2005 Honoree Bets Ramsey has had a life-long love of the arts and needle crafts. The summer after her graduation from high school, she and a friend set up a dressmaking business in her parents’ dining room. After earning her B.A. with honors in Art, Bets focused on her marriage and raising her four children.
In 1970, Bets Ramsey decided to go back to school and get a master’s degree in crafts from the University of Tennessee. She selected quilt making from a list of research topics, never imagining where it would lead her. She studied all the quilt books in the library. As
she interviewed relatives about he grandmother’s quilts, the past and the grandmother she had never known became very real. This was the beginning of a new career path, and she has followed it ever since: making quilts and wall hangings; writing, teaching, and lecturing
about quilts; and curating quilt exhibits.
In 1994, Bets decided to make her own artwork her priority. “Finally, I could see myself as an artist,” she says. “I began to understand that in the past I had refused to claim the title and take the responsibility for living it. Now I know that I am an artist and this is my work.
I will continue to curate exhibitions, to write articles, and give lectures because that is what I do, but my studio work comes first.”
Bets’ work is characterized by low key yet animated colors and patterns and careful attention to technique, reflecting both her formal training in design and her love of art. Many of her pieces are pieced of historic textiles, adding to the uniqueness and stories of the pieces.
We will have some of Bets’ pieces on display at The Quilters Hall of Fame February 22 – May 7, 2022. Tuesday through Saturday, 10 a.m. To 4 p.m. We’d love to have you stop in to see them.

Deb Geyer

By Helen Kelley, 1999

Honoree Helen Kelley made a series of “postcard quilts” showing places that she had visited. Helen’s label card that came with this quilt says, “Ireland- The streets of Dublin are lined with Georgian homes, each with its bright colored door and brass knocker. The basement kitchen area at the front of each home is fenced with ornamental iron. You can seethe park across the street, that private outdoor green space that gives relief in an area where buildings come down to the edge of the sidewalk. At the top, quilted smoke curls from the chimney pots.”

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This quilt uses a variety of fabrics to allude to the textures without actually representing them. Exceptions are a brick patterned fabric used as surrounds for the doors and foliage patterned fabrics used for the trees. The arches over the doors are pieced of a dozen different pieces of fabric to achieve the arch. Windows use a blue and white shaded fabric that gives an impression of reflection. Steps are made of several different shades and patterns of grey fabric. Fences are created by enhancing checks or striped prints with black stitching and French knots. Panels of the doors are defined in outline stitch in colors matching the color of the door. Black hand rails, door knockers, door knobs and letter slots are embroidered and the sidewalk in front of the park has brown linear embroidery. A narrow pale green inner border defines the scene. The date “1999” is quilted near the proper left lower corner. The quilt is machine pieced and hand appliqued and embroidered. The hand quilting in a variety of patterns outlined for architectural elements, curve-linear for foliage, lines and rectangles for sidewalk, cross-hatch diamonds for the roof and clam shell for the sidewalk and roads. The quilting is in white thread at about eight stitches per inch.

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The white muslin back is designed like a postcard. Hand embroidered in dark blue chain stitch in the address position is one line: “Sure, it’s a little bit of heaven!”. The stamp cancellation is the name, date and number of the quilt in a circle: “Dublin Nov 1984 XIII”. This is done in dark gray stem stitch. The stamp is an appliqued green shamrock with a green border inside a diagonally striped added border and dark gray cancellation lines in stem stitch across the stamp.

Helen Kelley was inducted into The Quilters Hall of Fame in 2008. See her biography at: https://quiltershalloffame.net/helen-kelley/

The Quilters Hall of Fame is currently working on a virtual tour of the Marie Webster House featuring quilts from the collection. This quilt will be included in the virtual tour, soon to be posted!

By Marguerite Ickis, c. 1930-1940.

Honoree Marguerite Ickis made this quilt from pieces of costume fabric leftover from theatrical plays made possible by the WPA Federal Theatre Project, for whom she was a consultant. The Federal Theatre Project organized and produced theater events. It was an effort of the administration of President Franklin Delano Roosevelt to provide work for unemployed professionals in the theater during the Great Depression.

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The quilt has a black satin background with fan blades made of various shades of red, yellow, blue, magenta, purple and pink, in satin, velvet and crepes. All fabrics are solids, no prints. The batting is a very thin sheet cotton. The quilt is pieced, appliqued and quilted by hand and has a straight grain binding of black satin attached by machine and sewn down by hand. The features, color scheme, and arrangement give the quilt an “Art Deco” flair.

