, Walpole, MA. On sale will be quilts, wall hangings, clothing, country crafts and supplies. For more information send stamped, self-addressed envelope to Karen Kerr, 6 Flintlocke Lane, Medfield, MA 02052... The Clarion

G772 MINIATURES

4o4s000tsiN hew Jeet An exhibition, improbably titled "Two Arks, A Palace, Some Robots, and Mr. Freedom's Fabulous Fifty Acres: Grassroots Art in Twelve New Jersey Communities: runs from May 10 to June 22, 1989 at the City Without Walls Gallery, One Gateway Center, Newark, NJ. Organized by Robert Foster and Holly Metz, the exhibition presents more than two years' research into a dozen erstwhile and existing grassroots environments. Located throughout the state, these sites are presented through current and archival photography, video tours, and

hew Voices ig fotk

Angelo Nardone's interpretation ofthe excavated ruins ofAncient Rome, on the site ofa used car lot-turned-coffee shop, Nutley, NJ,1989.

artifacts saved prior to site demolition. The curators encourage onsite preservation of environments, but have, unfortunately, found their efforts futile on occasion. "Since we began our

project, three New Jersey environments have been destroyed: says Foster. "Environmental artworks are vulnerable to destruction by the elements, and by municipal adversaries. We hope to encourage artists, local and state museums, and historical societies to preserve these unique creations': The exhibition, accompanied by a 32-page catalogue, will travel to the Jersey City Museum, Jersey City, NJ, from September 20 through November 25, 1989. For further information call Robert Foster, 201/656-2240, or Holly Metz, 201/792-2212.

Ben & Jerry's Homemade is sponsoring a free one-day concert in Central Park on Sunday. May 28, 1989, as part of their annual Newport Folk Festival program. Called New Voices in Folk, the concert will showcase upcoming folk music performers; the concert will be recorded by WNYC for broadcast on public radio over the July 4, 1989 weekend. Among the performers scheduled to attend are: Little Ed & the Imperials, Shawn Colvin, Christine Lavin, Greg Brown, Connie Caldor, Larry Long, Casselberry-Dupree, Loop Garou, Rod MacDonald, and John Gorka.

Imbitiogd AO% t47'3etossylo6ti4 "Craft and Community: Traditional Arts in Contemporary Society': an exhibition of the Museum of the Balch Institute for Ethnic Studies, Philadelphia, and the Pennsylvania Heritage Affairs Commission, Harrisburg, begins its travel schedule with a stopfrom April 1 to May 28, 1989, at Historic Bethlehem, Bethlehem, PA. The exhibition explores the meaning and role of traditional handmade objects and their makers based on examples drawn from a variety of ethnic and regional settings in Pennsylvania. To demonstrate the inter-relationships of craftsworkers, their community and their craft traditions, the exhibition uses ten case studies; among them, are Amish clothing, Afro-Caribbean steel drums,a Romanian icon, a Jewish ketubbah (marriage contract), Hmong "story cloths: a Pennsylvania longrifle, Spring 1989

and Ukrainian decorated eggs. An illustrated, color catalogue with thirteen essays accompanies the exhibition which has six additional destinations scheduled before concluding its tour in March 1991. For further information contact Shalom Staub, Executive Director, Pennsylvania Heritage Affairs Commission, 309 Forum Building, Harrisburg, PA 17120, tel. 717/783-8625.

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The Fraunces Tavern Museum in New York City, on the site where Gen. George Washington said farewell to his troops, is honoring the 200th anniversary of the first President's inauguration with an exhibition of prints depicting his evolution from sacred icon to mortal man,"The Changing Image of George Washington': A symposium is scheduled for April 28, 1989, at

Detailfrom The Washington Family; Edward Savage;Engraving; Collection ofFraunces Tavern Museum.

nearby Federal Hall. For further information call 212/425-1778.

h4tioli4t 4mt1estoke Cogleoiegee The Association for Gravestone Studies will hold its annual conference at Governor Dummer Academy in Byfield, MA from June 22-25, 1989. Topics to be discussed include the carvers of gravestones in Essex County, MA, New England, and other

areas of the United States. There will be a workshop on the conservation, preservation, and restoration of gravestones and a workshop for teachers using the graveyard as a classroom. Two bus tours will visit the historic graveyards of Salem, Ipswich,

Newbury and Newburyport. For more information on the conference, co-sponsored by the Essex Institute, contact the Conference Chair, Michael Cornish, 199 Boston Street, Dorchester, MA 02125, telephone: 617/282-3853 33

EPSTEIN/POWELL 22 Wooster St., New York, N.Y. 10013 By Appointment(212)226-7316

Jesse Aaron Rifka Angel Steve Ashby David Butler Charlie Dieter William Dawson Vestie Davis Antonio Esteves Howard Finster Mr.Eddy Victor Joseph Gatto(Estate) S.L.Jones Lawrence Lebduska Justin McCarthy Emma Lee Moss Inez Nathaniel Old Ironsides Pry Clarence Stringfield Nellie Mae Rowe Jack Savitsky Luster Willis and others Mose Tolliver

Tont Eovilokoteot ils 1Pooktyo Recently discovered, and currently in the process of being documented, is a five-room art environment in Brooklyn's Park Slope community. Upstairs in a brick and limestone rowhouse Joseph E. Furey, a retired 82year-old ironworker of Newfoundland ancestry, created a dazzling collage on the walls, doors and ceilings of his floorthrough apartment. Each surface has been decorated with a variety of materials including paint, shells, lima beans, mirrors, wallpaper, small ceramic tiles, cut cardboard — most in the shape of bowties or hearts — and plaster of Paris chickens. Painted and polka-dotted designs — all coated with a coat of shiny varnish — establish a total effect of surprising harmony. Furey's creativity began as an outlet for his grief upon the death of his wife Lillian in 1981. He was, he says, 34

to planning his designs, gathering his materials and executing his patterns. Twice the victim of local muggings, Furey has since moved to upstate New York where he lives with his son and daughter-in-law. Several of his freestanding pieces "looking for something to de are in the process of being acAn otherwise impatient man, quired by museums, including he devoted thousands of hours the Brooklyn Museum and the

Detail of ceiling and mallfrom Joseph Furey's apartment.

Museum of American Folk Art. Due to the enlightened support of sympathetic realtors who own the cooperative building, the apartment remains intact, for now. Vincent Kelley of Davis Kelley Associates in Brooklyn is looking for practical suggestions to preserve the integrity of Joseph Furey's work.

Piles Coipeoto Ceoteokid Ceteto4tio“ The Miles B. Carpenter Museum in Waverly, VA, will be celebrating "One Hundred Miles"on May 6-7, 1989 featuring Carpenter's works and symposium,tours of his home,craft demonstrations, picnic food and music. The exhibition will remain through mid—June 1989. Contact Rebecca Massie or Shirley Yancey at 804/834-2151

for further information. The Hand Workshop, Virginia Center for Crafts in nearby Richmond, VA has organized the "Miles Carpenter Centennial Exhibition" opening May 5, 1989 and running through June 16, 1989. Contact Paula Owen at 804/353-0094 for further information.

The Clarion

si-Wilko&sTAgaGH FOLK ART • AMERICANA • QUILTS Eighth Alley • New Market, MD 21774 (301)865-5027 Open by appointment or chance

Gasperi Gallery 1989 will be an exciting yearfor us in our 9th year ofoperation. In May we are moving to 320 Julia Street, joining the Stern, Arthur Roger, Res Nova, Downtown, Leitmotif and other galleries which make up Art Gallery Row. Our new gallery will be called simply Gasperi Gallery. With nearly 4,000 square feet on two levels there will be smaller intimate veiwing areas and two large galleries. Such expanded quarters will allow us more flexibility to venture into new exhibitions. We will show more varied artwork, while continuing to show the finest quality work by nationally known untrained artists with an emphasis on Southern.

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Giant Judas figure. Painted papier macho. Mexico.

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Childhood Memory #44 â&#x20AC;&#x201D; The Cellar; Elaine H.Spencer;Fort Collins. Colorado;1988; Cotton;52 x 43". The first place Grand Prizewinner is a strong graphic quilt symbolizing the fearful moments of childhood. 38

The Clarion

HIGHLIGHTS OF THE GREAT AMERICAN QUILT FESTIVAL 2 by Cathy Rasmussen

For five wonderful days â&#x20AC;&#x201D; from April 26 to April 30, 1989 â&#x20AC;&#x201D; New York Exhibition Pier #92, West 52nd Street and the Hudson River, will be transformed into a quilting paradise when The Great American Quilt Festival 2 opens its doors to the public. Organized by the Museum of American Folk Art, in association with Sanford L. Smith & Associates, Ltd., The Great American Quilt Festival 2 promises to be bigger and better than the first Festival, held in 1986. Expected to attract a crowd of more than 35,000 people, The Great American Quilt Festival 2 will offer more booths selling antique and contemporary quilts, quilting supplies, folk art and furniture; more workshops and lectures; a fulltime hospitality center; and a lively international program for the hundreds of visitors from Japan, Australia, West Germany and Scandinavia expected to attend the Festival. When Toys and I Were One; Jane Blair; Conshohocken, Pennsylvania; 1988; Cotton and cotton polyester; 54 x 45". The second place Grand Prizewinner (above). My Dolls; Hanne Wellendorph; Vemmelev, Denmark; 1988; Cotton, laces, linen; 53 x 44/ 1 2". The third place Grand Prizewinner (below). Spring 1989

One of the most delightful aspects of planning The Great American Quilt Festival 2 has been working on the Museum of American Folk Art's "Memories of Childhood" crib quilt contest. The childhood memories theme is one that everybody relates to in their own special way. The appealing theme coupled with the manageable size of crib quilts seemed to guarantee success before the event even started. With the aid of our contest sponsors, Fairfield Processing Corporation/Polyfillo Springmaie and Coats & Clark, Inc./Dual Duty Plus® Quilting Thread, word of the contest was announced to one and all. Requests for rules and information poured in from around the world in incredible quantities. The slides required with each entry started to arrive in early August and by September 1, 1988, the contest deadline, over 1,200 entries had been received from all 50 states and 15 countries. All of the entries had to be processed very quickly as the first judging — by slides only — was held September 29 and 30, 1988. After the judges selected two semi-

finalists from each state and participating country, the entrants were notified to forward their quilts for the final judging on October 20 and 21, 1988. When confronted with the actual quilts, the judges found it even more difficult than they had imagined to select the winners. Each quilt was to be evaluated on its originality, execution of the theme, overall appearance, and craftsmanship and needlework. Our panel of judges met the challenge well, their professionalsim and good humor always in evidence. The panel consisted of Moneca Calvert, Grand prize Winner, 1986 Great American Quilt Contest Jeff Gutcheon, architect/designer, quiltmaker, and New York quilt retailer; Carter Houck,editor of Lady's Circle Patchwork Quilts; Lawrence Kane,executive editor ofFamily Circle Magazine; Bonnie Leman, publisher and editor of Quilter's Newsletter Magazine;Cyril I. Nelson, editor at E.P. Dutton, specializing in antiques and decorative arts, and originator of The Quilt Engagement Calendar; Donna Wilder, Director of Marketing, Fairfield processing Corporation and orga-

nizer of the Wearable Art Fashion Show; and Elizabeth V. Warren, Curator of the Museum of Americal Folk Art and author of Young America: A FolkArt History. After much deliberation and discussion by the judges, the final selections for the state and foreign country winners were made. From this group of finalists, the three grand prizewinners were chosen. The first prizewinner, Elaine Spencer of Fort Collins, Colorado, will receive $7,500; the second prizewinner, Jane Blair of Conshohocken, Pennsylvania, will receive $5,000; and the third prizewinner, Hanne Wellendorph of Vemmelev, Denmark, will receive $2,500. All of the winning quilts, which are stunning examples of the mixture of contemporary design and traditional quilting techniques, will be exhibited for the first time on the Pier at The Great American Quilt Festival 2. After this initial showing, the quilts will begin a three-year international tour. There will be a great deal to view at the Festival; as a result every square inch of the Pier will be well utilized.

IIAUSEUM PRESENTS RAFFLE At The Great American Quilt Festival 2,the Museum of American Folk Art will sponsor a raffle. The first prize, generously donated by Judi Boisson Quilts • New York • Southampton • Westport, is an antique crib quilt. The second prize is "The Bird of Paradise" Albany Blanket Chest which is an authentic reproduction chest with silk-screened images of the Museum's "Bird of Paradise" quilt top on the front. This piece has been graciously donated by The Lane Company, Inc. Tickets, at $1.00 each, will be sold at the Festival. All proceeds from the raffle will go towards the acquisition fund for the Museum of American Folk Art.

The Clarion

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Golden Broken Star Quilt; Maker unknown; Eldon, Missouri; Circa 1930; Cotton; 73 x 81/ 1 4" (above). Double Wedding Ring Quilt with Patriotic Colors; Maker unknown; United States;1930-1940; Cotton; 71 x 79". Spring 1989

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The lobby of the Pier will be a dazzling array of color. Banners from quilt guilds representing every state will welcome visitors as they pass through to the main exhibition hall. This inviting display, "Flags Over The Hudson:' has been coordinated by Fairfield Processing Corporation in cooperation with SpringmaidP In addition to the prizewinning quilts, the Museum of American Folk Art will present an exhibition of antique quilts titled, "The Romance of the Double Wedding Ring Quilt:' A style popularized in the 1930s, the Double Wedding Ring pattern is still a favorite among quilters today. The exhibition illustrates how one familiar pattern can be transformed into an unique, artistic expression by different quilt makers. Japan's leading quilting magazine, Quilts Japan, recently held its first quilting contest. The Museum is very pleased that the initial showing of these full-size quilts will be at The Great American Quilt Festival 2. The extraordinary use of color and technique will enliven the entrance to the Pier in a special way. Donna Wilder of Fairfield Processing Corporation is coordinating this exhibition on behalf of Quilts Japan. On the mezzanine level of the Pier, which will serve as the Festival's Hospitality Center, the delightful exhibition "Sew Funny" will be on display. Organized by Ann Boyce, in cooperation with Fairfield Processing Corporation, this display of humorous wall quilts is a take-off on traditional quilt block patterns. Done by top quilting teachers, fiber artists, and quilting friends, these blocks showcase the quilters' imagination with the accent on humor.

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INTERNATIONAL QUILTING AT THE FESTIVAL

Australian Dream; Val Nadin; Australia; 1987; Cotton;56 x 72". This contemporary quilt depicts a denim clad aborigine painting his Dreamtime on bark.

International quilting will have a prominent place this year at The Great American Quilt Festival 2. Not only is one of the three Grand Prizewinners, Hanne Wellendorph, a citizen ofDenmark,but one ofthe major exhibitions at the Festival is "Quilts Japan7 the first showing in the United States of the winners of this important Japanese quilt competition. In addition, a number of activities are planned throughout the Festival which promote an exchange of ideas among the hundreds of quitters from all over the world — as well as the thousands from across the United States — expected to attend the five-day event. Every day on the Pier, an International Quitters' Exposition will be held for groups or guilds from different countries to display their work and share information about quilting and their homelands. Special days have been scheduled for Japan, Norway and Denmark. These countries, along with Australia, Canada, Ireland, Scotland, Switzerland, and West Germany have among the most highly organized and active quilting communities. In addition, Quilting Around the World: An International Evening has been planned for Thursday, April 27, 1989 from 8 to 10 p.m. at the Penta Hotel. The program will begin with a slide lecture by Susan Faeder, International Coordinator for the Festival, who will present the findings of her survey of quiltmaking around the world. Quiltmakers elsewhere "have a much greater awareness of what we're doing, who our top quiltmakers are;' says Faeder, a quitter who is fluent in Japanese,"than we do about what's going on in other countries:' Her two-page questionnaire, sent to about 450 quitters from 30 countries, has been turning up more anecdotal information than conclusive facts. But the reponse,she says, has been steady."One person wrote in just to say that quiltmaking is alive and well in South Africa:' The slide lecture will be followed by an international parade ofquitters which Faeder describes as "notjust a show and tell:' Quitters are invited to either wear a garment or bring a piece they made. They will be asked to stand up and say their name, says Faeder,so they can receive the support and admiration oftheir international colleagues. The evening's final activity is an International Nine-Patch Exchange. Participants are asked to bring 12 inch square quilt blocks of fabrics or colors typical of their country."They may bring as many as they like to exchange with as many people as they wish;'explains Faeder. Each block should be signed with their name,the date and their country. The exchange is a way for people to meet on a one-to-one basis:' and explore "what we have in common as quilting women!' Even more than that, Faeder sees such international outreach as a way to empower women to help realize grander goals. Over and over in their survey responses, women from around the world expressed the same concerns — for their children, for nuclear disarmament,for the future of humanity,for peace."This is an opportunity for quitters to put their personal hopes and wishes on an international level;' says Faeder. "If anything will happen on a global scale, it has to happen on a one-to-one basis first:'

The Pier will be bustling with activity every day of the Festival. More than 140 dealers will be showcasing their various items which will include antique and contemporary quilts, folk art, quilting notions, quilt books, and textiles of every kind. Each morning, early bird lectures will be presented on the Pier. These lectures are geared to small audiences with specialized interests. Among the topics are the importance of copyrighting your own work and how to create a special working environment at home. Two Museum-sponsored programs will be elaborated upon in "Quilt Projects from Kentucky to New York to the Future: A Decade of Growth and Development" which will include information on the New York Quilt Project and "Teaching Quilting to VisuallyImpaired Needleworkers" which evolved from the work done on the Museum of American Folk Art's Access to Arta program. The desire to share and exchange information with fellow quilters from around the world evolved into the Festival's International Quilter's Exposition. This showcase of international design will be held daily on the Pier in a specially designated area. Here quilters will be able to view the work of quilters from other nations and discuss their common bonds as well as their differing techniques. This event, organized by Susan Faeder, International Coordinator, should prove to be a most exciting addition to the activities on the Pier. (See box) To further the international theme, quilters from around the world will have the opportunity to add their signatures to friendship quilts that will become part ofthe Museum's education collection. The feeling of camaraderie coupled with the chance to quilt with international friends will make this a very special event. Pat Yamin of Come Quilt With Me is coordinating and sponsoring this unique activity. Swiss Bemina, the makers of fine The Clarion

Photos: Brad Stanton

Silk Trade — Thank you, Marco Polo! is a sophisticated evening ensemble created by Carol Highley Lane. The bodice(detail below)is embellished with ribbons, punchneedle embroidery and three-dimensional flowers. From Fairfield Processing Corporation's Tenth Anniversary Wearable Art Fashion Show.

