Finding Braidwood

Airing of the Quilts 1998

Braidwood, with its historical country town presence, offered  a weekend of quilting activities including a spectacular Airing of the Quilts.  A couple of us Literary Guild girls decided to make the pilgrimage.  Braidwood is "close" to Canberra but from Sydney it would be quite a long day trip.

The organisers did a great job and we certainly had little trouble putting in a whole day.  Better still, we could surround ourselves with quilts, enjoy a day without adding to our UFO box yet find some wonderful craft shops & galleries, including a very, very busy patchwork shop!  Who wouldn't want to come to Braidwood again...

This summer quilt celebration has been on our "Wish List" calendars since 1995.  Braidwood is a heritage listed town and lovely to visit at any time.  To find current information about this event check Braidwood Quilters on their Facebook page.

I will most certainly have photos to scan but where they are located is now the question.  Until then, this post rounds out a busy 1998. On another end of year note, and in the blink of an eye, 2014 is upon us.  So I wish you all the best for this new year and "may all your quilt seams line up  precisely"! 

Show Pony

Quilted Jacket: 1997

I wanted to update my wardrobe with a little bit of patchwork fashion and had fallen for Mary Mashuta’s book, "Wearable Art for Real People", 1989.  I chose my favourite design, found a pattern and selected fabrics with pink & black roses as a starting point. Later I added a batik, a nice soft, fine cotton, for lining and sandwiched pellon inbetween.  The main fabric was hand dyed (discharged dyed) after folding it shibori style.  (This actually jogs my memory about a class I did with Deborah Brearley and the Geelong Quilters Guild- 4 Jun 1988- some years before.)  I've been dabbling with dyeing (procion dyes & bleaches) every now and then ever since.  

I loved this jacket, even though I hardly wore it.  I had made the sleeves ¾ length and I found that a bit annoying in the end.  Somehow solutions to fix it only seemed to make it worse.  And by then of course, such dramatic pieces were no longer fashionable...

The jacket would look better if it was on a model but
one can't take photos & model at the same time!!!

Learning New Things

Stars & Angels: 1997

I made this mini wall hanging in a self-help workshop with the RLI girls.  We decided we wanted to learn the “new” & fashionable fused applique technique.  The girls had just emerged from a series of classes for a traditional Baltimore-style applique quilt, so this fast, finish-in-a-day sample (sure! ever hopeful...) seemed a bit of a release. 

Being so close to Christmas, we worked with that theme in mind and chose this pattern, although I’m not sure where it actually came from.  We fused on the angels and stars, then blanket stitched around them.  The result was a bit folk-arty for me.  I used up lots of Christmas fabric scraps (many were rather old designs, even then….but waste not, want not!).  I used even more left-overs for a random patched backing.   It all worked quite well with the folksy theme.

Just for the Record:

Quilt Finished Size: 65x 78.5cm
Block Size:”
Cut in: 1997
Pieced & Basted: Machine 1997
Quilted: Hand 1997
Quilt Type: Workshop
Quilt Finished: 1997
Exhibited:  No
Collection: Home# 028
Pattern Name: Unknown
Fabrics Purchased: 1980’s
Fabric Design: Christmas prints
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Cotton
Backing: Cotton

Lessons Learned:
Whilst I enjoyed spending the day with the girls, I think I was beginning to understand that I wasn’t getting much joy from slavishly copying other people’s quilts. Having said that, I do think it’s important to try new techniques and experiment a little (or a lot!).  All this helps define your own style.  

Using up every last bit of scrap

Scrappy Shoo Fly

Shoo Fly Star: 2004  (Started: 1997)

We made a Shoo Fly Star pattern in a workshop with Joy Dixon (Feb & Mar 97) arranged by the RLI girls.  This one was to be my second pink & grey – perhaps I had so many left-overs from the previous quilt I needed to do something with them.  I only made a sample or two of the blocks (it was a new method for sewing flying geese) as I couldn’t make all the lessons.  Eventually in 1998 I resorted to a pattern in Nancy Martin’s Book “Rotary Roundup” p97 to get on with constructing the top. That book was a real help too as I’ve always found the Hopkins & Martin books very accurate when it comes to instructions eg. rotary cutting measurements.   