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For the quilting, there are feathered wreaths in large plain areas. Each fan blade has one line of quilting running through the center lengthwise. One row of stitching follows the shape of applique. On the triangular ground opposite the fans there are eight petal floral motifs. Heavily feathered vines fill the sashing.

Marguerite Ickis was inducted into The Quilters Hall of Fame in 1979. She loved to tell people, “I’ve led nine lives, and I’ve loved every one of them.” She was a botanist, worked for the Girl Scouts, was an editor, a dean, writer, quilter, researcher, an innkeeper, and upon retirement a painter.

The Quilters Hall of Fame is currently working on a virtual tour of the Marie Webster House featuring quilts from the collection. This quilt will be included in the virtual tour, soon to be posted!

We’ve recently honored our veterans, and there were lots of poppy memes and photos going around the internet.  Deb Geyer shared these from The Embroiderers’ Guild of Victoria:

And I found this beaded example by Crystal Behn, A Dine and Carrier artist:

The first Embroiderers’ Guild shot looks like a quilt, so I’m somewhat on topic, but since this is the Hall of Fame blog, I’d be remiss if I didn’t show Marie Webster’s Poppy quilt (The above version was made using Quiltsmart printed interfacing). You’ve all seen it in red, and maybe pink; this is a rather rare colorway from the collection of Suzanne Hardebeck:

Marie’s design has inspired many interpretations.  Here are two that have been exhibited at the Quilters’ Hall of Fame. The one on the left is “Love Returns” by Susie Goodman, and the one on the right is from Bonnie Browning’s lecture at Celebration 2013.

I could tell you that the takeaway here is “Poppies are popular”, but my real intention was to provide a segue to an idea that struck me when I was at the Milwaukee Museum of Art a little while ago: twinning art and quilts. I thought it would be fun to see how many paintings would put me in mind of a TQHF Honoree.

You may be familiar with the story of how TQHF Honoree Jonathan Holstein noted the connection between the work of artists like Josef Albers and Amish quilts, and went on to mount the seminal exhibit of quilts as art at the Whitney Museum fifty years ago. Here are two Albers compositions from Milwaukee, and you can readily see the similarity between them and a log cabin quilt.

The paintings also made me think of the progressive color bands in the American Tapestry (Trip Around the World) kits sold by Heritage Honoree, Mary McElwain.

These were just the first connections I made.  When I turned the corner, I came across another potential pairing, Georgia O’Keefe and Ruby McKim. What different interpretations!  Where O’Keefe is organic in form, piecers have to be more angular. I personally find the painting to be almost sensual, but I also love the orderly arrangement of the quilt.

Next up was a fun artist who was totally unfamiliar to me: Cleveland Brown. I thought at the time that he and Honoree Yvonne Porcella would probably be kindred spirits.  Their work shows a real sense of whimsy and action. Contrast these two treatments with Ruby McKim’s “take” on a circus. (I’ve put them one after another because I couldn’t figure out how to create a three-ring circus and still show detail.)

And finally, another Porcella/ painter visual connection can be made with Yvonne’s first quilt, “Takoage”, and an intriguing 3-dimensional piece by Israeli artist Yaakov Agam, “Union II”.   The painting is done in such a way that it changes colorway as you move in front of it. First the quilt, and then a left-center-right view of the painting.

The painting also makes me think of Honoree Michael James’ early work.  Here’s one of his quilts in the same colorway as the right view of Agam’s work.

If I count an O’Keefe/ Webster poppy match, I’ve linked six Honorees with paintings (some with multiple connections): Marie Webster, Jonathan Holstein, Mary McElwain, Ruby McKim, Yvonne Porcella and Michael James.  I’ll bet you can think of more.  I invite you to try to try this fun exercise the next time you visit an art gallery or museum, and let me know what you find.

Your quilting friend,

Anna

When I first agreed to write this blog, it was with the intention of showcasing The Quilters Hall of Fame Collection: the “stuff” we have in the attic.  But then COVID came along, and I wasn’t going for Collections work days every month, so I switched up to writing about the Honorees which was something I could do from home. Now, Dale, Mary Jane, Regina and I are back on track-with a little help from our friends, and I have some interesting (I hope) things to tell you about.

The big news, which you might have seen on TQHF’s Facebook page or elsewhere, is that we have received a fantastic donation of quilts made or collected by Hall of Famer, Mary Schafer. I wrote a little about Mary last November, and told you that there are many, many Schafer quilts on the Quilt Index.  That’s partly because during her lifetime, Mary donated a large number of her quilts to Michigan State University.  Those quilts have been designated “Collection One” and we now have “Collection Two”, the remainder of her extensive work. An exhibit of all of Collection Two is promised for next Spring or Summer.