Spring 1989

sewing machines, will be demonstrating the proper use of their machines in a classroom located behind their booth on the Pier. Interested parties can register for classes at the Bernina booth. This sole sewing machine workshop at the Festival will be provided free of charge by Swiss Bernina; the fabric has been donated by SpringmaidP Saturday, April 29, should prove to be an extra special day at The Great American Quilt Festival 2. Designated "Ben & Jerry's Day" at the Festival, Ben & Jerry's Homemade, the makers of Vermont's finest all natural ice cream, have donated special door prizes and giveaways throughout the day. In addition, Ben & Jerry's ice cream will be sold all five days of the Festival. The proceeds from all ice cream sales will benefit the endowment fund for the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square. A special and very extensive schedule of workshops and symposia have been organized by Karla Friedlich, Program Chairman, and Janey Fire, Director of Photo Services, for The Great American Quilt Festival 2. In order to expand this programming, and make it as comfortable as possible for everyone, the Museum has arranged to hold these activities at the nearby Fashion Institute of Technology, accessible to and from the Pier by shuttle bus. The format for the seven lecture symposia, to be held in the amphitheatre at F.I.T., was designed expressly to allow for maximum interaction between the panel — all top quilting instructors — and the audience. The topics will address contemporary, as well as traditional concerns: The use of color and design, wearable art, and personal artistic expression. Of special interest to researchers and collectors will be "Quilts: An Historical Perspective" with Sandi Fox and Judith Weissman and "Dating Antique Quilts" with Barbara Brackman, Suellen Meyer and Virginia Gunn.

The nine workshops,to be held in the classrooms at F.I.T.,will run the gamut from American Indian ribbonwork to appliqué to Baltimore album quilts. Each class will begin with a slide lecture, then proceed to hands-on activities. Five teaching assistants will aid the instructors to give as much personal attention to participants as possible. In addition to the symposia series and workshops, two showings of Fairfield Processing Corporation's Tenth Anniversary Wearable Art Fashion Show will be held at the Fashion Institute of Technology. Their large auditorium will be the perfect lacation to properly view this year's spectacular garments. The excitement of the day will continue into the evening hours with special activities scheduled each night at the Penta, the Festival's designated hotel. Thursday evening will feature an informative lecture on quilting around the world, followed by an "International Parade of Quilters:' Quilters who have brought examples of their work will be able to show them and discuss the techniques used in their native lands. An evening of fun and laughter will be in store on Friday as quilters bring their best and worst pieces•to share with one another. And on Saturday, an amusing evening is planned as Mary Ellen Hopkins stages her trunk show entitled "Getting a Drink Out of a Fire Hose:' Organizing The Great American Quilt Festival 2 has been an exciting and rewarding challenge. The event promises to be a successful and memorable gathering, offering something for everyone with an interest in quilts or quilting. For me,there is a terrific sense of satisfaction and pleasure in seeing the fine efforts of so many people realized in such a wonderful way. I look forward to seeing you all at the Festival! Cathy Rasmussen is Director of The Great American Quilt Festival 2. 43

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FllCA NI= MERIICA N ll ILTS TRACING THE AESTHETIC PRINCIPLES

BY MAUDE SOUTHWILL WARMAN,MD.

African-American quilts are the visual equivalent of jazz or blues, rich with color and symbolism. Characterized by strips, bright colors, large designs, asymmetry, multiple patterns, improvisations, and symbolic forms, African-American quilts have their roots in African textile techniques and cultural traditions.' The antecedants of contemporary African textiles and African-American quilts developed in Africa as long as a thousand years ago. The actual links between African and African-American textile traditions occurred between 1650 and 1850 when Africans were brought to Latin America and the United States. African influence on the history of music, dance, and speech in the New World has long been documented.' African influence on American folk arts like quiltmaking, is less well known.' Yet it is possible to trace African textile techniques, aesthetic traditions, and religious symbols that were adapted by African-American textile innovators to the needs and resources of a New World. Four African civilizations had profound influences on African-American folk arts: The Mande speaking peoples of West Africa(the modern countries of Guinea, Mali, Senegal, and Burkino Faso); Yoruba and Fon peoples from The Republic of Benin and Nigeria; the Ejagham peoples of Nigeria and Cameroon; and the Kongo and Kongo influenced peoples of Zaire and Angola.' African-American quilts are unique, resulting from creolizations of various African, American Indian, and European traditions which took place in Brazil, Suriname, Haiti, Cuba, other Caribbean islands, Mexico and the Southern United States. Like Anglo-American quilt tops, African-American quilt tops are made either by sewing pieces of cloth together (piecing), or by sewing cutout shapes onto a larger fabric (appliquĂŠ). Quilt tops are sewn to an inner padding and a bottom cloth (quilting). Quilting is seen in ancient Egyptian robes, in nineteenth and twentieth century cloth armor made to protect horses and cavalrymen, and in protective charms of cloth and leather. Similar designs in African quilted textiles and AfricanAmerican quilts are coincidental, due The Clarion

This doll, collected in Brazil in the 1940s by Melville and Frances Herskovits, wears a scarfof cloth chosen because it so closely resembles narrow woven clothfrom West Africa.

Chimney Quilt (detail) by Pecolia Warner exemplifies African-American aesthetic principles: Strips, bright colors, large designs, asymmetry, multiple patterns and improvisation.

to the technical process of piecing which reduces cloth to geometric shapes — squares and triangles. All these techniques — piecing, appliqué, and quilting — were known in Africa, Europe, and the United States, yet African-American quilts are profoundly different from European or Anglo-American quilts. The difference lies in historically different aesthetic principles, with both technical and religious dimensions. Strips are a chief construction technique, a dominant design element, and a symbolic form in West African, Caribbean, and African-American textiles. African-American quilts emphasize strips because the first African women to come to the United States would have remembered West African cloth. Since Spring 1989

the twelfth century, most cloth in West Africa has been constructed from strips woven on small portable men's looms. Probably invented by Mande peoples, strip-weaving technology spread via Mande Dyula traders throughout West Africa.5 This technical process of sewing long woven strips together to make larger fabrics — usually worn as clothing, as in a seventeenth century coat — is so old in West Africa that it has become a tradition, and has moved into the realm of aesthetic preference. Blue and white designs, as in the earliest cloths, are still made with domestic cotton dyed blue from a native indigo plant. Later, more colorful fabrics were made by unraveling European cloth and reweaving the bright colors African-style. Strips were

preferred in many African textiles whether they were woven, tie-dyed, or wax-resist-dyed. Strips were such a strong tradition that they became an essential part ofceremonial outfits such as the Yoruba Egungun costume. A preference for strip textiles continued in the New World. In Brazil, the Yoruba Egungun costume reappears, complete with flying strips. A doll collected by Frances and Melville Herskovits for their daughter, Jean, is dressed with a single strip of cloth chosen because it resembles a single strip of West African handwoven cloth. In Suriname, nineteenth century plantation women on the coast also made patchwork textiles, called mamio, which means "different pieces of cloth sewn together." Black women con45

tinued African textile ideas when they defected to Maroon societies in the Suriname rainforest. An 1823 illustration' shows a Mande-like loincloth made from three strips of cotton, two patterned and the center one plain, as in nineteenth century Asente cloth from Ghana. Both Djuka and Saramaka women continued to sew together strips of(imported plaid)cloth into loincloths and capes for their lovers, and the Djuka developed a complex terminology for aesthetic criticism. In Haiti, Africans also made strip clothing â&#x20AC;&#x201D; shirts, called Mayo, in red and white, or red, white and blue, worn for protection against evil by those who believe in Vodun.7 Strip clothing was also made in the United States as seen in a 1930s photograph by Eudora Welty of a young

girl in a dress made from strips of light and dark stripped material.' The strips are sewn together in both vertical and horizontal directions. Strips also dominate many quilt patterns including the oldest style of piecing quilts, sometimes called "Lazy Gal" by Pearlie Posey. One strip quilt made between 1825 and 1850 by African-Americans living at Jackson Hill, Georgia, was done in a "Wild Goose Chase" pattern, with rows oftriangles separated by wide strips.' A twentieth century example of the "Wild Goose Chase" quilt, made by Seleen Rimbart ofTennessee,features a diagonal improvisation upon the pattern, while still using strips.'Â° The "Wild Goose Chase" pattern was and is popular all over the United States, especially among African-American women. Its

popularity may derive from the symbolic significance of the triangles. Among the Ejagham and related peoples of Nigeria, P.A. Talbot noted that triangles serve as symbols for leopard's spots and for footprints in a path, or a journey. The cognitive similarity between journey and flying geese is easy to understand. In Anglo-American quilts, the "Wild Goose Chase" pattern usually features identical triangles, while in many African-American quilts, the triangles vary in color and sometimes shape. Another old strip pattern, made from "strings" of cloth comparable to woven bands of color, is called "Spider Leg" by Pecolia Warner. It is a blocked version, a creolization of African and Anglo-American elements, "Tivin Sisters" or "Spider Web:' Many African-

Lazy Gal Quilt; Pearlie Posey; 1983. This quilt exemplifies thefirst quilt design usually taught to young African-American girls. The pieced strips are analogous to woven stripsfound in African textiles.

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Pinwheel Quilt by Joanna Pettway illustrates the technique ofpiecing geometric shapes together to make a quilt top with a pattern, which in this case is unpredictable.

American quilters speak of "strip quilts:' "to strip a quilt:' and of how strips bring out the design. Whether made from single pieces or small scraps of cloth, the strips are apparent in most quilt designs. Strips are sometimes used in Anglo-American quilts, but as one of many geometric patterns. In West African textiles, and in AfricanAmerican quilts, strips are a dominant design element as well as a chief construction technique. In West Africa, when woven strips with patterns are sewn together to make a larger fabric, the resulting cloth may have asymmetrical and unpredictable designs. "Offbeat" patterns, as Robert Farris Thompson calls them," are the preferred aesthetic in West and Central African fabrics. When strips are sewn Spring 1989

together, the colored or patterned weft blocks are staggered in relation to those in other strips. Roy Sieber noted that "...the careful matching of the ends of the cloth dispels the impression of an uncalculated overall design:"2 A sixteenth century cast bronze figure of a priest from Nigeria,shows him wearing a strip-woven cloth with asymmetrical designs. Wide loom weaving,done by women in Africa, also features asymmetrical alignments. Wide loom weaving was once done, as well, by black women in the United States, the same women who made quilts and probably transmitted and preserved certain African textile traditions. Luiza Combs was born circa 1853 in Guinea, West Africa but came, about age 10, to Tennessee where she

wove textiles and made quilts. One example of her wide loom weaving survives. Made in 1890 with bright colors and horizontal stripes, it was woven in two panels which were stitched together in an asymmetrical style similar to West African woven cloth. Judith Chase in reference to African-American woven cloth reveals that: "Most of the old coverlets were woven in two strips, seamed down the center to make them wide enough to cover a bed. Interestingly enough there sometimes appears to be no attempt to match the pattern where the seam is made. Considering the obvious dexterity of the weaver, this may be an Africanism. Black slaves oftentimes refused to plow a straight furrow, or follow a straight line in a 47

pattern without occasionally deviating to foil 'the malevolent spirits.'"13 African-American quitters also emphasize asymmetrical patterns. A contemporary example by Alice Boling, from Maryland, also features horizontal strips sewn together in two panels which were offset when joined. Even an African-American doll quilt exhibits bright colors, strips, and asymmetrical arrangements. Multiple patterning is another characteristic shared by African and Caribbean textiles and African-American quilts. Multiple patterns are important in African royal and priestly fabrics,for the number and complexity of patterns in a fabric increase in accordance with the owner's status. Cloth woven for priests and kings may feature various 48

SUOUIpS !PI

below, this important Asante chief is shown wearing Asasia cloth with multiple patterns in Ghana, West Africa in 1977.

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A pieced and appliquéd Annang-Ibibiofinerary shrine textile from Nigeria, right, shows one of the many possible African appliqué traditions which could have shared common origins with African-American appliqué traditions.

woven patterns within each strip, as well as a variety of strips each featuring a different pattern." Multiple patterned cloth communicates the prestige, power and wealth of the wearer. African cloth thus has social and political significance,for it is worn and displayed as an indicator of wealth, occupation, social status, and history:5 Thompson has also suggested that asymmetrical and multiple-patterned strip cloths in West Africa have more than an aesthetic function — the complex designs serve to keep evil spirits away, as "evil travels in straight lines!"6 In Suriname,a multiple patterning appears in a festive costume for a special hostess called A meki Sanni, (meaning "she makes the moves")." Her dress is made from patterned and vertical

stripped handkerchiefs, and is similar to hammocks with multiple patterns." As early as the 1880s, African-American quitters practiced multiple patterning. And a contemporary example exhibits four different patterns in the four main divisions. However, AfricanAmerican quitters also took multiple patterning one step further by introducing improvisation. Black quitters often adapt traditional European-American quilt patterns, and "African-Americanize" them by establishing a pattern in one square and varying it in size, arrangement, and color, in successive squares. Contemporary African-American quilts do not communicate an owners' status or a religious identification, but they do retain the African aesthetic The Clarion

Made by Afro-Suriname women, this cape is constructedfrom strips cut offthe ends ofcommerical cloth and then saved until a woman wants to make an African style giftfor her husband or lover. The strips are arranged in an aestheticfashion and sewn together with invisible seams so that the cape is reversible.

tradition of multiple patterns, for lines, designs, and colors vary with a persistence that goes beyond a possible lack of cloth in any particular color or pattern. Improvisation is also protective, for copying is impossible. While ostensibly reproducing EuropeanAmerican patterns, African-American quilters, through improvisation, maintain African principles of multiple patterning, asymmetry, and unpredictable rhythms and tensions similar to those found in other African-American arts such as blues, jazz, Black English and dance. Besides piecing, in which strip patterns may dominate, the other basic quilt construction technique known in Europe, Africa, and the United States is appliqué, the technique of sewing cutSpring 1989

out shapes onto bags, costumes, flags, umbrellas,funerary hangings, and wall hangings. While European-American appliquéd quilts are primarily decorative, African-American appliquéd quilts often express stories and ideas in the same manner as African appliquéd textiles. With bold appliquéd shapes, African cultures recorded court histories, religious values, and personal histories of famous individuals, using designs symbolizing power, skill, leadership, wisdom, courage, balance, composure, and other personal and religious qualities. One nineteenth century appliqué now in Whydah,19•2° Republic of Benin, was done in sixteen squares illustrating the capture of a Fon group, their voyage to Brazil, and their return home to

Whydah. Similar appliqué traditions still occur in Suriname, St. Martin, and Haiti, although many contemporary examples, like those from the Republic of Benin, usually now illustrate one large scene. Haitian flags, featuring painted and appliquéd scenes embellished with sequins and beads, are a creolized art with numerous possible roots: European flags, Fon banners, Fante flags, Yoruba beadwork and leatherwork, Ejagham cloths, Ibibio funerary hangings,' and Kongo flags in Zaire and Angola. Mpeeve, the Ki-Kongo word for flag, refers both to the fluttering of cloth in wind and to the presence of unseen spirits." Designed to communicate respect and honor for Vodun gods, Haitian flags also announce the coming 49

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Hunter With Dogs Quilt; Pearlie Posey; Mississippi; 1980. This strip quilt is appliquéd with large figures in contrasting colors creating an overall asymmetrical design.

of a particular spirit to a shrine at a ceremony. After independence in 1804, many Haitians migrated to New Orleans where further innovations fused various African textile ideas and European-American images. Thompson has noted that the Kongo idea of agitating cloth or a flag to open the door to the other world with honor,continues in the use of African-American jazz funeral march umbrellas, appliquéd with bright colors and adorned with bells, feathers, flowers, and ribbons." African-American secular imagery is seen in appliquéd Bible textiles, possibly derived from two 1775 Bible cloths from New Orleans. Although it cannot be proven that these textiles were made by a black woman, certain features indicate strong continuities 50

with African techniques and ideographic symbols. Florence Peto wrote: Although there is no available history to help identify the origin ofthe items . they are among the most interesting and unique patchwork creations that I have encountered. Two panels (nine feet nine inches long; six feet six inches wide), consist each of thirty six appliquéd picture blocks which tell the story of the Testaments, Old and New respectively. They have a Latin, an old world appearance, although they are said to derive from New Orleans, where they quite possibly adorned the walls of a convent or private chapel. The technique employed in applying the patches differs markedly from that used generally by American colonial

and pioneer needleworkers;they suggest the fingers of a creole woman. No edges have been turned under; patches have been applied and then outlined with a thin, round,black and white cord held in place with couching stitches ... The episode blocks, seven inches square, are separated by three inch wide bands of old gold cloth to which have been appliquéd the Greek fret border in white — all edges outlined with cord. The upper inscription, Dictus Anno Sancto, may be translated, "dedicated to the Holy Year." The lower inscription, 1775724

The raw edges of the appliquéd figures on these two Bible cloths, a characteristic shared by many AfricanAmerican appliqué quilts, are like those of the leather cutout shapes on The Clarion

CfM Yoruba Egungun costumes, and bags used by priests for the god Shango. These bags (Laba Shango) feature square frames with appliquéd human figures posed in the sign for lightning, with one arm up, one arm down, which also signifies motion in the Ejagham writing system (Nsibidi). The ideographic designs surrounding the 1775 textiles are also similar to Ejagham signs for speech and motion. Two African-American appliquéd quilts, made in Georgia by Harriet Powers in 1885 and 1896, illustrate scenes from the Bible as well as local historical events. Each scene is placed within a square outlined with narrow strips. Both quilts are made in three rows, but the earlier quilt has eleven scenes while the later one has fifteen. Appliqué is used to create figures,

animals, elaborate suns, stars, and objects. In reference to these quilts, Marie-Jeanne Adams notes,... the details of the stitching show that the squares were put together in vertical columns, which is evidence that on some level of her thought, Mrs. Powers grouped the scenes in vertical order," (as in African strip-weaving traditions).' Adams speculates on possible African influences on Harriet Powers who was born in Georgia in 1837, By the time her parents' generation would have come to the South, most slaves were being imported from the Kongo and Angola. Even if they came from West Africa and from Dahomey,they would not necessarily be knowledgeable in the appliqué techniques. (Fon) appliquéd cloths

were made ... in the capital city of Abomey by family guilds of tailors, all retainers of the monarch, and the guilds included only men and young boys. It seems most likely that she could have acquired a knowledge of (this) African style by hearsay only from other, older house slaves of her 'old miss' or from her parents or other older persons." (Parenthesis mine) The earlier quilt was exhibited at the Athens, Georgia, Cotton Fair of 1886. Purchased in 1891 by Jennie Smith, it was eventually given to the Smithsonian Institution. Smith sent the quilt to be exhibited at the Colored Building at the 1896 Cotton States Exposition in Atlanta where it was seen by wives of Atlanta University professors. They commissioned the second Bible quilt

Pastel Animals by Pearlie Posey is another example ofan appliquéd quilt.