This one is made up from two blocks, a shoo fly star and a sawtooth or evening star. Ready for basting in late 2001.  Eventually, I gave it to mum for her spare bed although I’m not sure of the year.  No details confirmed until I next visit…….

Just for the Record:
Quilt Finished Size: 168x 208cm
Block Size: 8”
Cut in: 1997
Pieced & Basted: Machine 2001
Quilted: Machine 2004
Quilt Type: Workshop
Quilt Finished: 2004
Exhibited:  No
Collection: Private
Pattern Name: Shoo Fly Star
Pattern Source: Joy Dixon
Fabrics Purchased: Colour Collection
Fabric Design: Prints & Plains
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Cotton Batt
Backing: Cotton

Lessons Learned:
I was finally beginning to relax a little with the machine quilting technique and although still doing straight lines realised that was ok as long as the design was used effectively, improving on the look of the quilt. (This was before the rage for large quilting machines and at a time when I’d just purchased my new Bernina in 2003 – but more on that later!)  

A  few notes embroidered on the back to help me remember?

An Aside:  I'd quite forgotten that I machine quilted this in Delhi and bought the stripe fabric for the bindings from a tailor's shop in Khan Market.  The funny thing was that they did not believe that I had actually sewn the quilt myself...  They must not have met too many (fastidious) quilters! 

Red Stars & Green Checks

Red Stars: 1998 & Green Checks: 1998  (Started: 1997)

These quilts were constructed following a shopping trip with the RLI girls!  I can remember stitching them frantically while we were still living at Watsons Bay.  Even Sue from the Bondi Evening Embroiderers can remember my frenzied efforts, which she kindly reminded me during our 2008 Art Quilts classes!  Not clear what became of J’s quilt even though he did take a fancy to it; I don’t think it survived its little holiday down in Ulladulla – and hasn’t been seen since!

This is the "missing" link; probably wrapped around
a surfboard somewhere.  Block 15" & finished size 170cm square

Both quilts were made in flannel, popular at the time as they produced a “cuddly” quilt, but were rather poor quality material.  I machine patched them and then tied them with buttons rather than quilt them.  Regrettably, the flannel did not appear to be wearing well, so I stitched them both in Perle (#5?) in matching colours (navy & dark green) to hold them all together, finishing this task in 1998.  This was the first time I had used Perle thread for quilting and I was rather pleased with both the effect and the fact it stitched up fairly quickly.  The combination of checks and plains did make a colourful, if not somewhat dark, boy’s quilt but I have never touched flannel again!  Great for PJ’s but not quilts when you consider all the work you put into them!

Shown finished to the RLI girls at our regular Saturday Randwick meeting on 18^th April 1998.

Pre-digital & sharing with "not so lovely" washing...

Just for the Record: A’s only
Quilt Finished Size: 119x 152cm
Block Size: 12”
Cut in: 1997
Pieced & Basted: Machine 1997
Quilted: Tied & Hand 1997-98
Quilt Type: Family
Quilt Finished: April 1998
Exhibited:  No
Collection: Home# 027
Pattern Name: Nine Patch on Point
Fabrics Purchased: 1997
Fabric Design: Checks & Plains
Fabric Style: Flannelette Cotton
Materials Type: Cotton
Wadding Type: Thin Poly Batt
Backing: Cotton

Somehow the colours are not "real" in these two photos
Here is yet another lesson in photographing quilts....

Lessons Learned:
This was most certainly a big lesson on fabric choices and fashion fads. Whilst flannel quilts were certainly cuddly, they did not stand up to wear & tear, even in their first year, hence the need to quilt them.  Even though they were meant to be “everyday” quilts, there is so much work involved (not to mention expense) that I now would prefer to choose quality fabric every time.

Beary Good Girls

Milly & Molly: 1997  (Started: 1996)

I bought a Merry Beary bear pattern #72 during a trip to Berrima in 1996, and finally managed to put two girls together in 1997.  I started stitching their jackets in May 98, but the embroidery & applique aspect of it languishes still.  I have a photo of them amidst the packing up for our move from Watsons Bay to Kenso, so they were just in need of jackets even then.  I gave the girls to mum for a bit of girl talk. One day she’ll get their jackets too!