Let me take you behind the scenes with this exciting acquisition. Mary’s granddaughter, who had a close connection with Mary, was moving to Florida and decided it was time to end her stewardship of the collection. She contacted us and offered the quilts and we were thrilled to have them. Things went very smoothly in the end, but there were some issues along the way.

We knew that we don’t have room to keep all 100+ quilts in the climate-controlled Collections room on the third floor, so we had to decide what we could take. Dale Drake did a marvelous job of triage, but hard decisions had to be made. It’s difficult to determine from a picture alone which quilts are high priority to keep; color and condition often don’t photograph well. (As it turned out, condition was rarely an issue because, even though Mary herself stored the quilts in egg cartons in her basement, her granddaughter had kept the larger ones flat on a bed, and most were in very good shape.) Here’s a shot of Mary’s first quilt, Rhododendron, which shows its age, but is going to stay with us because of its historical significance—not to mention its pleasing motif.

Then there was the question of which full-size quilts were most representative of Mary’s work. A first quilt, like Rhododendron, was an obvious choice. And then the first quilt Mary designed. And then some samples of her particular style (she’s noted for taking a simple block for the quilt center and adapting an element of the block for the border). We all drooled over a medallion quilt, The Harvesters, and then there was a second medallion that looked pretty good too. But what about the medallion that was Mary’s foray into broderie perse? The rest of the committee thought three medallions was more than enough, but I lobbied heavily to include the Welsh medallion. I’m glad I did because when we saw it on the table, we all realized it’s an excellent example of the Welsh style and has a typical, charming color scheme—a good contrast to the other medallions. Here’s Harvesters and “my” Welsh one.

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We had to make selections (I almost said “cuts”, but that’s a scary word when it comes to quilts) among the crib quilts, but we decided we could keep all of the doll quilts—they don’t take up much room. We told the family that we would find good homes for the quilts we can’t keep, so watch for an announcement of a sale following the exhibit of all of Collection Two (probably not before Summer 2022, but keep your eyes peeled because there will be some wonderful items).

Next, there was a logistics problem: how to transport over 100 heirloom quilts from the Ann Arbor, Michigan area to Marion, Indiana? Should the Collections committee drive up and retrieve them, incurring travel and lodging costs? Did we know someone in Marion with a camper who could fetch them back and keep them close the whole way to their new home?? Should we hire a fine arts mover who would drive straight through and not risk having the quilts sit in a motel parking lot along the way, but who would charge three times the fee of a regular mover??? In the end, Mary’s granddaughter and her husband delivered the quilts.

But that still left us unloading the U-haul and getting everything inventoried. Lots of steps were taken bringing the quilts into the Honoree Parlor on the first floor of the House. After a quick pizza break (all hands washed carefully before returning to the quilts), we had everything cross-checked awaiting photo-taking the following day. Photography was set up on the second floor, so that meant shifting everything up one flight. It took four of us a good nine hours (we did stop for lunch and dinner) to get a shot of each quilt, front and back and usually a detail of the quilting or interesting fabrics. And once the pictures were taken, everything had to go up one more flight of stairs to be laid out for cataloging and storage.

Along with the donation of quilts came the remaining contents of Mary’s sewing room: two sewing machines, slides—hopefully of quilt-related scenes, but maybe just vacation shots– with three different kinds of projectors, bags of notions, an entire box of clothing patterns (Mary made garments before she started quilting), fabric including bark cloth curtains, and a fair amount of correspondence (Mary participated in Round Robin pattern exchanges and wrote often to other Hall of Fame Honorees).  Of course, all of this was mixed in with church bulletins and auto oil change brochures, so another volunteer spent all day sorting out the obvious “chaff”. Who knows how much of the remaining “wheat” we’ll keep? It will all have to be photographed, measured and described, and that data entered online.

If you are in the Museum business, all of this probably sounds familiar to you. I’m still new to the “game” and enjoying the learning process, and appreciating the opportunity to see such wonderful objects up close and personal. I hope you’ve gotten a glimpse of what goes on behind the scenes when a donation is made. It’s lots of work, but willingly done at TQHF by a group of dedicated volunteers: the Collections work group and members of the local Marie Webster Quilt Guild.

If you’re still reading, I’ll tell a tale on myself with regard to another donation. In 2019, we received a large plastic bin of items from the shop of our first Heritage Honoree, Mary McElwain. With COVID looming, I offered to take everything home with me to catalog. As I said, I’m new to this, so it’s been a learn-as-you-go process, and not always successful.