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Men's Weave, as it is called in West Africa, often features multiple strips sewn together, each ftaturing a different pattern. This cloth, collected by Charles Counts, was woven by Yoruba men in Nigeria in the 1960s.

from Powers as a gift for the Reverend Charles Culber Hall. This quilt was given to the Boston Museum of Fine Arts in 1964. The existence of the earlier 1775 creole Bible textiles indicate the probabilities of an AfricanAmerican Bible cloth tradition, not the invention of Harriet Powers. GladysMarie Fry refers to the flourishing applique tradition in the South from 1775 to 1875." Appliquéd scenes illustrating Biblical events are described in a 1929 novel, Black April, by Julia Peterkin. It is possible that Peterkin saw the Harriet Powers Bible quilt on exhibition in Athens, Georgia in 1886, or in Atlanta, in 1896. In Peterkin's chapter, "The Quilting:' the quilters are resting and Maum Hannah goes to a shed room. 52

Presently she came back smiling, with a folded quilt on her arm."Let's look at de ole Bible quilt chillen. It'll do yunnuh good:' She held up one corner and motioned to deaf and dumb Gussie to hold up the other so all the squares could be seen. There were twenty, every one a picture out of the Bible. The first one, next to Gussie's hand, was Adam and Eve and the serpent. Adam's shirt was blue, his pants brown, and his head a small patch of yellow. Eve had on a red handkerchief, a purple wideskirted dress; and a tall black serpent stood straight up on the end of its tail. The next square had two men, one standing up, the other down — Cain and Abel. The red patch under Abel was his blood, spilled on the ground by Cain's sin. Maum Hannah pointed out Noah and the ark; Joseph and

Mary and the little baby Jesus; and last of all, Jesus standing alone by the cross. As Maum Hannah took them one by one, all twenty, she told each marvelous story.

A remnant of the African-American Bible textile tradition has been captured by Eudora Welty in a photograph taken in Mississippi of "A Slave's Apron showing Souls in Progress to Heaven or He11728 Thirty figures, animals, and houses are appliquéd onto a checked material. Two scenes on dark squares are stylistically reminiscent of squares in Harriet Powers' quilts. These black squares represent Hell, while white frames on the upper part of the apron represent Heaven. African-American appliqued quilts usually mirror the diverse influences The Clarion

Women's Weavefeatures vertical design, asymmetry and multiple patterns. This cloth was collected by Justine Cordwell in the 1950s in Nigeria and was woven by a Yoruba woman.

that shape the lives of black women in the United States. Most African-American quilters do not appliquĂŠ Biblical scenes, but rather images derived from their daily lives. AppliquĂŠd examples may incorporate iconography drawn from their imaginations,from Southern rural black culture, and from popular American culture shaped by magazines, television, and advertising. Some women cut out magazine illustrations and reproduce them in cloth; others are inspired by animal pictures and search for appropriate fuzzy materials; a few make paper templates from dreamed designs; and some continue using old traditional people or doll forms, as well as hands. African-American quilt patterns involve aesthetic decisions, but many of Spring 1989

those aesthetic choices derive from rich cultural traditions. In their choice of techniques, textiles, forms, design names, and colors, African-American quilters perpetuate African techniques and cloth forms. Strip quilts reflect the strong Mande textile tradition which also manifests itself in African-Caribbean fabrics. AppliquĂŠd quilts bring to mind Yoruba Egungun cloths, Yoruba Shango bags,Ibibio funerary hangings, and Ejagham cloths, as well as Fon and Fante banners, flags, and umbrellas. Many quilt patterns may have been chosen because they awakened a memory of ceremonial textiles. We can infer, from the techniques and the aesthetic, that certain quilt designs were preferred because they were analogous to significant cloth

concepts in Kongo and West African cultures. The rationale makes sense demographically for it is known that more than one third of African-Americans came from Kongo and Kongoinfluenced cultures. An equally impressive number came from West Africa. If only one or two African forms occurred in African-American quilts, one could suspect coincidental circumstances. When one finds numerous instances of similar forms, and sometimes similar meanings, one cannot deny a cultural heritage that is stronger than any one lineage. Like many other African-American folk artists, quilters are inspired by dreams. Not the dreams of idiosyncratic artists, quilters' dreams, like those of other folk artists, 53

ain Canton Leaf Quilt by Plummer T. Pettway illustrates the African and African-American principle of multiple patterning and improvisation -the pattern is varied with each repetition.

revive visual imagery from the culture of their childhood. Their dreams are culturally conditioned. African-American folk artists have often been labeled idiosyncratic because they did not always articulate verbally the African traditions that shaped their visions, dreams, and arts. Black men and women remembered African artistic techniques and traditions when they came to the New World. They mixed and sorted their own traditions, then combined them with European-American and American Indian ideas to create unique creolized arts. Their combined ideas were passed down from generation to generation, thus unknowingly preserving many African art traditions. African-American folk arts provide evidence that American folk arts are not naive, primitive, or simplistic. AfricanAmerican arts are unique in America, fusing various international traditions to produce new ones. African-American artists maintaining this creolized aesthetic demonstrate the power and vision of African cultural traditions in contemporary American society, affirming the extraordinary tenacity of 54

African religious ideas over hundreds of years. Their contribution suggests that the unique way in which any culture codes beauty in the seen world is also an indispensible tool for coping with an indifferent or hostile reality. Maude Southwell Wahlman, Ph.D., Chairperson ofthe Art Department at the University of Central Honda, is currently completing a book, The Art of Afro-American Quiltmaking, based on her 1980 Yale dissertation. She has just finished the book Mojo Working: African Religious Symbolism in Afro-American Folk Arts.

NOTES I. Maude Southwell Wahlman, Ten Afro-American Quitters (Exhibition Brochure). University, MS: The Center for the Study of Southern Culture, 1983. 2. See Melville Herskovits, Myth of the Negro Past. Boston: Beacon Press, 1941; Cultural Anthropology. New York: Knopf, 1955; Harold Courtlander, The Drum and the Hoe:The Lift and Lore of Haitian People. Berkeley: University of California Press, 1960; John Szwed and Roger Abraham, An Annotated Bibliography of Afro-American Folk Culture. Philadelphia: The American Folklore Society Bibliographic and Special Series, 1979; and Peter Wood, The Black Majority. New York: W.W. Norton Wood, 1974. 3. See Robert Farris Thompson, "African Influences on the Art of the United States',' in Black Studies in The University: A Symposium.(A. Robinson, et al Ed.) New Haven: Yale University Press, 1969; John Michael Vlach, The Afro-American Thadition in the

Decorative Arts. Cleveland: The Cleveland Museum of Art, 1978; and Maude Southwell Wahlman, "Afro-American Quilt Aesthetics' in Something to Keep You Warm.(Patti Carr Black, Ed)Jackson: The Mississippi Department of Archives and History, pp. 6-8, 1981;"Southern Quiltmaking" in The MidSouth Folklik Festival Catalogue. Memphis, TN: The Center for Southern Folklore, 1982;"Aesthetic Principles in Afro-American Quilts" (John Scully, co-author) in Afro-American Folk Arts and Crafts (William Ferris, Editor). Boston: G.K. Hall, pp. 78-97, 1983;"Gifts ofthe Spirit: Religious Symbols in Afro-American Folk Arts': in Gifts of the Spirit, Asheville, NC: Southern Highland Handicrafts Guild, 1984; "African Symbolism in Afro-American Quilts', in African Arts, vol XX,no 1, 1986. 4. Philip Curtain, The Atlantic Slave Trade. Madison: The University of Wisconsin Press, 1969: pp. 224-225; and Wood, 1974: pp. 34-41. 5. Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy. New York: Random House, 1983: pp. 209-210. 6. M. Ferdinand Denis, La Guyane: ou histoire, moeurs, usages et costumes des habitants de cette partie de l'Amerique. Paris: Nepveu, 1823: p. 130, plate 136. 7. Ute Stebich, Haitian Art. New York: Brooklyn Museum, 1978: p. 113. 8. Eudora Welty, One Time, One Place. New York: Random House, 1971: p. 106. 9. Elizabeth Reynolds, Southern Comfort. Atlanta: Atlanta Historical Society, 1978: pp. 6-7. 10. Dominic Parisi, "Conversations with Black Women who Live and Quilt in Eastern Kentucky',' Master's Thesis, Afro-American Studies, Yale University, 1979. 11. Robert Farris Thompson, African Art in Motion. Washington, DC: The National Gallery, 1974: p. 11. 12. Roy Sieber, African Textiles and Decorative Arts. New York: The Museum of Modern Art, 1972: p. 191. 13. Judith Chase,"Afro-American Heritage from AnteBellum Black Craftsmen',' in Afro-American Folk Arts and Crafts. Southern Folklore Quarterly (William Ferris, Ed.) 1978: p. 156. 14. Sieber, 1972: p. 192. 15. Herbert Cole and Doran Ross, The Arts of Ghana. Los Angeles: The University of California, 1977: p. 24, color plate IV. 16. Thompson. 1983: p. 221. 17. !bid: pp. 296-7. 18. Richard and Sally Price, Afro-American Arts ofthe Suriname Rain Forest. UCLA: Museum of Cultural History. 1980: p. 77. 19. Personal communication, Rosalyn Jeffries, 1980, and Marie-Jeanne Adams, 1983. 20. Pierre Verger and Clement da Cruz, "Musee Historic de Oudah',' Etudes Dahomeanes, n.s. No. 13, 1969: pp. 18-19. 21. Jill Salmons,"Funerary Shrine Cloths ofthe Annang Ibibio, Southeastern Nigeria',' Textile History, Vol. II, 1980: p. 132. 22. Robert Farris Thompson,"The Flash of the Spirit: Haiti's Africanising Vodun Art',' in Haitian Art by Ute Stebich. New York: Brooklyn Museum, 1978: p. 34. 23. Robert Farris Thompson, Four Moments ofthe Sun (with Pierre Cornet). Washington: The National Gallery, 1981:p. 191. 24. Florence Peto, Historic Quilts. NY: American Historical Company, 1939: pp. 56-57. 25. Marie Jean Adams, "The Harriet Powers Pictorial Quilts': Black Art, vol. 3, no. 4, 1980: pp. 12-28. 26. Ibid, pp. 12-28. 27. Gladys-Marie Fry, "Harriet Powers: Portrait of a Black Quitter': in Missing Pieces: Georgia Folk Art 1770-1976. (Anna Wadsworth, Ed) Atlanta: Georgia Council for the Arts and Humanities, 1976: pp. 16-23. 28. Welty, 1971: p. 96.

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Fettvzz et Ne FetzLy 54s4 et N4cove44, by Mimi Sherman "This quilt was made for Mother by my Great-grandmother, Rebecca Scattergood Savery, 1839:' Sometime around 1890 or 1900 Hannah Savery Mellor wrote these words on a piece of white cotton approximately four by eight inches and carefully sewed her message to the back of a magnificent Sunburst pattern quilt. She was preserving a piece of family history for her own daughter and in so doing has inadvertently aided in the piecing together of a story of her extended Quaker family living in and near Philadelphia in the middle of the nineteenth century. Spring 1989

Quilts from the hands of identifiable makers are relatively rare. In this case we have the extraordinary incidence of six quilts dating from 1827-1844 and known to be associated directly or indirectly with Rebecca Scattergood

Daguerreotype probably of Rebecca Scattergood Savery;SamuelBroadbent;Circa 1850; Approximately 3 x 4". in leather and metal case. It is still in the hands ofdescendants, along with the quilt pictured behind it, which Rebecca made in 1827. She would have been about80 years old at the time ofthe picture.

Savery, a Philadelphia Quaker woman who lived from 1770-1855. Three of these quilts are now in museum collections, one at the Philadelphia Museum of Art and two in the collection of the Museum of American Folk Art. One is in the private collection of an antiques dealer in New York and two are still in the hands of Rebecca's descendants. This is the story of how all were found and linked, though it will focus on just the first five quilts; the sixth only came to the author's attention as this article was readied for publication. Three of the five quilts are huge 55

Sunburst patterns â&#x20AC;&#x201D; nine or ten feet square. The other two are Album, or Friendship, quilts bearing the names of Rebecca Savery and members of her

Ivi444e4A0, et Aiheivz. 544444A,4a 424A-4

extended Quaker family in and around Philadelphia in the second quarter of the nineteenth century. The Sunburst quilt in the collection

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Sunburst Quilt; Possibly Rebecca Scattergood Savery;Philadelphia, PA;1835-40;Pieced roller 2 x 12.51/8"; Museum of 1 printed cottons; 118/ American Folk Art, Gift ofMarie D.and Charles A.T. O'Neill. Approximately 2,900 diamonds in concentric rings create a sense ofmotionfrom the center to the borders ofthis quilt.It is backed with another print in the popular seaweed pattern and filled with afine layer ofcarded wool. Quilting, in large diamonds, is minimal. Detail, at right, shows the distinctive light colored center.

of the Philadelphia Museum of Art had been well known to people interested in Philadelphia, Quakers and quilts. Given to the museum in 1974, the quilt appeared in the exhibition "Philadelphia: Three Centuries of American Art" in 1976, and was reproduced in the catalogue and on stationery. Its own story is both warm and direct. The quilt had been in family hands since its creation and was given to the Philadelphia Museum by twentieth century descendants of Rebecca Scattergood Savery after having been passed lovingly from mother to daughter for five generations. On the basis of the written declaration cited above, the 1839 date, and a clear family genealogy, it is accepted as the work of the hand and mind of Rebecca Savery. The two quilts in the collection of the Museum of American Folk Art, however, were discovered in a most serendipitous manner. In 1974, Mr. and Mrs. Charles A.T. O'Neill purchased property in Philadelphia from Mrs. Elizabeth Biddle Yarnall. Mrs. Yarnall was descended from a long line of Quakers and was a practicing Quaker herself. Ill and elderly, Mrs. Yarnall entered Kendall-at-Longwood, a Quaker retirement community near Philadelphia but lived there only a few months before her death. The O'Neill family, busy with many contemporary projects, put off a general clean-out of the barn on the property until 1975 or 1976. Mrs. O'Neill insisted that the contents of the barn be carefully examined before anything would be discarded. Her reward was the unlikely find of two beautiful and obviously old quilts. They lay together, wrapped in brown paper, in an old wardrobe. One quilt was in the Sunburst pattern; the other was a Friendship quilt with 50 names, including ten Saverys, four Scattergoods and four Copes. The names are carefully lettered in ink in the centers of tiny white hexagons pieced into six-pointed stars of printed fabric. Each of these centers is further embellished with at least a garland or small vine. Twenty-seven of the 49 centers also display delightful hand-drawn scenes. The date 1844 appears below the name E.H. Savery in the center square. The Clarion

G711 Mrs. O'Neill removed the quilts to the house. Some weeks later, during the visit of an old friend, Dr. Robert Bishop, Director of the Museum of American Folk Art, she asked if he were interested in quilts. Immediately interested, Dr. Bishop found them artistically meritorious and recognized their almost certain connection to Philadelphia's nineteenth century Quaker community. By 1979 the O'Neills had given the quilts to the Museum of American Folk Art. Members of the Museum staff felt that these two nineteenth century Quaker quilts were probably related in some way to the Sunburst quilt at Philadelphia, though the latter did not yet know of the existence of the other two quilts. Furthermore, neither museum was aware of the existence of any more quilts which might have similar origins. Things remained this way until the Spring of 1987 when I began research into the backgrounds of the Museum of American Folk Art's quilts. This research made it clear that the two Sunbursts were more than casually related â&#x20AC;&#x201D; I identified 34 of the 50 people named on the Museum of American Folk Art Friendship quilt. Late in the Spring of 1987, Dr. Bishop reported that he had seen yet another Friendship quilt with the same Savery and Scattergood names. By early Summer it was located in New York City in the hands of Ruth Bigel, a dealer in antiques. This quilt is in many ways similar to the Museum's Friendship quilt. Again, each square contained a six-pointed star of print fabric with a white hexagon pieced into its center. Again,there were the names and the lovely pen-and-ink drawings. But here, there were 78 individuals named and Rebecca Savery's name appeared eight times! Twenty-two of the people named on the Museum's Friendship quilt appeared as well in the company of many other Saverys, Scattergoods, Copes and Cadwalladers. The fifth quilt was flushed out of hiding by a little detective work. Curatorial files at the Museum of American Folk Art included a copy of a letter from a Mrs. Elizabeth Trump to Dr. Judith Weissman of New York University. Spring 1989

While Mrs. Trump sought other information from Dr. Weissman, she mentioned having seen a large Sunburst quilt owned by Savery descendants.