The bears themselves were quite easy to sew up and I managed to find a rather nice felty type of fabric.  Very Cute with their little dresses!!

This is the pattern which I found on ebay & currently for sale.
I'll replace this with a photo of the girls one day soon. 

Birds on the Plain

Flock (of Pink & Grey Galahs): 2004  (Started: 1996)

Galah photo from Wiki

I’d been working on an idea since my Tamworth years inspired by those crazy pink & grey galahs which to me typified life on the North West slopes and plains.  I’d even called my idea in advance, “flock” and that has been the cause of a great stumbling block.  I made two quilts in quick succession, both pink & grey, then failed to record their details before giving them away.  Say no more!

This quilt, started 1996, is made from a large collection of pinks and greys (16 so my notes tell me) gathered to one day settle my itch for a “flock” or feather quilt. The initial pattern I chose was from Shortcuts to the Top (p 55), Birds in the Air. Then I found Kansas Troubles (p122) in Rotary Roundup - much more appealing.

My first pink & grey was started with all the relish that a new rotary cutter provides.  I had it ready for batting and backing & basting by late 2001; there was a rush on at the time to clean up the ever-growing UFO box. I was also teaching myself how to machine quilt with the new Bernina (2003), so straight lines were the go on both counts - speed & sanity.  Eventually given to friend, Kath for safe-keeping. 

Just for the Record:
Quilt Finished Size: 189x 189cm
Block Size: 16”
Cut in: 1996
Pieced & Basted: Machine 2001
Quilted: Machine 2003
Quilt Type: Workshop
Quilt Finished: 2004
Exhibited:  No
Collection: Private 2/6/07
Pattern Name: Kansas Troubles
Pattern Source: Rotary Roundup, Hopkins & Martin
Fabrics Purchased: Colour Collection
Fabric Design: Prints & Plains
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Cotton Batt
Backing: Cotton

Lessons Learned:
After a few years of study, I was eager to get back into quilting proper.  I chose a quick pattern with a large size block and a nice scrappy look to get all those pinks & greys I had to form a homogenous whole.  The top was fast, fun to make and satisfied an itch. I still really like the way this quilt turned out.

 

A Loss of Memory

Mine & the Computer's....

I’ve been slow to start up again this season.  Much has to do with commitment to other activities, particularly blogs as we finalise sailing season details, including (his) technical minutiae.  Sadly, we’ve been lagging behind in adding information about maintenance and upgrades from previous years.  Sometime I should add costings as well, but that’s another story and I’m sure that anyone who is prepared to figure out how to cut, sew and generally re-arrange fabrics ad infinitum understands how important all these little things are.

I’ve also reached something of a crossroad in my memory bank as I know I made two pink and grey quilts about the same time but couldn’t seem to reconcile one with the other as my notes were slack, my memory shot and both quilts were passed on to better homes; one without a photo.  Gosh Darn!

Outside Hagia Sophia, Istanbul in Turkey 2013

Of course, I went back under the stairs to find my photo boxes – a shattering experience as I’m reminded about how much work I still have left as I catalogue my travel and quilting life.  I did find a few snaps of quilts I’d quite forgotten about and a photo or two of ones that I thought I hadn’t taken a photo of at all.  So all is not entirely lost!  Whilst on the subject of photos, one other incident is worth mentioning.  Somehow this year I lost (completely) a file of digital photos – our trip to London is now but a few photos pasted on a blog post.  That means 170 taken in London (again, gosh darn!) are forever lost to the world.  Yes, I did backup but too late it seems.  This now means that I will have to change HOW I backup…. 

Well, I think I’ve now sorted all my memories out now and am ready to get back on my hobby horse.

I'm now forever in love with blue tiles.
So much inspiration for a new quilt!

Playing Possum

It's time to take a serious break from the computer (and my garden shed) to catch up on some research and photograph more interesting masterpieces of the textile world.  Join us on the jolly ship Windjammer or check in with the Textile Tourist from time to time to see what I've discovered, which will hopefully be interesting.  