When we accept a donation, we assign it an acquisition number, and every object in that group gets its own object number. These are the numbers that organize our online Collections catalog. (You can access Past Perfect from TQHF’s webpage by hovering over the tab labelled “About The Quilters Hall of Fame” and then clicking on “Collections”.) Then each object is described, photographed, and measured; condition and provenance are recorded; and location within the Museum is entered (because there is no way we can remember where we put each item).

So, here’s one of the objects I was working on. 

I knew it came from the McElwain shop in Walworth, WI (by a circuitous route involving two successor business owners), and I thought it was a grouping of cardboard templates.  Remember, McElwain was in business before rotary cutters, so women often used heavy paper to trace shapes for cutting. So, I dutifully and laboriously separated the pieces into like shapes and proceeded to catalog them.

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There were over 50 of them, and I was up to “bbb” in the sub-numbering. This work can be tedious, but it’s important to be accurate—or so I’ve been told.

Well, the joke was on me because when I came to this next object, I saw my error.

This shows pre-cut pillow kits in “The Laurel” pattern. You can see that the fabric came in a stack between two pieces of cardboard secured by a rubber band. Those cardboard shapes that I thought were templates were merely packaging used to protect the fabric pieces in the kit. We decided to keep the packing where it was part of a kit and to discard the extra unused pieces. All that work for nothing! Well, not for nothing; I learned a few lessons: not every object is worth saving for posterity and figure out what you’ve actually got before you start trying to catalog it.

The good news is that after working my way through nearly 40 items, I’m almost finished.  Everything will soon be up on the internet and you’ll be able to browse through McElwain’s inventory almost like it was on Amazon—or Amazon with a historical filter.

I’ll be finishing up on my writing about the Honorees in short order; just a few left because I’m not going to do the most recent inductees (too soon for an update) and I’m also going to skip the ones I know personally (too much like gossip). After that, I’ll take up my original purpose again and tell you about the Collection.  I hope you’ve enjoyed this first Collections installment.

Your quilting friend,

Anna

I don’t know about you, but January is a time for me to draw in, reflect, and simplify. This has become especially true this year since the pandemic is still limiting my social life and activities. So, I’ve been thinking about quilting in the days before we had so many gadgets and tools, and that led me to Honoree Georgia Bonesteel.

Georgia’s quilting career spanned the time when TV shows and video tutorials were the rage. (Now we just go to the internet.) She started with crazy quilt handbags as a guest star on Sewing is Fun, a local New Orleans show, and went on to have her own PBS series in 1976.  By 2003, she had made twelve more 13-part series. She really enjoyed combining quilting and teaching. You can read more about Georgia’s life in the bio link below, and you can find many of her segments on YouTube.

I watched the first video she ever made, just to get a sense of her as a person for writing this blog. But guess what? I picked up a few pointers which I’ll be trying on my next big project (Edyta Sitar’s Alaska quilt, which uses templates). You can watch it at the link below.  Sometimes it’s good to go back to the basics. 

She has also authored a number of books based on her “lap quilting” method: piecing and quilting small sections and then sewing the quilted sections together at the end. It was innovative when she introduced it, and as her last volume says, it still “lives”.

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Take a look at the quilt on the cover of “More Lap Quilting” (top row, middle).  Here’s the original quilt which is now in the Quilters Hall of Fame Collection. You can view closeups of this quilt and read why Georgia “cherished” it at the link below.

Georgia has been a good friend of the Quilters Hall of Fame, and a regular attendee at our Honoree Celebrations each July. In 2004 her son, Paul, recorded video footage of the grand opening of the Marie Webster House.  The following year, Paul turned the video into a film for PBS featuring Georgia’s quilts and telling the story of quilting from Webster forward.  It also includes great views of the Hall of Fame, along with an interesting panel discussion among Honorees Barbara Brackman, Joyce Gross, and Cuesta Benberry along with quilt historian Connie Chunn.

“The Great American Quilt Revival” is sold out in Georgia’s online shop, but it’s still available through The Quilter’s Hall of Fame. Here’s the link to the store: https://shop.quiltershalloffame.net/t/georgia-bonesteel . If you use the code “BONESTEEL” when you order, you’ll get a 20% discount on any one Georgia Bonesteel item. And you might find some other things to purchase while you’re there.

We are also privileged to have several other objects from Georgia in our collection. One of my favorites is a wall hanging titled “Three Banners: The Street Where Quilters Live”. It was made by Georgia and some of the famous quilters she met while producing her TV shows.