Mrs. Trump lives in another Quaker retirement community, Crosslands, in Kennett Square, Pennsylvania. In a phone conversation she confirmed that

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Patchwork Quilt; Rebecca Scattergood Savery; Philadelphia, PA; 1839; 119/ 1 2 x 115"; Philadelphia Museum of Art; Given by Sarah Pennell Barton (Mrs. Lewis)and Nancy Barton Barclay. In contrast with the 35 or 40smaller roller prints used on thefront, this quilt is backed with a large roller print furnishing chintz still beautifully glazed. There are said to be 3,903 pieces each approximately 4"long. The careful placement of rings oflight prints creates a visualfountain. Detail, at right, shows the center of the quilt with its attractive prints carefully cut to create a garland.

M she had seen another very large Savery Sunburst. It had hung at a quilt show she'd once organized at Crosslands, but she did not remember more.

This conversation took place in the Spring of 1987, and location of the quilt seemed an impossible task. However, in a conversation in January 1988 with

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Friendship Quilt; Maker unknown; Philadelphia, PA area; 1844; Roller printed cottons 2"; Museum ofAmeri1 and white cotton;80 x 79/ can Folk Art, Gift ofMarie D. and Charles A.T. O'Neill. Though found with the Museum of American Folk Art's Sunburst quilt, this quilt has markedly different stitching. The lines ofquilting follow the shapes ofthe individual pieces and are so consistent in their size and placement as to suggest the work ofone quilter. Detail, at right, is offive of the pieced stars, their fabrics carefully cut to enhance the star shapes; tiny pen and ink drawings are visible.

one of the donors of the Sunburst to the Philadelphia Museum, mention of the missing Sunburst quilt brought the astounding answer,"Oh,that's my cousin Kate's:' Within one hour, Cousin Kate was reached by phone. She knew of the Philadelphia Sunburst, of course, but was amazed and excited to hear about the Museum of American Folk Art Sunburst, and the Friendship quilts. Three weeks later Cousin Kate — Mrs. Katharine Taylor Frysinger — her quilt, and I were joined in the Quaker Library at Haverford College by five more of Rebecca Savery's descendants — all still practicing Quakers — for an animated discussion of the quilts and the family tree. By now, the total of known Rebecca Scattergood Savery quilts had grown to five. In order to demonstrate the relationships between the quilts and the families, documentable genealogies linking present holders or donors with Rebecca Scattergood Savery and her children were imperative. The Saverys in central Philadelphia and the Scattergoods just across the Delaware River in Burlington, New Jersey, were two prominent families among the craftsmen, farmers and seafarers in the Orthodox Quaker community. The Scattergoods had arrived late in the seventeenth century. Many of the men in the Scattergood family were seafaring merchants. William Savery, who would become one of the premier Philadelphia furniture crafters in the second half of the eighteenth century, arrived around 1740. In 1791, William's son, Thomas, a "carpenter-builder" married Rebecca Scattergood. The accompanying family tree grew out of the genealogical research and helps to clarify the relationships. There is no longer any question that the three Sunbursts and the two Friendship quilts can be traced to Rebecca Scattergood Savery. The tag on the Philadelphia Sunburst indicates quite clearly that it was made for Rebecca's granddaughter. That granddaughter was Sarah Savery, daughter of Rebecca's son Thomas and his wife Hannah (Webb)Savery. The Frysinger Sunburst has two tags, one on paper and signed by Elizabeth L. Savery, another of Rebecca's granddaughters and sister to The Clarion

Sarah, stating that the quilt is composed of6,708 patches. A second tag,this one white cotton and similar to that on the Philadelphia quilt, reads, "Patch't by my Great Grandmother, Rebecca Scattergood Savery — Mrs. Edward H. Jacob:' Mrs. Jacob was Emma (Taylor) Jacob,the only daughter ofElizabeth L. Savery, and sister of Katharine (Taylor) Frysinger's father. When Emma died without children Mrs. Frysinger inherited the beautiful quilt. This quilt has a tragic story behind it. Probably the first of the Sunbursts, it was made by Rebecca for her daughter Elizabeth in 1827 according to family history, when Elizabeth was engaged to James Cresson. (It is interesting to see how tightly knit the families were. James Cresson's sister, Elizabeth was the wife of William Savery, Elizabeth's older brother.) However, 1827 was a devastating year for the Quaker community. Dissention which had been festering for years finally blazed forth resulting in the Great Separation. Where there had been one group of Quakers there were now two, the Orthodox and the Hicksite. It remained that way for more than 150 years. Worse yet, members of the two groups would have little or nothing to do with one another. The complicated reasons for the split belong to another discussion, but the break was so abrupt and so complete that many lives were affected on an intensely personal level. Elizabeth Savery and James Cresson were among the young people whose families found themselves on opposite sides. James' family remained with the Hicksite branch of Quakers. Elizabeth's Orthodox family intervened and prevented the marriage. Elizabeth never did marry, but years later she gave her beautiful quilt to her namesake niece, Elizabeth L. Savery. It is through the family of Elizabeth L. (Savery) Taylor that the quilt came down to Katharine Frysinger. The Museum of American Folk Art Sunburst seems to have been handed down in the family of Rebecca Walter Savery, only daughter of William (Rebecca Savery's elder son) and his wife Elizabeth (Cresson) Savery. Mrs. Elizabeth Biddle Yarnall, in whose barn Spring 1989

this quilt was found by the O'Neills, was in the direct line of descent from Rebecca Walter Savery — and therefore from Rebecca Scattergood Savery. It is

assumed that the Museum of American Folk Art Friendship quilt had been passed along with the Sunburst, as they were found together in the barn and the

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Friendship Quilt; Makers unknown; Philadelphia, PA area; 1844; Roller printed cottons; 112 x 114"; Courtesy Ruth Bigel Antiques. Close inspection reveals that not all the stars sit in the same way in their individual squares. This intensifies a sense of movement. The background patterns are also prints, but less intense than the prints ofthe star points; these add to the charged visual quality ofthe quilt. Detail, at right, is a tiny bird bath, created in pen and ink, by hand. Many of the stars in both Friendship quilts have similar drawings.

Gra family of Elizabeth Cresson is prominent on that quilt. Unfortunately, Mrs. Yarnall's son knew nothing of the quilts or of how his mother acquired them. Genealogical research into the names of people on both Friendship quilts has already yielded enough information to consider each of them a sort of group portrait. Their original purposes are not known at this point. To confirm my thesis about these quilts, it was also necessary to be sure that the fabrics used in them would have been available in Philadelphia circa 1827-1844. In the Spring of 1987 the expertise of Gillian Moss, Assistant Curator of Textiles at the Cooper Hewitt/Smithsonian Museum was sought. Moss willingly looked at photos of some of the fabrics used in the Museum of American Folk Art quilts, and was helpful both in suggesting dates and in explaining why, from a standpoint of textile printing technology, the dates were appropriate. Her immediate instinct was to date the fabrics as typical of English roller prints of the late 1830s. A second viewing, some months later with a larger sampling, reinforced her dating of the late 1830s for the fabrics of the Museum of American Folk Art and Philadelphia Sunbursts; she put the prints of the Museum of American Folk Art Friendship quilt a little later. With the technological explosion in the fabric printing industry from 1820-1850 it is almost impossible to pinpoint fabrics as definitely English, and not American, or the reverse. The history of the period is replete with law suits brought over copyright infringements. One tale recounts the arrival in New York of a particular print from England. A "knock-off:' domestically produced, was on the streets within ten days. While it is not possible to state with absolute assurance that the fabrics are of English manufacture, several bits of information strengthen that as a choice. First, there was access. The Scattergoods had long been seafaring merchants. John Scattergood, Rebecca's father, had been a sea captain and others of her family had followed seafaring professions. The Copes, whose names appear on both of the Friendship quilts, were members of the family which 60

owned and operated the Cope Packet Line. These ships plied a regular trade between Philadelphia and Liverpool, giving the Quaker community, and

especially these families, immediate and up-to-date access to English fashions and ideas. It is still unclear whether the prints were used for

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Sunburst Quilt; Rebecca Scattergood Savery; Philadelphia, PA;1827; Roller printed cottons; 128 x 132";Private collection. Softer in coloring, but otherwise strikingly similar to the other two Sunbursts, this quilt is backed by a small roller print in the seaweed pattern. A paper label, written by Elizabeth L. Savery states that "This Bed quilt is made of6,708 patches': Detail, at right, shows how lightand dark rings create a wonderful sense ofmotion.

The Clarion

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44 Qtva,1 Rebecca Scattergood (1770-1855) Thomas Savory (1751-1819)

William Savory (1798-1858) Elizabeth Cresson (1808-1851)

Thomas

John C.

William

Mary Savery (1800-1869) Thomas Scattergood (1795-1876)

• Thomas Savery (1802-1860) Hannah H. Webb (1810 1890)

1 F Sarah Thomas

Stephen

Thomas

• tElizabeth Savery (1806-1860)

Edward

William

Mary

Rebecca W. Savery (1836-1902) Addison Hutton 1834-1916)

• Sarah Savory 1839-? ) George Mellor 1843- 2)

* Mary Hutton (1869-1925) James G. Biddle (1868- ?)

• Hannah Mellor 1872- 7) Howard Pennell 1874- 7 )

Sarah Savery (1810-1832)

Charles • Elizabeth L. Savery 852-1936) Thomas B. Taylor (1852-1911) • ttEmma H. Taylor 1882-1938) Edward H. Jacob (1871-1954)

Francis Taylor Elizabeth Richie

Ralph Taylor Margaret Browne

* *Elizabeth Biddle (1897-1975) D. Robert VarnaII (1878- ? )

D. Robert II James

I Nancy H.

* Museum of American Folk Art Sunburst and Friendship Quilts A

Philadelphia Museum of Art Sunburst Quilt

• Frysinger Sunburst Quilt

clothing within the Quaker community or were reserved for such uses as quilts. Secondly, there may have been reasons to choose English cottons. Many members of the Quaker community went to great lengths to avoid purchase of any items which might have been produced by slave labor; they joined and supported the Free Produce Movement which aimed to make available goods with no taint of slave labor. They may have chosen English cottons as a sort of protest. The fact that much English cotton fabric was made from cotton exported from our Southern states, or from the Caribbean where slavery was rampant, seems not always to have been closely considered. Finally, there is the particular technique of piecing. The quilts are all pieced in the manner usually called Spring 1989

Ann Taylor

Sarah Pennell (1906- ?) Louis Barton

**Katharine Taylor (1917) Edwin Bronner Daniel Frysinger (1915-

Thomas Taylor Francis Cloud

A * Nancy Barton David Barclay

'Last family owner Current owner

fElizabeth Savory, daughter of Rebecca and Thomas gave her quilt to her namesake niece, Elizabeth L., before 1860. ttAlter Emma H. Jacob died childless, her niece, Katharine Frysinger, inherited the quilt.

English or Mosaic work. This style of piecing seems to have begun in England in the late eighteenth century and it remained a preferred way of piecing there while most American women tended to abandon it in favor of running stitch piecing. In the English style, joining is effected with whip stitches. With this system, pieces of fabric are wrapped around paper templates. The edges are then whipped together and the templates are removed. It is slower and more tedious, but produces a most satisfactorily flat and precise result. Any shapes can be joined in this way, but for the geometric combinations preferred by the Quaker women, the system is particularly effective. The Philadelphia Sunburst comes with documentation dating it to 1839 which is consistent with the fabrics

used. The Museum of American Folk Art Sunburst seems to be of the same time, circa 1840, again because of the fabrics. Actually, there are several instances in which the same fabric is found in both quilts. Though there was, at first, some question about the family's date of 1827 for the Frysinger Sunburst, Gillian Moss of Cooper Hewitt once again came to the rescue with information indicating that indeed the prints seen in this third Sunburst would have been available in the late 1820s. The Friendship quilts each bear the date 1844. The Museum of American Folk Art Friendship can be further dated to after May 29, 1844 when Alice H. Cresson and Walter Cresson were married. Ruth Bigel's Friendship quilt must be dated after April 6, 1844, the 61

date of birth of William H. Savery, Thomas and Hannah's fourth son and probably the youngest person named on the quilt. In the early 1840s a sewing phenomenon developed which was linked to autograph albums,calling cards,fine drawing as taught in schools such as Westtown and Friends Select, and the sentimentality of the era. It was probably furthered by the dislocation felt in American society as people moved West. Groups of women began to produce quilts which, rather than serving strictly utilitarian — or even decorative — purposes, added the dimension of becoming a "picture" of a community. Quilts with makers' names were not unknown before this date, but these were rare and would involve only one person. After 1840, however,the names of many persons involved in the design and/or sewing began to appear in profusion. These were group efforts in many instances. Sometimes the "name space" was sold, and the quilt became a fund raiser. Sometimes all of the names were female. Frequently all persons named were members of a church or religious organization. The presence of any name does not necessarily mean that person actually sewed that part, or any part, of the quilt. Evidence of this are the names of men and small children on these two Friendship quilts. Some of the earliest quilts with names or signatures were created within the Quaker communities of the lower Delaware Valley. An ongoing and intense sense of separateness from the "world;' combined with a heightened sense of membership in the internal community, provided fertile soil among Quaker women for this new fashion. The earliest of these quilts appear to have been made as gifts for newlywed couples or as an honor for some particularly beloved member of the community. Such a quilt, with its collection of names, could reassure departees from the community of their ties to the community left behind. As the fad took hold and spread, variations developed. A number of quilts survive which were apparently expected to remain within the community and were designed as commemoratives. Probably the best known ex62

ample of this type in the Quaker community is the Ann Burns Quilt, created to honor Miss Ann Burns when she retired in 1844, after 40 years in charge of the Sewing Room of the "House of Industry:' a Quaker Female organization for assistance to poor women. Seventy-five members of the House of Industry, a part of the Philadelphia Yearly Meeting of the Religious Society of Friends, each made and signed a square which was then incorporated into the quilt. It now hangs on permanent display in the Arch Street Meeting House in Philadelphia. The two Friendship quilts associated with Rebecca L. Savery would seem to have been made to serve such a purpose. Both were recovered in the 1970s within about 20 miles of Philadelphia, the site of the Monthly Meeting of the Savery and Cresson families, and the Yearly Meeting for all ofthe individuals on both quilts. The quilts are portraits of two fairly distinct groups, with some crossovers. Most of the people on the Museum of American Folk Art Friendship quilt have been traced to central Philadelphia and Chester County, Pennsylvania — the west side of the Delaware River. Except for the Saverys, the individuals on the second Friendship quilt seem to come from the east side of the Delaware River — Burlington, Mt. Holly and the Falls Monthly Meeting in southern New Jersey. It is still far from clear just what the specific reasons were for the creation of each Friendship quilt. In the case of the Museum of American Folk Art Friendship quilt, the two main families are the Saverys and the Cressons. E.H. Savery, in the center of the quilt, was found to be Elizabeth Hooten (Cresson) Savery, wife of William Savery, Rebecca Scattergood Savery's elder son. All of Elizabeth's siblings are there, with their spouses, children and Elizabeth's parents. William's mother (Rebecca) and his siblings with their spouses and children are there with one exception. Missing are the four sons of his brother, Thomas. The four boys' names do appear, however, on the Bigel Friendship quilt. The stitching in the Museum quilt suggests it may be the work of only one

hand. I would like to believe that it was the invention of Elizabeth (Cresson) Savery for her only daughter, Rebecca W. Savery; but I cannot think of a reason for leaving out her four nephews. Initial research suggests that the Bigel quilt, with Cyrus Cadwallader at its center, may have been sewn as a tribute to that gentleman who, at 81, was the oldest person whose name appears on the quilt. The three oldest people on the Museum quilt have their ages duly recorded there, as do several elderly persons on the Bigel Friendship quilt. This is consistent with a practice of the day in which such ages were added as a way of honoring and giving status to the older members of the community. The research which led to the identification of these quilts as part of one family's history was initiated for the purpose of supplying background information on the two quilts in the collection of the Museum of American Folk Art. There has never been a question that the two are extraordinary artistic efforts which have gone well beyond necessity, and that more information about them adds to their interest. As the body of information about them increases, however, it has come to include the very real living descendants of the people whose community was involved in the original creations. I have had the unique opportunity of meeting people for whom the works discussed here are an integral part of both community and personal memory. Kay Frysinger and her cousin, Ann Bronner, senior citizens themselves, remember their "Grandmother Savery" clearly. "Grandmother Savery" was Elizabeth L. (Savery) Taylor, born in 1852 and named after Elizabeth, Rebecca's daughter who never married. Elizabeth L. was the namesake to whom the third Sunburst quilt was given sometime before 1860 when the first Elizabeth died. Kay and Ann have made their Grandmother a very real person for me. They have shared their family with me. For that and for their many kindnesses and generosity I thank them. Mimi Sherman is a graduate of the Folk Art Institute and a Fellow/Museum of American Folk Art. She is a quilter, quilt teacher and lecturer. The Clarion

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BOOK REVIEWS

THE LADIES'WORK TABLE: DOMESTIC NEEDLEWORK IN NINETEENTH-CENTURY AMERICA By Margaret Vincent 160 pages, 120 illustrations including 15 color plates Published by University Press of New England, 1988 $19.95 softcover A pair of suspenders worked on canvas in bright wool and metallic beads wrap themselves around the front and back covers of this chronological history of domestic needlework in the nineteenth century. Possibly worked in Pennsylvania, almost surely for a festive occasion, they include the initials "MW" and the date, 1890. This joyful, singular effort contrasts almost playfully with the book's more formal and inclusive title, and it is this contrast that provides the framework for the text and illustrations that will follow. The book was published on the occasion of an exhibition, at the Allentown Art Museum, of needlework drawn from the collection of Professor and Mrs. Edwin Miller. To the author, Margaret Vincent, Kate Fowler Merle-Smith Textile Curator at the Museum, and curator of the exhibition, fell the formidable task of presenting a survey of one hundred years of needlework inspired by, yet limited to, those objects contained within a single collection. Vincent leads us thoughtfully through four periods of the American needleworker's creative efforts, beginning with the Federal Era(1800-1830),a period during which "all girls, regardless of economic or social circumstance, learned to sew:' but one in which elaborate decorative embroideries were the work of the privileged class. The illustrations contain the obligatory samplers, but perhaps of greater interest is an assortment of all-white needlework. Their intricacy is in charming contrast to pieces of plain work such as a well-worn pair of cotton stockings, darned and patched and bearing the red cross-stitched inscription "W.R 1815:' During the Early Victorian Period (1830-1860) we begin to see the "democratization of needlework" as the growth of the middle class â&#x20AC;&#x201D; and the resultant leisure hours available to its wives and mothers â&#x20AC;&#x201D; couple with simpler needlework techniques 68

and less costly materials. Vincent points to three important influences affecting both women's activities and the work of their hands: From Germany, the Romantic and Realistic movements in painting with its attendant idealization of middle-class life; from England,the sense of Victorian morality with an emphasis on the family unit and a rigid definition of women's duties; and across America the growth of evangelical, temperance and abolitionist causes and concerns. Colored German wools replaced classical white silk and cotton threads, and beads and human hair were added to the lady's workbasket. Although the subject of her work became more ornate, it was generally done in less elaborate techniques such as simple, counted stitches. Although we are shown several large pieces worked for walls (one an idealized "Family Scene" done in canvas work but typical of the Biedermeir painters), both the text and the collection bring special attention to those small and sentimental tokens such as punched paper work bookmarks and beaded needlecases to which so much effort was devoted. During the mid-Victorian years from 1860to 1876 Vincent notes that the introduction of the sewing machine changed forever both the appearance and the production of sewing, and addresses the resultant social changes. The placement of a sewing machine in the Victorian parlor now meant that women who had previously sewn in a conversational group often found themselves engaged in a solitary endeavor. Even when women were surrounded by family, the necessity for strict attention to work usually prohibited social interaction. The woman who had sewn professionally, if unable to purchase a machine, was often forced to turn to factory work. "With the beginning of factories, sewing became an occupation, rather than a household chore, a craft, or a refined pastime. Girls were still urged to acquire the skill, but only so that they might have an occupation to fall back on, should they find themselves destitute!' The closing segments of the chapter on The Civil War and Technological Revolution focus on the reform in decorative design occurring in England, primarily through the efforts of Charles Eastlake, William Morris, and the Royal School of Art Needlework.