Meanwhile, I must go and rescue my magnolia tree from a hungry possum.  It seems they have a fondness for the flower buds.  I always wondered why it never flowered especially well....

New Years on Sydney Harbour: 2012

 

Changing the Rules

South Pacific Drums: 1997  (Started: 1996)

Colourful spools & a prairie points held down with buttons
(the garden is just the right setting?)

The RLI Quilters had scheduled workshops during their monthly meetings so I seemed to forever be finishing off projects, getting further and further behind.  Rather than attempt bed-size quilts, I began to think about working smaller to get more done – meaning FINISHED!  So, when we had this workshop with Dawn Perrin May/Jun 1996, I was well on my way with smaller (and fewer) quilts.  At this time I was not only working full time but studying at university too (forever the student…) so time and space management was rather important.  Even so, I managed to get a little quilting done on the side.

I planned to use fabrics that were “a little different” in this quilt rather than end up with yet another scrappy quilt of American florals.  I used up some of the boys old board short fabric and some cotton sarongs that I had purchased on a trip to Fiji (on a Pacific Island cruise – a necessary  & relaxing break), then chose a plain gakky green to define the quilt as it had a definite tropical feel to it.  On reflection, (and had they been available then) it would have been better to have used a motley fabric such as a Bali batik.  I added some beads & buttons to tie down the prairie point edging.  In the end, I thought the spools looked more like African drums and for some reason I always think of that children's poem about "the great grey, greasy Limpopo".

This was my first attempt to do an interesting backing too. By this stage I was buying Quilters Newsletter and they often had helpful articles on subjects like "backings" to help you mix things up a little. Anyway, I had fun making it; especially the big Hawaiian flowers and the batik pieces which helped define the theme.  We machine pieced this quilt, and I machine quilted the centre panel of spools, and then hand quilted a border after tying the prairie points down.

Just for the Record:
Quilt Finished Size: 121x 121cm
Block Size: 6”
Cut in: 1996
Pieced & Basted: Machine 1996
Quilted: Hand & Machine 1997
Quilt Type: Workshop
Quilt Finished: 1997
Exhibited: 
Collection: Home# 026
Pattern Name: Spools
Pattern Source: Dawn Perrin
Fabrics Purchased: Fiji (some)
Fabric Design: Eclectic Mix
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Cotton Batt
Backing: Cotton

Lessons Learned:
I loved the quilting process –sewing, cutting, problem solving yet also providing me with a chance to be creative. Whilst I appreciated the improved range of opportunity offered by ever increasing popularity of this craft, I was also conscious of an overwhelming American influence in the marketplace.  Neither did I want to faithfully replicate someone else’s design – it was important to add my own stamp.  I’m not sure I was entirely successful in this case as the result grates on my nerves at times.  But it was indeed another step forward in the learning process.    

Fast to Finish

Noughts & Crosses: 1996

Noughts & Crosses

I stated this wall hanging in a class with Sylvia Kennedy Feb 1996 with the RLI Quilters. This is one of my few quilts that was cut, pieced and quilted (meaning finished) in less than one year.  Amazing....

This was an easy scrappy quilt which pieced up fairly quickly on the machine and used up a considerable bag of left-overs.  I tried machine quilting, and although the result is fairly unsuccessful, it was a big lesson.   Following seam lines resulted in a thready look and any errors became obvious at once.  Better to go for an “overall flowing design” when quilting rather than end up with too much stitching to pull out and start again….

Quilting straight lines - not as easy as it looks...

Never mind, I loved the scrappy look and went for a subtle colour-wash arrangement (big at the time).  Had a bit of fun with the backing also.  I pieced it together using left-over remnants adding a piece from a vintage curtain, “morning glories”.

Just for the Record:
Quilt Finished Size: 118x 116cm
Block Size: 3”
Cut in: 1996
Pieced & Basted: Machine 1996
Quilted: Machine 1996
Quilt Type: Workshop
Quilt Finished: 1996
Exhibited: 
Collection: Home# 025
Pattern Name: Shoo Fly
Pattern Source: Sylvia Kennedy
Fabrics Purchased: From the Stash
Fabric Design: Florals & Checks
Fabric Style: Scraps & Vintage
Materials Type: Cotton
Wadding Type: Cotton Batt
Backing: Cotton

Lessons Learned:
This is just what I was looking for – using scraps at will, working small and sewing by machine. Fast, fun and fabulous….   I just need to do a little more machine quilting practice.