It depicts an imaginary house for each of 36 quilters, most made by the quilter, and three made by Georgia in addition to her own, where she supposed they might live according to their respective quilting styles. I love the fact that she took the time to reflect on their personalities and to put some individual element into each block. For example, you may remember from my April 4, 2020 blog about Virginia Avery that she was not only a quilter, but also a jazz musician.  Here’s her block showing “Sunday Jazz at Folly Farm”.

And here’s one that uses the Seminole piecing which Cheryl Bradkin was noted for. There’s a link below if you want to see more of the blocks.

I don’t know whether Georgia Bonesteel was the first to make this kind of album quilt—a step up from “signature”/ name-inscribed quilts that have been around since the 1840s– but she wasn’t the last. Our 2021Quilter’s Hall of Fame Inductee, Marti Michell, assembled a similar quilt representing many quilters (not houses, but each block represents the quilter in some way.) Here’s the block in Marti’s Silver Star Friendship quilt made by Cheryl; it’s the cover of her Seminole piecing book.

Here’s another example of a Bonesteel group quilt with components made by all of the teachers on a quilting cruise. This one is also in The Quilters Hall of Fame collection. Check the link below to see who the teachers were. I think Doreen Speckman must have made the “Peaky/ Spike” block in the lower right sail; do you agree?

Like many of us, Georgia Bonesteel started sewing clothing for herself and her family.  And once she was into quilting, she didn’t forget her garment-making roots.  She participated in the Fairfield Fashion shows (see my Jean Wells blog), and donated several items of clothing to The Quilters Hall of Fame collection. She gave a four-piece ensemble comprising a dress, belt, vest, and (yes, you’re seeing that right) cover for her Bernina machine.  The title? “Have Machine, Will Travel”.

Her gift of the “Harbor Light” group represents the flame of the Statue of Liberty’s torch. And the final item, just identified as “Jacket” is the most sophisticated of the collection.  You can read full descriptions and see more pictures at the links below.

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These are the pieces we’ve kept for TQHF’s collection. Our storage space is very limited, so we’ve culled a representative bit and have passed on the rest to The International Quilt Museum in Lincoln.

I’m going to backtrack a little and return to books because Georgia has continued to write. And her more recent ones are often self-revealing. Do you see the bird on the black quilt on the cover of Quiltmaking Legacy? As of 2014, Georgia has kept chickens at her house, and is a member of the Hendersonville Hen Society.  And I know the block on the lighter quilt has a different name, but in this context, I can’t help thinking of rooster combs.

And here’s Georgia’s most recent effort in which she shares family history and gives you a peek at her furniture. I have to admire someone who is so willing to share not only her technical expertise but also her personal information. Quilters are reputed to be giving, but we’d be hard-pressed to find one more generous than her.  Thanks, Georgia Bonesteel.

Your quilting friend,

Anna

Bio info. https://quiltershalloffame.net/georgia-bonesteel/

Spinning Spools object record. https://quiltershalloffame.pastperfectonline.com/webobject/B5D7C999-DCCF-4489-970E-698477563951

First video. Georgia said, “This instructional video was produced in 1988 by Oxmoor House publishing and sponsored by Bernina USA. This was the first (and only) VHS video created to teach my “lap quilting” technique outside of the PBS studios of North Carolina Public TV. This video teaches how to make three quilts including the “Carnival” “True Blue” and “Garden Party” quilts.”https://www.youtube.com/watch?v=eeU6in3nHog&feature=share&fbclid=IwAR1S9CJqIRpDdgFI6uPR3MWYPrGUES8qBJDMgFK6SCbdAG4x7FmhW_pdblU

Three Banners quilt. https://quiltershalloffame.pastperfectonline.com/webobject/E48C0E83-5EAD-4499-88AB-576927272073

Cruise quilt object record. https://quiltershalloffame.pastperfectonline.com/webobject/20303541-FA2B-45E7-B27D-992174538019

Have Quilt object records. https://quiltershalloffame.pastperfectonline.com/webobject/98D8B71D-184A-4131-8A48-776420903964

https://quiltershalloffame.pastperfectonline.com/webobject/4A50C663-21CD-4B9F-BA08-789047439802

Harbor Light object records. https://quiltershalloffame.pastperfectonline.com/webobject/15F13018-1830-4B92-B3AE-071817501276

https://quiltershalloffame.pastperfectonline.com/webobject/7FAE53AC-8E3F-4636-9A98-535571281597

Jacket object record. https://quiltershalloffame.pastperfectonline.com/webobject/4A50C663-21CD-4B9F-BA08-789047439802