Needlework produced during The Aesthetic Movement in America (1876-1900) found its direction in the new embroidery by the Royal School of Art Needlework in London hung in the Woman's Pavillion of the 1876 Centennial Exhibition in Philadelphia. Suddenly Berlin work was abandoned, to be replaced by "art needlework" defined by the author as referring to "embroidered pictures that ... employed free-hand stitches and emulated painting:' Mrs. Candace Wheeler established the Society of Decorative Art in New York, but Vincent indicates the Society's influence would have been neither so rapid nor so pervasive without the resulting "flood of publications...powerful enough to alter the style of American needlework!' The last quarter of the nineteenth century unfortunately saw a greater effort directed toward the doing than the designing. The concluding chapter examines three of the ethnic, rural and regional crafts that were worked in forms more traditional than fashionable: The hand towels of the Pennsylvania Germans, pieced and appliqued cotton quilts, and sewn or hooked rugs. It is here the limitations of a single source survey are perhaps most apparent. The author has indicated one problem in her introduction: The Miller collection is limited, with few exceptions, to objects worked in the rural and industrial areas of the Northeast. Throughout the book, the reader is aware that many of the objects illustrated, while interesting from the point of view of a private collection, are not uniformly superior examples of technique, application or design. Three unexceptional quilts in this section are presented full page and in color, yet they pale in comparison and importance to an earlier embroidered bedcover shown only in black and white. It is to the Miller's great credit that the search for the object became interwoven with an historical inquiry into its technical, social and historical origins;the "Collector's Notes" Rosalind Schnitzer Miller has set down for us are both personal and informative in that regard. The author's research in primary sources has resulted in an exceptionally valuable bibliographical appendix listing a substantial number of the pattern and instructional books available to the nineteenth century needlewoman. Equally commendable is her essay that within reThe Clarion

A FASCINATING ACQUISITION FOR YOUR QUILTING LIBRARY

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BOOK REVIEWS

grettably restrictive parameters generally succeeds in presenting a broad overview of an immensely complex and diverse body of work. — Sandi Fox Sandi Fox is senior research associate in charge of the American Quilt Research Center at the Los Angeles County Museum of Art. The curator of eight exhibitions of nineteenth century quilts in the United States and Japan, Mrs. Fox is the author of a number of exhibition catalogues and articles, and of Small Endearments: Nineteenth Century Quilts For Children (Scribner's, 1985).

TWENTIETH CENTURY QUILTS 1900-1950 By Thos. K. Woodard and Blanche Greenstein Published by E.P. Dutton, New York, 1988 150 pages, color quilt illustrations, black & white historical photos $35.00 hardcover; $22.50 softcover In their latest effort, the well-known team of Thos. K. Woodard and Blanche Greenstein have provided a lively narrative to accompany the attractive and varied examples of quilts made between 1900 and 1950. Stressing the continuity that quiltmalcing enjoyed during this period when women's lives, and the nation, underwent vast changes, the authors proceed to review historical background. As the twentieth century arrived, the Victorian era and its silk and velvet crazy quilts began to wane. These quilts were purely decorative and adorned the parlor while manufactured bedding, a product of the industrial revolution and the widespread use of the sewing machine, replaced the handmade patchwork quilts. This trend lasted until World War I, when women once again began to sew for utilitarian purposes incorporating their fabric scraps. After the war, patriotism ran high and there was a revival of American Colonial design. During the 1920s, 1930s and 1940s, new and improved domestic cotton materials became available in a wide variety of lively colors and prints at moderate prices. During the Depression years, women were able to satisfy their artistic yearnings while being economical. The authors do mention, however, that the quilt was still a "fabric diary" of a woman's life and family because scrap materials and the 70

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memories they evoked were incorporated into the quilt along with the thoughts running through a woman's mind at the time she was actually stitching the pieces. Quilting still played a soothing social role providing a relaxing leisure activity even in the jazz age and appliance age. The quilting bee still served an important social function in the lonely lives women led. A significant difference marking the quilts ofthe twentieth century was the use of commercial patterns frequently designed by professional quilt designers. While women formerly kept their own patterns and exchanged them among family and friends, new patterns and designs now were readily available through published sources — catalogues, books, magazines and newspapers. Sears, Roebuck and Co. began sponsoring quilt contests as did pattern-company owners. Good Housekeeping, The Ladies' Home Journal and Quilter's Newsletter Magazine, among others, were recognized sources for quilters and often offered free quilting kits with subscriptions. The authors mention the popularity of the Art Nouveau and Art Deco movements and feel department stores, which had become a"mecca of sophistication:' helped spread these new styles to even the most rural areas. Likewise, they feel that the publishing of many new decorative-arts books, whose subjects "ranged from Japanese design to mosaic floors in early churches of Palestine; also contributed to design trends. As always,

politics continued to supply ideas for quilt patterns. While some patterns were recycled, slightly modified and renamed old patterns, there was a general flourishing of new ideas. The use of patterns for quiltmaking was widely accepted and can be likened to today's seamstress relying on a pattern to make a dress. Importance was attached not to originality of the effort but rather the expertise with which the skill was performed. Woodard and Greenstein continue a factual and anecdotal discussion of their research fmdings and report on individual quilters, quilt designers, contests, publications, particularly unique quilts and the like. Black and white historical photos provide an interesting visual accompaniment to the text. Readers are also reminded that Amish and Hawaiian quilts are two particularly distinctive regional design types that matured during this period. The authors conclude their text with the seemingly obligatory sections on collecting, displaying and caring for twentieth century quilts. This aside, their book satisfies both the intellectual and aesthetic appetite. — Willa S. Rosenberg Willa S. Rosenberg is Assistant Editor of The Clarion and has completed the certificate program at the Museum's Folk Art Institute.

THE BAKELITE JEWELRY BOOK By Corinne Davidov and Ginny Redington Dawes 155 pages, color photographs Published by Abbeville Press, NY,1988 $35.00 hardcover A CERTAIN STYLE by Robert Gottlieb and Frank Maresca 119 pages, color photographs Published by Alfred A. Knopf, NY,1988 $35.00 hardcover Ok,so this is not folk art. And these books are about things made ofplastic, no less,the antithesis of traditional folk materials. Yet, who among us has not — on a stroll through a flea market or antiques show — succumbed to a seductive case of glistening Bakelite jewelry or glanced to admire the shapely curves of a fabulous fifties handbag. Any collector worth her or his salt The Clarion

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BOOK REVIEWS

knows a hot collectible when it's in proximity. And plastics, as Dustin Hoffman learned in The Graduate, are definitely hot. These two beautifully illustrated volumes — one a celebration of Bakelite jewelry, which flourished between the two World Wars, the other a paean to molded plastic pocketbooks of the 1950s — are the perfect packages for their subject matters. The books themselves are such attractive confections, they are a delicious addition to any coffee table. This is not to suggest, however, that these tomes are only good looking and have nothing to say. On the contrary, both take their subjects seriously, offering facts along with affection. The authors of The Bakelite Jewelry Book have done extensive research into their subject, documenting the technology, as well as the history of cast phenolic resin jewelry made here and abroad. While Bakelite is actually the "brand name for the first thermosetting plastic, which was invented by Leo Hendrik Baekeland in 1907 ." it has come to refer to a host of cast phenolic jewelry brand names — including Catalin, Marbelette,Phenolia and Prystal — which rose to extraordinary popularity in the U.S. in the mid to late 1930s, only to disappear into the war effort. Manufacturers — several of whom were interviewed by the authors — are recognized for their design contributions; trends are fully explored; and fashionable folk, from Chanel to Josephine Baker, are cited for their impact on the Bakelite phenomenon. In contrast, A Certain Style presents only an introductory overview of its subject. The New Yorker editor, and passionate handbag collector (500 at last count), Robert Got72

tlieb, presents some thoughtful musings: He shares a bit of history, some well-known manufacturers,including Patricia of Miami, Rialto, Wilardy and Llewellyn, and offers a theory on 1980s affinity for 1950s purses(or is it a rationale for his obsession?)."There's some kind of aesthetic relationship between these plastic handbags at their most extreme; he writes, "and the postmodern buildings of the past half-dozen years:' In fact, the stars of A Certain Style are the handbags themselves, photographed by Edward Shoffstall and Frank Maresca to evoke the innocence and blushing beauty of a fifties debutante. The Bakelite Jewelry Book and A Certain Style may not be about art, but they are about love, nostalgia and collecting. They certainly have those qualities in common with American folk art. — Didi Barrett Didi Barrett is editor and publisher of The Clarion.

TRACING THE QUILTMAICER, Guide #1 By Patricia Mooney Melvin 4 pages, 3 illustrations Published by The American Quilt Study Group, California, 1987 $3.00 THE ORAL INTERVIEW IN QUILT RESEARCH,Guide #2 By Laurel Horton 4 pages, 2 illustrations Published by the American Quilt Study Group, California, 1988 $3.00 THE CARE AND CONSERVATION OF QUILTS, Guide #3 By Virginia Gunn 6 pages, 3 illustrations Published by the American Quilt Study Group, California, 1988 $3.00 For almost a decade the American Quilt Study Group has been a forerunner in the field of quilt scholarship. Since 1980, the Group has sponsored seminars and publications with an eye towards rediscovering the rich artistic and social heritage of American women as interpreted through their quilts.

The American Quilt Study Group's latest effort is a series of three guides designed to lead even a rank beginner step-by-step through the process of researching a quiltmaker, conducting an oral interview and caring for quilts. The first guide,"Tracing the Quiltmaker7 by Patricia Mooney Melvin is clearly written and organized. The four-page guide begins with federal records, discussing the types of information that can be gleaned from different periods in the evolution of census-taking. It continues with state and local records, church records, and documents designed for public consumption. At the end of each section, one or two suggestions are made for obtaining more information about each type of record. Perhaps most useful is the short bibliography at the end of the text with titles on genealogical research, followed by titles about using records as a historical source. The back page offers a case study illustrating the results that can ideally be obtained through the use of the research tools outlined in the guide. A researcher with some experience will already be familiar with much of the material and methods contained in this guide, but it offers a concise and valuable starting point. The second guide,"The Oral Interview in Quilt Research;' by Laurel Horton is a response to the proliferation ofregional and local quilt projects that are becoming an accepted part of quilt studies. This guide starts with the basics (such as changing the gender of prepared questions to suit the subject)and offers reassurance to those who have never conducted an oral interview. ("Don't get flustered if information comes out in a different order than on your list:') The section "How to Begin" stresses the importance of directing the interview towards a specific goal. This determines the interviewer's methods and approach which are discussed in the next section,"Preparing the Right Questions:'Phrasing a question to produce a positive psychological bias is examined; suggestions for eliciting the expanded replies and supporting material an interviewer might be hoping for are offered. The guide continues with sections covering equipment, set-up for taped interviews, labelling and transcription, and videotape and ethics. An important section on ethics clearly states that the rights to the interview The Clarion

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belong to the subject and must be obtained by a release. Last, Laurel Horton discusses the implications and uses of those family stories which, while steeped in tradition, may not be true. This guide ends with a bibliography that includes books about fieldwork, the use of oral sources in historical research and editing oral histories. The last pamphlet in the series,"The Care and Conservation of Quilts:' by Virginia Gunn, will be of interest to everyone who cares about and owns quilts. At six pages, this is the longest guide in the series and is directed at all levels of interest. A concise summary of influences that have led to the present interest in quilts is followed by a gentle admonition to "cultivate a concept of beauty that makes allowances for the effects ofthe aging process!' While recognizing the legitimacy of stringent practices used by museums and conservators, the difficulty of adopting all such practices for home caretaking is recognized without guilt-provoking resonances. Quilts can be permanently damaged from many different sources, including environmental changes, pests, light and dust. Each of these potential problems is discussed with concrete suggestions for minimizing, if not eliminating, the damage. Different methods of display, storage, insect control, cleaning and repair are compared. Possible drawbacks to each method, and adaptibifity to home use, are considered. Practical advice (such as padding the folds of a quilt with rolled archival quality paper and folding the quilt a different way each time it is put away) is reinforced by the reasoning behind it. Recommendations are made for the use of specific products, along with sources for these specialized conservation supplies. In the section "Repair;' Gunn is careful to allow that the amount of repair work will depend on the quilt owner's personal philosophy, but encourages methods that are reversible and that preserve the integrity of the textile. Many of these methods are used by museums, but can be accommodated for home use. Preserving a quilt's history is included as a part of conservation. Stories written on paper can be pinned to quilts or oral histories can be typed on muslin with carbon ribbons and hand basted to the quilt. This insures the continuity of the history with the quilt without any fear of damage or 74

loss. A carefully chosen bibliography is found at the end of the text. According to Barbara Braclunan, the American Quilt Study Group hopes to "develop a responsible and accurate body of information regarding the history and care of quilts!' These guides fulfill the criteria and at $3.00 each are a bargain, as well. — Stacy C. Hollander Stacy C. Hollander, a graduate of the Musem of American Folk Art/New York University Master's degree program in Folk Art Studies, is Assistant Curator ofCollections at the Museum of American Folk Art.

QUILTS OF ILLUSION By Laura Fisher 143 pages illustrated Published by The Main Street Press Pittstown, New Jersey, 1988 $15.95 softcover With her Quilts ofIllusion, Laura Fisher has succeeded in energizing an increasingly unambitious and unenlightening, albeit saleable, literary form — the quilt book. This is decidedly not another lavishly illustrated $100.00 coffee-table book. While many of the quilts illustrated are indeed lovely and unusual, Fisher is grappling with a new way to look at quilts, with the fundamentals of illusion in a folk art form. As such, the book demands an active

intellectual effort on the part of the reader. As Fisher argues, our eyes look, glance, but our minds see. A quilt,an essentially planar, or two-dimensional form,becomes illusionary when the design appears three-dimensional. But to see the three-dimensionality — to see hidden forms emerging and others receding, mysterious changes taking place — requires patience and deliberate unhurried observation on the part of the viewer. Blocks march off in one direction, then switch to another. Cubes dissolve into stars that merge to create larger stars. These quilts are not illustrated merely to give a name to a pattern, but to be seen — read — in many different ways. A patient reader will be rewarded with small-scale but vivid visual experiences — revelations of"God in the details:' Many of the quilts are unconventional, even eccentric. Their makers explored visual ideas, tested designs, pursued their unique abstract fantasies. As Fisher demonstrates, the optical illusions created are as startling as those of M.C. Escher and of the midtwentieth century movements such as op art and pop art. Fisher is an excellent, rigorous guide — whether accompanying the reader through a short history of illusionary forms, or dissecting and analyzing the elements creating the illusions of layering, movement, depth and endless space. A final chapter gives step-by-step instructions on making four of the quilts illustrated — all seemingly traditional, at least in name. But Fisher shows how a familiar representative design, in this case a Tree of Life, can become "a strong abstract geometric statement:' While there is clearly more work to be done in this area, Fisher's initial overview is satisfying and illuminating. Unfortunately the same cannot be said of the book's art direction, which leaves much to be desired. The cropping, in particular, ranges from idiosyncratic to incomprehensible; and the illustrations are very poorly organized, causing a reader to flip backward and forward several times through the book for examples mentioned in a single paragraph. But the photos chosen are fresh and wellresearched and contribute a thoughtful addition to one of the most avidly consumed — Flavia Gale fields of folk art. Flavia Gale is a textile collector. The Clarion

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DEVELOPMENTS JOHLEEN D. NESTER

JaSS3V4 aUMPI-1

The opening of the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square this month brings the generous support and encouragement of many friends of the Museum, both old and new. In the past two issues of The Clarion, I have announced the gifts of the many donors to the endowment campaign for Lincoln Square. And, a look at the Current Major Donors listing in this issue indicates the resounding support of Museum programs by individuals, corporations, foundations, and government agencies. The efforts of the Development Office in 1988, while focused on the endowment campaign for the Lincoln Square branch and funds for programs during the year, were also directed at funding the exhibitions and educational presentations which are scheduled for the new gallery during the first year. I would like to take this opportunity to share the sponsors of these exhibitions and to acknowledge their interest in, and dedication to, the Museum of American Folk Art.

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SUPPORT GROWS FOR NEW GALLERY

Dr. Robert Bishop and members ofthe International Advisory Council give a "hats off' salute to the new Lincoln Square branch.

Leo and Dorothy Rabkin

"Expressions of a New Spirit: Highlights from the Permanent Collection of the Museum of American Folk Art" United Technologies Corporation "Stitched from the Soul: Slave Textiles in the Ante-Bellum South" New York State Council on the Arts/National Endowment for the Arts "Access to Art: Bringing Folk Art Closer" The Xerox Foundation/New York State Council on the Arts/The Mary Duke Biddle Foundation "Howard Finster: Man of Visions" PaineWebber Group, Inc. "Great American Quilt Festival/Memories of Childhood Crib Quilt Contest" Fairfield Processing Corporation/Springs Industries/Coats & Clark, Inc.

The announcement of the endowment campaign and the opening of the Lincoln Square branch also prompted the reinstitution in September of the International Advisory Council. This group of individuals, drawn from every region of the country, are supportive of Spring 1989

From left, Terry Heled, William Schneck, Museum Trustee, Eva Feld, Honorary Trustee, and Ruth Schneck

the Museum and its programs. All have agreed to serve as"membership ambassadors" in their home states and to assist in the development of special programs, receptions to accompany traveling exhibitions, and fundraising. Trustees Frances S. Martinson and Elizabeth Wecter serve as co-chairman of the Council. The first meeting of the Council was held November 12, 1988 at the May-

Theodore Kesselman, Museum Thustee

flower Hotel in New York City. Some 75 Council members attended the day which included presentations by Museum staff and trustees and a hard hat tour of the Lincoln Square branch. Director Robert Bishop and Lillian Grossman each hosted "folk art" receptions in their homes after the tour. The meeting, which was both informative and fun (as indicated in these photographs), resulted in a great number of suggestions, recommendations, and gifts to the Museum. The support of the International Advisory Council is crucial to the national and international growth of the Museum of American Folk Art. As plans for membership receptions to accompany traveling exhibitions are finalized, I know you will be hearing from a Council member in your state. We look forward to keeping you in touch with the Museum of American Folk Art. 79

MUSEUM OF AMERICAN FOLK ART BOARD OF TRUSTEES

Executive Committee Ralph Esmerian President Frances Sirota Martinson Esq. Executive Vice President Lucy C. Danziger Vice President Karen S. Schuster Secretary George E Shaskan, Jr. Treasurer Karen D. Cohen Judith A. Jedlicka Theodore L. Kesselman Susan Klein Kathryn Steinberg

Members Mabel H. Brandon Florence Brody Daniel Cowin Barbara Johnson, Esq. Margery G. Kahn Alice M. Kaplan William I. Leffler George H. Meyer Cyril I. Nelson Cynthia V.A. Schaffner William Schneck Ronald K. Shelp Bonnie Strauss

Maureen Taylor Mrs. Dixon Wecter Robert N. Wilson Honorary Trustee Eva Feld Trustee Emeritus Adele Earnest Cordelia Hamilton Herbert W. Hemphill, Jr. Louis C. Jones Jean Lipman

DEVELOPMENT ADVISORY COMMITTEE Judith A. Jedlicka Theodore L. Kesselman Co-chairmen Lewis Alpaugh Hoechst Celanese Corporation Gordon Bowman

John Mack Carter Good Housekeeping

Allan Kaufman Ben & Jerry's Homemade

Paul Chusid Squibb Corporation

Francine Lynch Chase Manhattan Bank, N.A.

Jerry Kaplan Thomas Troland Country Home

Rachel Newman Country Living Barbara Wright New York Telephone

Frank Brenner Hartmarx Corporation

INTERNATIONAL ADVISORY COUNCIL Frances S. Martinson, Esq. Mrs. Dixon Wecter Co-Chairmen Paul Anbinder William Arnett Frank & June Barsalona Mary Black Susan Blumstein Judi Boisson Gray Boone Robert & Katherine Booth Barbara & Edwin Braman Milton Brechner Raymond Brousseau Edward J. Brown Charles Burden Tracy Cate Margaret Cavigga Edward Lee Cave Richard & Peggy Danziger David Davies Marian DeWitt Davida Deutsch Charlotte Dinger Raymond & Susan Egan Margo Ernst 80

Howard Fertig Ted & Joanne Foulk Jacqueline Fowler Ronald Gard Dr. Kurt A. Gitter Merle & Barbara Glick Howard M.Graff Bonnie Grossman Michael & Julie Hall Lewis I. Haber Elaine Heifetz Terry Heled Josef & Vera Jelinek Joan Johnson Eloise Julius Isobel & Harvey Kahn Allen Katz James Keene Mark Kennedy Arthur & Sibyl Kern William Ketchum Susan Kraus Wendy Lavitt Marilyn Lubetkin Robert & Betty Marcus Paul Martinson

Steven Michaan Michael & Marilyn Mennello Alan Moss Kathleen S. Nester Helen Neufeld Henry Niemann Paul Oppenheimer Dr. Burton W.Pearl Patricia Penn Leo & Dorothy Rabkin Harriet Polier Robbins Charles & Jan Rosenak Joseph J. Rosenberg Randy Siegel Sibyl Simon Susan Simon Ann Marie Slaughter Sanford L. Smith R. Scudder Smith Richard Solar Hume Steyer Jane Supino Edward Tishelman Tony & Anne Vanderwarker John Weeden G. Marc Whitehead The Clarion

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For information on featured projects, write: P.O. Box 1130, Danbury, Connecticut 06813

CURRENT MAJOR DONORS

The Museum of American Folk Art thanks its current major donors for their generous support:

$20,000 and above Amster, Rothstein & Ebenstein Bear, Stearns & Co., Inc. Ben & Jerry's Homemade,Inc. Bidermann Industries Judi Boisson Marilyn & Milton Brechner Cosmair Inc. Country Living Mr. & Mrs. Frederick M.Danziger Dillard's Mrs. Eva Feld Estate of Morris Feld Genesco Inc. Hartmarx Corporation The Hot Sox Co., Inc. IBM Corporation Klear-Knit, Inc. Mr. & Mrs. Ralph Lauren Jean & Howard Lipman R.H. Macy & Co.,Inc. Mahoney Cohen & Co. Manifaro Inc. Joseph Martinson Memorial Fund The May Stores Foundation, Inc. National Endowment for the Arts New York State Council on the Arts Optique Du Monde Ltd. Oxford Industries, Inc. PaineWebber Group Inc. Philip Morris Companies Polo Ralph Lauren Corporation Leo & Dorothy Rablcin Seibu Corporation of America Herbert and Nell Singer Foundation, Inc. Skadden, Arps, Slate, Meagher & Flom J.P. Stevens & Co., Inc. United Technologies Corporation Warnaco Inc. Warner Communications Mrs. Dixon Wecter Wells, Rich, Greene,Inc. Whisper Knits, Inc. The Xerox Foundation

$10,000-$19,9999 Estate of Mary Allis American Express Company Amicus Foundation Coats & Clark, Inc. Mr. & Mrs. Peter Cohen Cowen & Company The Joyce & Daniel Cowin Foundation Inc. Culbro Corporation Adele Earnest Fairfield Processing Corporation/Poly-filo Daniel and Jessie Lie Farber Walter and Josephine Ford Fund The Peter S. Kalikow Fund, Inc. Theodore L. Kesselman

Kohlberg Kravis & Roberts Foundation Naomi Leff& Associates, Inc. Manufacturers Hanover Trust Masco Corporation Kathleen S. Nester Reliance Group Holdings Republic National Bank of New York Restaurant Associates Industries, Inc. Revlon Group Inc. Derrald Ruttenberg Schlumberger Foundation, Inc. David Schwartz Foundation, Inc. Samuel Schwartz Mr. & Mrs. George E Shaskan, Jr. Shearson Lehman Hutton Peter and Linda Solomon Foundation Springs Industries Mr. & Mrs. Robert Steinberg Barbara and Thomas W. Strauss Fund Wathne Ltd. Weiss Peck & Greer Wilke Farr & Gallagher

$4,000-$9,999 American Stock Exchange Bankers Trust Company The Bernhill Fund Bristol-Myers Fund Mr. & Mrs. Martin Brody Tracy Roy & Barbara Wahl Cate Chase Manhattan Bank, N.A. The Clokeys Inc. The Cowles Charitable Trust Mr. & Mrs. Edgar M.Cullman Mr. & Mrs. Richard Danziger Jacqueline Fowler Colonel Alexander W. Gentleman Richard Goodyear Hoechst Celanese Corporation Barbara Johnson, Esq. Margery and Harry Kahn Philanthropic Fund Kornreich Insurance Services Mr. & Mrs. Robert Klein George H. Meyer Steven Michaan Annette Reed Arthur Ross Foundation The Salomon Foundation Squibb Corporation Robert N.& Anne Wright Wilson Norman & Rosita Winston Foundation

$2,000-$3,999 American Folk Art Society Berry Hill Galleries Inc. The Mary Duke Biddle Foundation Mr. & Mrs. Thomas Block The Coach Dairy Goat Farm Country Home Mr. & Mrs. Joseph F. Cullman 3rd Exxon Corporation Mr. & Mrs. Alvin Einbender Janey Fire

Justus Heijmans Foundation Johnson & Johnson Knapp Communications Corporation Mr. & Mrs. Richard LeFralc Mr. & Mrs. Daniel W. Lufkin Marsh & McLennan Companies McGraw-Hill, Inc. Metropolitan Life Foundation Morgan Stanley & Co.,Incorporated New York City Department of Cultural Affairs New York Telephone Company The New York Times Company Foundation, Inc. Ortho Pharmaceutical Corporation Laura H. Petito Foundation The Reader's Digest Association, Inc. Betsey Schaeffer Robert T. & Cynthia V.A. Schaffner Mr. & Mrs. Derek V. Schuster Joel & Susan Simon Mr. & Mrs. Austin Super Mr. & Mrs. Richard T. Taylor Time Inc. Triangle Foundation Vista International Hotel Adrienne Vittadini Inc. David & Jane Walentas

$1,000-$1,999 B. Altman & Co. Brooke Astor The Bachmann Foundation Didi & David Barrett Mr.& Mrs. Frank Barsalona Stephen Bell Mr. & Mrs. Albert Bellas Bill Blass, Ltd. Bozell, Jacobs, Kenyon & Eckhardt Mr. & Mrs. Edwin Braman Mabel H. Brandon Edward Lee Cave Liz Claiborne Foundation Consolidated Edison Company of New York Crane Co. David Davies Richard K. Descherer Mr. 8z Mrs. Alvin Deutsch Mr. & Mrs. Donald DeWitt Echo Foundation Ellin F. Ente Virginia S. Esmerian John L. Ernst Faith Golding Foundation Inc. Mr. & Mrs. Stuart Feld Mr. & Mrs. Thomas Ferguson M. Anthony Fisher George Friedman Mr. & Mrs. Richard S. Fuld, Jr. Generra Sportswear Co., Inc. Emanuel Gerard The Howard Gilman Foundation Renee Graubert Mr & Mrs. Martin D. Gruss Mr. & Mrs. Charles Gwathmey Terry & Simca Heled The Betty L. Hess Fund

The Clarion

GT-ta CURRENT MAJOR DONORS

Hirschl & Adler Galleries Stanley Jaffee Productions Judith A. Jedlicka Joan & Victor L. Johnson William K. Joseph Isobel & Harvey Kahn Ka!lir, Philips, Ross, Inc. The Karp Foundation The Kihi Mr & Mrs. Arie L. Kopelman Susan Kudlow Mr. & Mrs. Jeffrey Lane Estee Lauder Inc. Mr. & Mrs. Ronald Lauder Wendy & Mel Lavitt Estate of Mary B. Ledwith John A. Levin Co., Inc. Dorothy & John Levy Mr. & Mrs. Arthur Liman Macmillan, Inc. Robert & Betty Marcus Foundation, Inc. Mr. & Mrs. James H. Manges Marstrand Foundation Christopher & Linda Mayer Helen R. Mayer & Harold C. Mayer Foundation Marjorie W. McConnell Meryl & Robert Meltzer Michael & Marilyn Mennello Robert & Joyce Menschel Foundation National Westminster Bank USA The Natori Company Nestle Foods Corporation New York Council for the Humanities Mr. & Mrs. Donald E. Newhouse Mattie Lou O'Kelley Mr. & Mrs. Edward Pantzer Penn Conn Limited Mr & Mrs. Mark Perlbinder Mr. & Mrs. Roger Phillips Mr. & Mrs. William Potter Ramac Corporation Cathy Rasmussen Ann-Marie Reilly Mrs. John D. Rockefeller III Alyce & Roger Rose Willa & Joseph Rosenberg Mr. & Mrs. Jon Rotenstreich Schlaifer Nance Foundation Mr. & Mrs. William Schneck R.D. Schonfeld & Co.,Inc. Mr.& Mrs. Richard Sears Randy Siegel Rev. & Mrs. Alfred R. Shands ifi George Sheinberg Ronald K. Shelp Mrs. Vera W. Simmons Philip & Mildred Simon Mrs. A. Simone Mr. & Mrs. Elie Soussa Sanford L. Smith Paul Stuart Mr. & Mrs. Stanley Tananbaum Stanley & Doris Tannenbaum Foundation Mr & Mrs. Michael L. Tarnopol That Patchwork Place Tiffany & Co. Spring 1989

Tishman Speyer Properties H. van Ameringen Foundation Tony & Anne Vanderwarker Veronis, Suhler & Associates John Weeden Weil, Gotshal & Manges Foundation Mr. & Mrs. Ronald Weintraub Mr & Mrs. Ronald Whitman Weiss Wertheim Schroder & Co. Mr. & Mrs. Jon Wurtzburger

$500-$999 APCO Corporation Didier Aaron Robin Albin Helen & Paul Anbinder Anthony Annese Louis Bachman Nancy Bachrach David C. Batten Roger S. Berlind Jeffrey & Mary Bijur Eleanor Dell Billet Robert & Katherine Booth Carolyn & Kenneth Brody Edward J. Brown Nan Bush Inc. Mr. & Mrs. Ward Carey Colwill/McGee, Inc. Confluence Edward & Nancy Coplon Judy Angelo Cowen Edgar M.Cullman, Jr. The Dammann Fund, Inc. Andre & Sarah de Coizart Oscar de la Renta Mr. & Mrs. James DeSilva, Jr. Marion & Ben Duffy Foundation Mt & Mrs. James A. Edmonds, Jr. Richard C. & Susan B. Ernst Foundation Mr. & Mrs. Howard Fertig Janet Fleisher Gallery Timothy C. Forbes Estelle E. Friedman Kenneth & Brenda Fritz Riki Gail Interiors Peter Gee Katharine S. Gilbert Mr. & Mrs. William L. Gladstone Gomez Associates Mr & Mrs. Baron J. Gordon Dr. & Mrs. Stanley Greenberg Grey Advertising, Inc. Cordelia Hamilton The Charles U. Harris Living'Rust Denison H. Hatch Craig M. Hatkoff Raymond E. Holland David Horowitz Mr. & Mrs. David S. Howe Mr & Mrs. Thomas C. Israel Cathy M. Kaplan Mary Kettaneh Mr. & Mrs. Jonathan King Jana K. Klauer

Joel & Kate Kopp Elaine Koster Helene-Diane Kravis Dalia Leeds William & Susan Leffler Mr.& Mrs. Peter Levy Mr. & Mrs. Richard M.Livingston Helen E.& Robert B. Luchars Manderley Antiques Hemline Mariaux Robin & William Mayer Mr. & Mrs. D. Eric McKechnie Gael Mendelsohn Christie Ferer Millard Pierson K. Miller Mr. & Mrs. Richard Netter Dr. Burton W. Pearl Mr. & Mrs. Lawrence B. Pike Priory Partners Mr. & Mrs. Stanley M. Riker Betty Ring Dorothy Roberts 'frevor C. Roberts Joanna S. Rose Richard Sabino Saks Fifth Avenue Mary Frances Saunders Skidmore Owings & Merrill Smith Gallery Richard & Stephanie Solar SONY Corporation of America David F. Stein Robert C. & Patricia A. Stempel Sterling Sound Texaco Philanthropic Foundation, Inc. Marco P. Walker Washburn Gallery Bruce Weber Anne G. Wesson Mr. & Mrs. John R. Young Marcia & John Zweig

The Museum is grateful to the CoChairwomen of its Special Events Committee for the significant support received through the Museum's major fund raising events chaired by them. Karen D. Cohen Cynthia V. A. Schaffner Karen S. Schuster

The Museum also thanks the following donors for their recent gifts to the Permanent Collection, Library and Education Collection: Bequest of Tom Conway Dr. and Mrs. Barry Huffman Martin and Enid Packard Sam Pennington Dorothy and Leo Rabkin Mrs. Winifred GoIlin Robbin Peter Socolof Warner Communications,Inc. Warner Communications, Inc. in honor of Ralph Lauren

The Museum of American Folk Art is pleased to announce slide sets available for sale

These six sets, complete with introductory text and descriptive material for each slide, may be ordered from the Museum's Photographic Services Department. Prices of each slide set include prepaid postage and handling.Just mail the order form and your check payable to the Museum of American Folk Art. 1. Amish Quilts from the Permanent Collection This packet was made possible by a gift from David Pottinger. 36 slides Price:$32 9. American Folk Art: Expressions of a New Spirit A set of40 slides highlighting the Museum's permanent collection. This packet, as well as the exhibition and book, has been sponsored by United Technologies Corporation. 40 slides Price:$32 3. Crib Quilts from the Permanent Collection 12 slides Price:$14 4. The Great American Quilt Festival 2 "Memories of Childhood" "Crib Quilt Contest Winners" 63 slides Price:$35 5. Double Wedding Ring Quilts 20 slides Price:$22 6. Twentieth Century Folk Art from the Permanent Collection 20 slides Price:$22

Order by Mail Slide Sets 1. 36 Amish Quilts

Price $32

2. 36 Folk Art Objects

$32

3. 12 Crib Quilts

$14

4. 63'Crib Quilts' Festival 2

$35

Qty

6. 20 Twentieth Century Folk Art

Amount Name Address

City

5. 20 Double Wedding Ring Quilts $22 $22

State

Applicable sales tax(NY Residents Only) No CODs

Mail to: Photographic Services Museum of American Folk Art 61 West 62nd Street 3rd Floor New York, NY 10023

Please Prin

Total $

Telephone

Zip

MUSEUM OF AMERICAN FOLK-ART

We're putting American art into the home. Today, more people are decorating with American Remarkable facsimiles reproduced in full color on the finest quality paper. And what's more, Folk Art than ever before. And Hedgerow House they are ours alone. continues to lead the way. Patience, • Send $2.00 for our new color catalog tenacity and a keen eye have made us 0229;cilArli) illustrating over 100 folk art reprothe foremost source of American Folk MCDEFGHFIKi OfIRSTrJVWXY2 abcdtrghk mxopqrlseuvvrxyz.1234$57. ductions. You will automatically Art in the world! receive announcements of all new Magnificent works of art from publications as well as a FREE full leading museums, galleries and private color mini-print suitable for framing collections. Portraits, landscapes, and as our special gift to you. still lifes. Theorems,quilts and samplers. ANL

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MUSEUM NEWS COMPILED BY WILLA S. ROSENBERG

DOCENT PROGRAM The Museum has named 78 well qualified men and women as Docents of the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square. They have been selected to provide gallery assistance for the Museum,conduct tours through the permanent collection and special exhibitions, and represent the Museum in outreach programs. Weekday Docents will serve a minimum of one four-hour shift per week and evening and weekend Docents will serve a minimum of one three-hour shift per week. The success of this program is due to the outstanding efforts of Docent Coordinators Mary Linda Zonana and Debbie Dunn who report that they still have a few openings for enthusiastic candidates. Once selected, Docents become part of a training program which requires them to

QUILT CONNECTION MEMBERSHIP audit courses at the Folk Art Institute, and attend scheduled presentations by Museum of American Folk Art staff, exhibition curators, and other professionals in specialized fields. As members of the Museum, all Docents receive complete membership benefits in addition to the folowing benefits: Free tuition for one course per semester at the Folk Art Institute, 15% discount on all purchases at the Museum of American Folk Art Book and Gift Shop and an annual banquet and special Docent receptions throughout the year. Those interested in participating in the Docent program, please direct inquiries to Docent Program, Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square, Two Lincoln Square, New York, NY 10023.

NEW BOOK AND GIFT SHOP Opened in November 1988 at livo Lincoln Square, adjacent to the new Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square (Columbus Avenue at 66th Street), the newest branch of the Museum Shop offers an extensive selection of books on folk art and related subjects. An array of unique gifts in the folk art tradition is available â&#x20AC;&#x201D; textiles, metalwork, wood objects â&#x20AC;&#x201D; as well as reproductions of graphic art from the Museum's collection. Customers are welcome to browse in an inviting atmosphere enhanced by Deb Mores' stencilled walls and grained cabinetry by Rubens Teles. Plan to visit the new Museum Shop located near Lincoln Center in New York City, as well as the Museum Shop at 62 W. 50th Street, across from Radio City Music Hall. Mail order requests should be addressed to the Museum of American Folk Art Book and Gift Shop, Mail Order Department,Two Lincoln Square, New York, NY 10023.

The new shop is proud of Deb Mores' fine stencilled walls and Rubens Teles' grained cabinetry.

The Museum has initiated a new quilt membership of interest to all quilt lovers. Known as the Quilt Connection, this special program is separate from the Museum's regular membership and includes a quarterly newsletter, Museum of American Folk Art Quilt Connection, which will feature articles concerning quilt research, preservation and conservation, and the latest quilting techniques. Each issue will provide current information on quilt programs at museums and galleries across the country as well as updates on state quilt projects. Discounts on a selection of books from the Museum of American Folk Art Book and Gift Shop will also be offered. Membership in the Quilt Connection will offer workshops and tours to private collections, a 10% discount on quiltrelated items from the Museum of American Folk Art Book and Gift Shops, and access to the Museum's library and slide collection, including research material gathered by the New York State Quilt Project. The annual fee for Quilt Connection membership is $15.00 ($10.00 for current Museum members);a portion ofthis fee will be contributed to the Museum's Quilt Fund which is earmarked to preserve and enlarge the Museum's quilt collection. For more information write to the Museum of American Folk Art Quilt Connection, 61 West 62nd Street, New York, NY 10023.

NEW ADMINISTRATIVE OFFICES

From left, Shop Manager Rita Pollitt and Marie DiManno, Director ofMuseum Shops are ready to welcome customers as Rubens Teles and Deb Mores look on.

As of April 1, 1989, the Museum of American Folk Art administrative offices will be relocated in expanded new quarters a few blocks from the new Eva and Morris Feld Gallery at Lincoln Square. All departmental offices, including those of the Folk Art Institute, Library, and The Clarion will be located at 61 West 62nd Street, New York, NY 10023.

The Clarion

Utl

MUSEUM NEWS

GALLERY OPENS Mayor Edward Koch of New York City has issued a proclamation designating the week of April 9-15, 1989 "American Folk Art Week" in honor of the opening of the new Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square. The gallery, at Two Lincoln Square, on Columbus Avenue and 66th Street, New York City, officially opens to the public on Thursday, April 13, 1989. A full schedule of exhibitions and educational programs will be presented in the gallery which will be open daily from 9 a.m. to 9 p.m. Admission is free. The inaugural exhibition,"Expressions of a New Spirit: Highlights from the Perma-

Carousel Horse; Stein and Goldstein; Brooklyn, NY; Circa 1910; Carved and painted wood, glass, horsehair, leather,

Spring 1989

nent Collection of the Museum of American Folk Art' has been organized by Museum Curator Elizabeth Warren and sponsored by United Technologies Corporation. A catalogue of the exhibition can be ordered from the Museum of American Folk Art Book and Gift Shop, Mail Order Department, Two Lincoln Square, New York, NY 10023 ($24.95 hardcover or $15.95 softcover, plus $4.50 shipping and handling; New York State residents please add appropriate sales tax). "Expressions of a New Spirit" will be on view until July 16, 1989. A lecture series at the gallery has been planned for May 1989.

ACCESS TO ART

THREE NEW SLIDE SETS

"Access to Art: Bringing Folk Art Closer" is the inaugural exhibition of Access to ArtP the Museum's program designed to make art accessible to blind and visually impaired visitors. It opened at the New York State Museum in Albany on February 11, 1989 and will be on view there through April 2, 1989. The exhibition, organized by the Museum of American Folk Art and sponsored by The Xerox Foundation, the New York State Council on the Arts and The Mary Duke Biddle Foundation, is the first accessible folk art show, as well as the first accessible traveling museum exhibition. Featured are 30 objects, most of which can be touched by visitors, from a special collection at the Museum. Large print and braille labels and checklist are also provided. This exhibition will be presented at the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square from September 21 to November 26, 1989 before it travels across the country.

The Photo Services department has announced the addition of three new slide sets available for purchase by collectors, students, libraries and schools. The new sets are: 1. A Selection of Twentieth Century Folk Artfrom the Permanent Collection ofthe Museum of American Folk Art (20 slides) 2. Double Wedding Ring Quilts (20 slides) 3. "Memories of Childhood" Crib Quilt Contest Winners(63 slides) Also available are the three original slide sets: 1. Amish Quilts from the Permanent Collection(36 slides) 2. American Folk Art: Expressions of a New Spirit(40 slides) 3. Crib Quilts from the Permanent Collection(12 slides) Slides sets can be purchased from the Photo Services Department, Museum of American Folk Art,61 West62nd Street, New York, NY 10023. For ordering information see ad on page 84. Special thanks go to Beau Gardner Associates, Inc. for donating their time and talent to create the new advertisement for this expanded program.

metal; 48 x 47 x 10;" Museum of American Folk Art, Gift of the City of New York, Department ofParks and Recreation.

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MUSEUM NEWS

BIG APPLE CIRCUS dren from the five boroughs of New York City. Patrons joined Ben & Jerry's and the circus performers for ice cream served ringside after the show. Proceeds from this evening benefitted the endowment fund for educational programming at the Museum of American Folk Art/Eva and Morris Feld Gallery at Lincoln Square. Ben & Jerry's provided the first corporate gift to the endowment fund which will name the Garden Court at the Lincoln Square gallery.

Ben & Jerry's Homemade sponsored "A Night at the Big Apple Circus" at Damrosch Park, Lincoln Center, New York City on December 6, 1988 as a benefit for the Museum. The event featured a very special presentation of the Nanjing Acrobats, one of the most celebrated troupes in the People's Republic of China. In a land of unicorns, dragons, horses, jugglers, elephants and clowns, the Monkey King amused all. Ben & Jerry's made 800 tickets for this event available free of charge to school chil-

Above, Performersfrom the Big Apple Circus; Left, Jerry Greenfield with the Monkey King; Below, New York City school children at the Circus.

Above, Mary Travers, of Peter, Paul and Mary, with her granddaughter.

Above, New York City Parks Commissioner Henry Stern and sons. Clowning around, from left, are Elise Brown, Public Relations Manager ofBen & Jerry's;Jerry Greenfield; Alan Kaufman, Executive Director of Sales and Marketing, Ben & Jerry's; and Johleen Nester, Director of Development for the Museum.

The Clarion

r..1 1

MUSEUM NEWS

MUSEUM'S TRAVELING EXHIBITIONS The Museum is pleased to announce the following exhibitions which will be traveling to your area during the coming months: April 16-June 10,1989 American Wildfowl Decoys Muscatine Art Center Muscatine, Iowa tel. 319/263-8282 May 12-July 6,1989 Life in the New World: Selections from the Permanent Collection of the Museum of American Folk Art Bass Museum of Art Miami Beach, Florida tel. 305/673-7530 June 6-September 4, 1989 Catch A Brass Ring: Carousel Art From The Charlotte Dinger Collection The Barnum Museum Bridgeport, Connecticut tel. 203/384-5381 July 9-September 2,1989 American Wildfowl Decoys Leigh Yawkey Woodson Art Museum Wausau, Wisconsin tel. 715/845-7010

FRIENDS COMMITTEE MEETING The Friends Committee had its December 1988 meeting at the home of Museum Trustee Daniel Cowin and his wife, Joyce. In keeping with the festive holiday season, wassail and hors d'oeuvres were served before a warm fire. Tom Cuff presented slides and discussed his beautiful Mennonite quilt collection for those assembled. Membership applications for 1989 are presently in the mail. For more information about the Friends Committee, please call Kennetha Stewart, Chairperson, at(212)686-8595.

Spring 1989

NEW YORK QUILT DAYS To date, a total of 1,068 New York State quilts made prior to World War II, in a variety of patterns and fabrics, have been registered, documented and photographed as part of the New York Quilt Project. Future Quilt Days within New York State are scheduled for April 8, 1989 in Rockland County;April 15, 1989 in Ulster County; April 17-18, 1989 in Schoharie County; May 13, 1989 in Orange County; May 16, 1989 in Albany; May 17, 1989 in Schenectady;

May 20,1989 in Amherst and Hamburg; May 23-24, 1989 in Delaware County; June 3-4, 1989 in Jamestown; June 10, 1989 in Buffalo; June 14 and 17, 1989 in Niagara County (Lockport); June 24, 1989 in Rochester; and July 11, 1989 in Auburn. Please contact Phyllis Tepper, Director of the New York Quilt Project, Museum of American Folk Art,61 West 62nd Street, New York, NY 10023 for further information.

JOYCE HILL 1929-1988 The Museum has been saddened by the death in December of Joyce Hill, Senior Research Curator, Instructor at the Folk Art Institute and dear friend to many staff members and students. She was an outstanding scholar and generously shared her knowledge through frequent lectures and inspired essays. Her particular area of expertise was New England portraiture of the late eighteenth and early nineteenth century. Among the exhibitions organized by Hill were "Cross Currents: Faces, Figureheads and Scrimshaw Fancies" in

1984;"The Museum Collects: New Accessions, New Directions" in 1983; and "John Blunt/The Man,the Artist and his Times:' with Robert Bishop, in 1980. A graduate of Northwestern University in Evanston, IL, Joyce Hill continued her education in American art history and arts management at Michigan State University. She served as Chairman of Programming and was a llustee of the Ella Sharp Museum in Jackson, Michigan, and was a member of the Jackson City Bicentennial Commission. In addition, Hill was asked to join an early American art project at the Smithsonian Institution prior to coming to the Museum of American Folk Art. The Joyce Hill Collection of American Painted Miniatures at the Museum of American Folk Art has been established in Joyce Hill's memory. Appropriate objects will be accepted and funds will be welcome to build this colleciton at the Museum. Those wishing to donate objects should contact Elizabeth Warren, Curator; those interested in contributing funds should contact Johleen Nester, Director of Development. Both can be reached at the offices of the Museum of American Folk Art, 61 West 62 Street, New York, NY 10023. As a tribute to Joyce Hill, Charlotte Emans a former colleague, has volunteered to research this collection as it expands.

UtN

MUSEUM SHOP TALK KAREN WILLIAMS JOHNSON

Many of you who live outside of New York do not have the opportunity to visit our three delightful museum shops and choose firsthand from their selection of books, handcrafted objects and other unusual gift items. In each issue of The Clarion we will bring a bit of our unique shops into your home by featuring a sample of merchandise available through mail order. In celebration of The Great American Quilt Festival 2, the Museum of American Folk Art Book and Gift Shops present three items of special interest.

sight — often amusing and frequently poignant — into both the memories that inspired these crib quilts and the experiences of the makers while creating them.

THE ROMANCE OF DOUBLE WEDDING RING QUILTS By Robert Bishop Published by E.P. Dutton $18.95 softcover Postage and Handling: $4.50 This full-color, 96-page book presents the endless variety ofthe Double Wedding Ring design in both antique and contemporary quilts. Dr. Bishop explores the origins of this pattern and fully documents its use by American women. The number of unique bedcovers that resulted from countless women working with the same design is striking. By using the patterns developed by Carter Houck, author of numerous quilting books, you too can create a quilt to be cherished by future generations.

Memories of Childhood Awand-Wrining Quilts Created tor the Great Amencan Quilt Festival K

MEMORIES OF CHILDHOOD: AWARD-WINNING QUILTS CREATED FOR THE GREAT AMERICAN QUILT FESTIVAL II By the Museum of American Folk Art Published by E.P. Dutton $15.95 softcover Postage and Handling: $4.50

74F

•

The Romance of Double Wedding Ring Quilts

ADDITIONAL BOOKS AND SCARVES AVAILABLE FROM THE MUSEUM SHOP Two other silk scarves with patterns derived from quilts in the Museum's collection are available, as well. To receive a full-color brochure on our silk scarves send a selfaddressed, stamped envelope to the address below. The Museum Shops carry an extensive collection of books and catalogs on American folk art. To receive a complete list of publications available fol mail order send $2.00 to the address below.

ROBERT BISHOP

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The prizewinning crib quilts from each state and participating countries, as well as the grand prizewinners, are depicted in full color along with personal interviews with the quiltmakers. Each of the quilts makes a unique statement about childhood that has been translated into a fabric reminiscence. For those who may not have the opportunity to view the quilts in person,the photographs in this book capture their charm and special flavor. The personal interviews provide in-

Museum of American Folk Art's permanent collection. The cotton pieced quilt was made in Atlantic, Pennsylvania circa 1920. The handsome mosaic of colors against the black background creates a striking stained glass effect.

DOUBLE WEDDING RING SILK CREPE SCARF 32 inches by 32 inches $29.95 Postage and Handling: $3.00 This stunning silk scarf is based on an Amish Double Wedding Ring quilt in the

ORDERING INFORMATION • List individual items and prices and then total your order. • Museum of American Folk Art members may deduct 10% from price of merchandise. • Next, add 8.25% sales tax if order is mailed to New York City. Add applicable local sales tax if mailed elsewhere in New York State. • Last, add postage and handling charges. • Send check or money order to: Museum of American Folk Art Book and Gift Shop, 'Iivo Lincoln Square, New York, New York 10023, Attention: Mail Order. Sorry, no credit card orders or CODs. • Include your name, street address, and telephone number. We cannot ship to a P.O. box. • Books will be available in May 1989. The Clarion

OUR INCREASED MEMBERSHIP CONTRIBUTIONS NOVEMBER-DECEMBER 1989

We wish to thank the following members for their increased membership contributions and for their expression of confidence in the Museum:

Ruth & Walter Goodman,Sherman, CT Robert M. Greenberg, New York, NY Peter L. Harris, New York, NY Roger Issacs, Glencoe, IL Mr. & Mrs. Stephen E. Laurens, Cincinnati, OH

Dr. Irwin Berman, St. Simons Is., GA Stanley B. Bums, M.D., New York, NY

Mr. & Mrs. H.R. Malpass, Washington, DC Anne Mendel McCormack, New York, NY Pierson K. Miller, Carlisle, PA

W.B. Camochan, Stanford, CA Mr. & Mrs. Donald DeWitt, Beverly Hills, CA Charlotte Dinger, Morristown, NJ Mr. & Mrs. Theodore Foulk, South Royalton, VT Estelle E. Friedman, Washington, DC

Mr. & Mrs. Jon Rotenstreich, New York, NY Mr. Randy Siegel, Atlanta, GA Doris Stack, New York, NY

',-

Mr. & Mrs. William L. Gladstone, Larchmont, NY

Jean Williams, Rochester, NY Jon & Rebecca Zoler, Ridgewood, NJ

Houston's International Quilt Festival is the largest quilt show and sale in the world. Opening night窶年ovember 1, 1989 Festival runs November 2 - 5 George R. Brown Convention Center Houston, Texas CRAZY QUILT, dated 1895. Quiltmaker: Annie McCauley, San Antonio. From Lone Stars: A Legacy of Texas Quilts, 1836-1936, exhibited at the International Quilt Festival in Houston as part of the show's special exhibits showcasing over 600 quilts.

Spring 1989

To obtain a class brochure send a long SASE with 450 postage to: Quilt Festival, 14520 Memorial Dr. #54, Dept. Ny100, Houston, TX 77079, or call 713-496-6877

OUR GROWING MEMBERSHIP NOVEMBER-DECEMBER 1988

The Museum trustees and staff extend a special welcome to these new members:

Brian Cullity, Sandwich, MA Patch Cutler, Bel-Air, CA

Mr. Terrell George Allen, High Point, NC Leroy Almon, Tallapoosa, GA Miriam Altshuler, New York, NY Dorothy Arke11, New York, NY Joe G. Armstrong, New York, NY Mr. Gary Ash, Altavista, VA

Alan H. Darby, Washington, DC Mr. Ed De Masi, Cincinnati, OH Diane Debrovner, New York, NY Susanne Demchalc, Houston, TX Mr. & Mrs. Daniel DeWitt, Burlingame, CA Mary R. Dion, Los Angeles, CA Mrs. Walter Watson Dismukes, Bass Harbor, ME Peter C. DuBois, New York, NY Ms. Audrey Durnan, Claremont, CA Vickie Dym, Northport, NY

Lee Baer, New York, NY Mrs. William Bagley, Columbus,OH Mr. & Mrs. DeWitt Baker III, New York, NY Fred Bartizal, Neenah, WI Dominick J. Basile, New York, NY Jeffrey H. Beaver, Mill Valley, CA Jane C. Beck, Ripton, VT Patricia A. Begley, New York, NY Mr. Stephen Bell, New York, NY Mr. & Mrs. Albert C. Bellas, New York, NY Betty Below, New London, WI Alan Benjamin, New York, NY Mr. & Mrs. Roger S. Berlind, New York, NY Sandra Bigatel, Allentown,PA Amanda Birrell, Austin, TX Joanne Bonica, Massapequa, NY Mr. Lee Booth, Altavista, VA Dorothy A. Bordwell, San Diego, CA Lee A. Bowen, Dearborn, MI Janice Bregman, Tenafly, NJ Mrs. Phelan Bright, Ponchatoula, LA Ann W. Brittain, Natchitoches, LA Sally E Broido, New York, NY William J.T. Brown, New York, NY David Brown, Dallas, TX John W. Burmeister, Richmond Hill, NY Jan D. Burns, New Milford, NJ Ms. Nan Bush, New York, NY William Ewing Butler, New York, NY

Sister Karlyn Cahley, Milwaukee, WI Gail S. Cairns, New York, NY Mrs. Sari Camlot-Litwin, Providence, RI Mary F. Carruth, Seneca Castle, NY Carruth Studio, Toledo, OH James H. Cash, Kingsport, TN Mr. Jack Cassidy, New York, NY Jacques Chaleard, Limonest, France Mr. & Mrs. William R. Chaney, New York, NY Ms. Ruth Clark, High Point, NC Julia T. Clemens, Cleveland Hts., OH Mr.& Mrs. Marshall Cogan, New York, NY Alice Cohen, New York, NY Robert R. Conrad, Redwood City, CA Virginia Cook, Minneapolis, MN Judith Hoffman Corwin, New York, NY John Coughlan, St. Paul, MN Jane Crary, New York, NY 94

Lillian Auerbach Elliott, New York, NY Richard Elliott, Galena, IL Nancy Gage, Emerson, San Diego, CA Joyce Eppler, New York, NY Elizabeth King Ettema, Van Nuys,CA Dr. & Mrs. John R. Evans, Toronto, Canada

Lisa Landis Hannum,Schaumburg,IL Marc Happel, New York, NY Marisa J. Harney, New York, NY Mrs. Lenore G. Hatch, Pasadena, CA John A. Hayward, New York, NY Ms. Jan Hedrick, Altavista, VA Sheila Hewett, New York, NY Judy Hildebrandt, Allendale, NJ Diane C. Hill, Montclair, NJ Drs. Andrew & Irma Hilton, New York, NY John M. Hoffman, Greenwich, CT Mt Gary Hokanson, Rock Mount, VA Beatrice Hole, Dallas, TX Mr. David Horowitz, New York, NY Dr. W. Dale Horst, Newton, KS Charles S. Houser, Queens, NY James A. Hudgens, Chesapeake Beach, MD Glenn Hughes, Hoboken, NJ C. Stephen Hunter, Cincinnati, OH Stanley Hura, New York, NY

Dorothy Ilnseher, New York, NY Glady A. Faires, Knoxville, TN Mrs. Rosalie Farber, Short Hills, NJ Lamont Farrich, New York, NY Fashion Inst. of Technology, New York, NY Fine Art Investments, Des Moines,IA Mary K. Fiorello, Hackettstown, NJ John & Joan Foster, Glen Head, NY Tobin Fraley & Laurie Berger, New York, NY Mr. & Mrs. Charles Fredericks, Weston, CT Mr. George Friedman, New York, NY Elinor Friedman, Oakland, CA Arnold B. Fuchs, Miami Beach, FL Mr. Richard S. Fuld, New York, NY Furniture Doctor, Inc., Augusta, GA

Sylvie Hamilton Gallagher, Brooklyn Heights, NY Fred Gartizac, Neenah, WI Mr. Bruce Gast, Philadelphia, PA Ann Gehlbach, Sarasota, FL Betty Gerathy, Summit, NJ Elizabeth Gilmore & family, New York, NY Ron Della Giovanna, Gardiner, NY Mark Glandon, Chillicothe, OH Ms. Faith Golding, New York, NY Ms. Mariette Himes Gomez, New York, NY Suzanne Griffin, Sunnybank, Australia Mr. Clifford Grodd, New York, NY Michael Gross, Burbank, CA Mr. & Mrs. Martin D. Grins, New York, NY Ellen K. Guerrant, Charlotte, NC Patricia Gurosky, New York, NY Mr. & Mrs. Charles Gwalthmey, New York, NY

Norman & Helene Hall, Great Neck, NY Phyllis Hancock,Cresskill, NJ

Mt & Mrs. Stanley R. Jaffe, New York, NY Sheila F. James, Chicago,IL William Jamison, Portland, OR Ruth Lee Jones, La Crescenta, CA Mt William K. Joseph, New York, NY

Mr. & Mrs. Harvey Karp, New York, NY Diane L. Kaye, New York, NY Elaine M. Kearney, Belleville, NJ Doreen M. Kelleher, Black Rock,CT Judith Kelly, Ivyland, PA Richard Kenney, Redding Ridge, CT Charlotte Ketchum, New York, NY Diana Ides Kettner, Philadelphia, PA Elizabeth King-Ettema, Van Nuys,CA Mrs. Ora Kirkland, Hempstead, NY Kirk C. Kirkorian Jr., Greenwich,CT Gerald D. Kleinman, Santa Monica, CA Vertie Knapp, Stroudsburg,PA Julia R. Knee, Freeport, NY Kathleen Kobel, Fort Smith, AR Mr. & Mrs. Arie L. Kopelman, New York, NY Paula Kora11, Mount Vernon, NY Carol I. Kover, New York, NY James ICranzusch, Atlanta, GA Ms. Helene Diane Kravis, New York, NY C.S. Kuffner, Virginia City, NV Margaret Kusner, Chesterfield, MO

Elizabeth C. Landell, Jupiter, FL Christine Lane, Brooklyn, NY Mr. Douglas B. Lane, Altavista, VA Mr. & Mrs. Jeffrey Lane, New York, NY Jane Langol, Medina,OH The Clarion

OUR GROWING MEMBERSHIP

Beth Lauren, New York, NY Mr. & Mrs. J. Rodney Layton, Birmingham, MI Ms. Delia Leeds, New York, NY Mrs. Glee H. Leet, Union Grove, WI Mr. & Mrs. Richard Lefrak, New York, NY Joan Lehner, Sterling, NJ Martin Lenahan, Bellerose, NY Dr. Mildred Lerner, New York, NY Ruth M. Lesser, New York, NY Mr. & Mrs. John Levy, New York, NY Meryl Lewis, Hastings-on-Hudson, NY Karen Libby, Westbrook, ME Mr. & Mrs. Arthur Liman, New York, NY Mrs. Sari Camlot Litwin, Providence, RI Mr. Dan W. Lufkin, New York, NY Mrs. I.S. Lutenbacher, Conroe, TX Betty Lynn, New York, NY Miss Ada Lyttle, New York, NY

Mr. & Mrs. Edward Pantzer, New York, NY Ms. Margaret L. Peacock, Mobile, AL Lynn Pellino, Staten Island, NY Patricia Penn, New York, NY Richard Penney, New York, NY Deena Perelman, Portsmouth, NH Mr. & Mrs. Mark Perlbinder, New York, NY Bruce L. Peterson, New York, NY Dr. & Mrs. David Petito, Tequesta, FL Richard & Rosemarie Petrocelli, New York, NY Ronald R. Philip, Wichita, KS Mr. & Mrs. Howard Phillips, New York, NY Mr.& Mrs. Roger Phillips, Larclunont, NY Mr. & Mrs. James Pierce Adrian, MI Ms. Nan B. Pirnack, Boulder, CO Ed Pomphrey Jr, Shewsbury, NJ Mary Praytor Gallery, Greenville,SC Barry J. Pribula, New York, NY

Mrs. Josephine Maden, Old Brookville, NY Mark Mainwaring, El Paso, TX Mr. & Mrs. James H. Manges, New York, NY Pat Marcoux, Oakdale, NY Tina Martin, Bethesda, MD Zarela Martinez, New York, NY Valerie A. Martone, New York, NY Sylvia Marx, Mamaroneck, NY Peter Mayer, New York, NY Laurie M. McBride, Snowmass,CO James J. McGuire, Ionia, NY Philip & Raisa McGuire, Salinas, CA Cameron McIntyre, Fripp Island, SC Beverly L. Melrose, Hinckley, OH Bill Mikulewicz, New York, NY Ms. Christy Ferer Millard, New York, NY Thomas H. Miller, Birmingham, AL Polly Minick, Ann Arbor, MI Mr. Joseph Minor, Potomac, MD Mary G. Mohr, Atlanta, GA Mary E. Monti, Barrington, RI Mr. R. Stuart Moore, Altavista, VA Deb Mores, Red Bank, NJ M.E. Morra, Milford, CT Christine Motl, Oconomowoc, WI Lindsey A. Murkland, New York, NY Suzanne S. Murphy, Milford, NJ

Emesto Ramos, New York, NY Ms. Annette Reed, New York, NY Joan Reeves, New York, NY Kathryn Rehrig, Norristown, PA Mr. John Reinhardt, Rocky Mount, VA Mr. Trevor C. Roberts, Burlingame,CA Mary Robertson, Peru, VT David & Edna Rodda,Parsippany, NJ Mrs. S.J. Rosenfeld, Chevy Chase, MD Mr. & Mrs. Arthur Ross, New York, NY Rinaldina & Robert Russell, New York, NY Mr. Derrald Ruttenberg, New York, NY Richard Rydell, Thomaston, ME

Miriam Nadel, New York, NY Cynthia Nagel, New York, NY Mr. & Mrs. Kenneth Natori, New York, NY Newbury Fine Arts, Boston, MA Newcomb Central School, Newcomb, NY Mrs. Donald Newhouse, Newark, NJ

Julie O'Neill, Upper Montclair, NJ Lyn R. Oliensis, New York, NY Margaret E. Osius, New York, NY Mrs. Robert Owens, New York, NY Spring 1989

Salina Art Center, Salina, KS Beth H. Salzman, New York, NY Maudie Samiee, Salem, OR Ilena Satin, Brooklyn, NY Mr. Anthony Scarpa, New York, NY Cory Schafer, Phoenix, AZ Pamela Scheinman, Highland Park, NJ Judy Schepman, Los Angeles, CA Monika Schiavo, New York, NY Mr. & Mrs. Robert Schonfeld, New York, NY Mr. Richard J. Schwartz, New York, NY Mark & Treacy Shaw, Atlanta, GA Mr. George Sheinberg, New York, NY Beverly Sholofsky, New York, NY Mrs. Arthur Shore, Westport, CT Virginia Sibbison, New York, NY Thelma N. Siegel, New York, NY Eleanor Sienkiewicz, Washington, DC James Signorelli, New York, NY Leslie Silverman, New York, NY Ellen Smith, Canoga Park, CA Sarah B. Snook, New York, NY Mr. Jerry Sodders, Altavista, VA Alice W.Solomon, Schenectady, NY Gill Spews, New York, NY Maida Sperling, Great Neck, NY

Lauren Spertus, New York, NY Mr. Jerry I. Speyer, New York, NY R. Spottiswoode, Los Angeles, CA Ms. Pat Stephenson, New York, NY Beth Storms, Evansville,IN Candace Stoudt, Schwenksville, PA Mr. Melville Strauss, New York, NY Mr. Leo Stroll, Montreal, Quebec, Canada

David Tabor, New York, NY Mr. & Mrs. Michael L. Tarnopol, New York, NY Margaret Uhrich Taylor, Hustontown, PA Diane & Bob Thomson, Morristown, NJ Helen Tiger, Carlstadt, NJ Ms. Teri Tompkins, San Francisco, CA Carol Toolan, Rumson, NJ Corrine Y. Tyler, Grosse Pointe Park, MI

Irene N. Underwood, San Carlos,CA

Michael Valdez, Albuquerque, NM Barbara Van Hook, Abington, PA Michael V. Vasilik, Newburyport, MA Mr. & Mrs. John Veronis, New York, NY Linda Vredenburgh, New York, NY Ronald Vukelich, New Castle, DE

Sidney & Linda Wallace, Knoxville, TN Mr. & Mrs. Martin Walzer, New York, NY Mr. & Mrs. Roger C. Ward, Short Hills, NJ Mr. Bruce Weber, New York, NY Herman C. Weinblatt, New York, NY Victor Weinblatt, South Hadley, MA Mr. & Mrs. Ronald Weintraub, New York, NY Arleen Weinstein, Philadelphia, PA Mr. & Mrs. S. Weisskoff, Westport, CT Connie Welling, Mt. Vernon, NY Ronnie Wells, San Anselmo,CA Bruce Wendel, Evansville,IN Beverly B. West, Alpharetta, GA Connie R. Weyers, Arcadia,IN Mr. & Mrs. Gary C. Wharton,Grand Rapids, MI Jane H. Willis, Tenafly, NJ Ellim Witt, New York, NY Kyle A. Wolfe, New York, NY Mr. Seymour Woodnick, Altavista, VA Mr. & Mrs. Jon A. Wurtzburger, New York, NY Charles Wysocki, Cedar Glen, CA

Susan Yecies, New York, NY

Zena Zipporah, Shaker Heights, OH Matthew & Grace Zobeck, Cincinnati, OH

JAY JOHNSON

JAY JOHNSON RUBENS TELFS

Tues.-Sun. 11-6 Closed Mon. 628-7280

America's Folk Heritage Gallery

1044 Madison Avenue,N.Y., N.Y. 10021

INDEX TO ADVERTISERS 23 All Of Us Americans 18, 19,20 America Hurrah 76 Americana by the Seashore 75 American Festival Cafe 25 American Primitive Gallery 21 Ames Gallery of American Folk Art 64 Art Underfoot Inc. 78 Authentic Designs 26 Cynthia Beneduce Antiques 22 Ruth Bigel Antiques 66 Robert Cargo Folk Art Gallery 17 Christie's 88 Coats & Clark Inc. 73 Crown Publishers 37 Double K Gallery 69 E.P. Dutton 36 Leslie Eisenberg Folk Art Gallery 34 Epstein/Powell 81 Fairfield Processing 8 Laura Fisher 67 Thomas G. Foster 78 Pie Galinat 76,77 Gallerie Americana 35 Gasperi Folk Art Gallery 37 Sidney Gecker American Folk Art 4 Giampietro 36 The Grass Roots Gallery 96

85 Hedgerow House 71 Joint C. Hill Hirschl & Adler Folk Inside Back Cover 71 Hmong Handwork Houston's International Quilt Festival 93 29 Stephen Huneck 7 Martha Jackson 75 Jamar Textile Restoration Studio 96 Jay Johnson 78 Rebecca Jonas Crib Quilts Inside Front Cover Kelter-Malce 73 Lady's Circle Patchwork Quilts T.P. Langan American Folk Art 63 Gallery 66 Leon Loard Gallery of Fine Arts 63 Main Street Antiques and Art Manufacturers Hanover Trust 64 Company 76 The Marston House 1 Steve Miller 16 Mongerson-Wunderlich Galleries 6 Morning Star Gallery 22 Mt. Vernon Antiques Museum of American Folk Art 84 Slide Sets 24 Nantucket Collection 65 Oh Suzanna

27 Outside-In 14 Susan Parrish 65 Patchwork House 2 Lynda D. Peters 27 The Quilt Gallery 73 Quilting Books Unlimited 3,5 Quilts of America 71 Raw Vision 15 Roger Ricco/Frank Maresca 13 Stella'Rubin 28 The Rug House John Keith Russell Back Cover Antiques, Inc. 24 Sailor's Valentine Gallery 67 Kathy Schoemer 30 David A. Schorsch 35 Shapiro & Stambaugh 67 South Bay Auctions 66 The Strawberry Patch Calico Shop 12 Sweetgum Galleries 9 The Tartt Gallery 89 That Patchwork Place 23 Udell Antiques 77 Vermont Patchworks 77 Vermont Quilt Festival 10 Thos. K. Woodard 21,75 Shelly Zegart Quilts The Clarion

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SPRING STREET,SOUTH SALEM, WESTCHESTER COUNTY, NY. 10590 (914)763-8144 â&#x20AC;˘ TUESDAY-SUNDAY 10:00-5:30