Ernie Elna Supercharged

Baby Botanicals: 1995  (Started: 1993)

I purchased a panel of cute flower prints one year and wanted to piece up a fresh, spring quilt.  This easy design was speedily machine pieced during one of my holidays. 

I had fallen for scrap quilts and wanted to select random colours for Puss in the Corner blocks.  It was a pleasure to rotary cut and machine piece this easy quilt after all the concentrating at TAFE classes.   I found a bright flower garden backing which just seemed right for it too!

Cheater Print & Puss in the Corner

But how to quilt it?  I still had “a bit of a backlog” on the hand quilting front when my friend from the Literary Institute (RLI) Quilters offered me a place on a machine quilting class with Lee Cleland (Jun/Jul 95).  I took it up with relish.  Baby Botanicals became my “practice” piece after days practicing on class samplers.  I can remember sitting at my dining table overlooking a lovely view of Sydney, enjoying the machine quilting process, and now day dreaming of all the quilts I would be able to finish.  I think this must have been my first use of a cotton batt which took the machining quiet well.  I liked the end result – not too puffy – so have mostly used cotton wadding since then for quilts I intend to machine quilt.

For starters on this lap quilt, I did a traditional stay stitch to hold the layers together.  Then I did a circular outline stitch over the panels, finally adding a free machine stipple to the border.  That was a big leap forward; and not bad given that I was still using my trusty old domestic, Ernie Elna.

Just for the Record:
Quilt Finished Size: 122.5x 157.5cm
Block Size: 7.5”
Cut in: 1993
Pieced & Basted: Machine 1993-94
Quilted: Machine 1995
Quilt Type: Own Design
Quilt Finished: 1995
Exhibited: 
Collection: Home# 024
Pattern Name: Puss in the Corner
Pattern Source: Traditional
Fabrics Purchased:
Fabric Design: Floral prints & Plains
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Cotton Batt
Backing: Cotton

Lessons Learned:
The small size of this quilt made machine quilting not such an adventurous activity. I really enjoyed Lee’s class (2 days in all) and had come away knowing that I could break away from my traditional hand work beginnings to use a wider variety of machine techniques well enough to finish off my quilts - faster.     

Making New Friends

ACS Friendship Quilt: 1995  (Started: 1992)

The ACS Group spent our first year (1991) learning how to piece samplers in the traditional manner.  We had fun together and managed to fit in a few other interesting “technique” days to expand our repertoire of skills and of course to determine quilt construction methods that appealed to us individually. 

ACS Friendship Quilt

By mid-1992, the ladies were willing to give a Friendship Exchange quilt a go and we all chose a simple design to make the task easier on ourselves.   I chose a large Clays Choice block and asked that everyone hand piece it in fabrics they were currently using on their own quilts.  Just for good measure, I asked them to embroider their name on the block.  I added a couple of additional blocks to make a lap quilt size then finished it with pink fabric borders – very unusual for me!  Later, as I was still enjoying hand quilting, I chose to stitch a traditional design.

Finally I added some buttons (yes hearts) which seemed the sentimental choice to make a nice complimentary statement about friendships made over the 2-3 years this group was running. 

Detail - ACS Friendship Quilt

Just for the Record:
Quilt Finished Size: 108x 150cm
Block Size: 15”
Cut in: July 1992
Pieced & Basted: Hand 1992
Quilted: Hand 1995
Quilt Type: Group Friendship Quilt
Quilt Finished: 1995
Exhibited: 
Collection: Home# 023
Pattern Name: Clays Choice
Pattern Source: Ruby McKim’s Book
Fabrics Purchased: Group Choice
Fabric Design: Floral Prints & Plains
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Thin Poly Batt
Backing: Cotton

Lessons Learned:
I had now been quilting for nearly 8 years and I finally came to the conclusion that hand-stitching quilts, whilst lovely to look at (and a chance to Zen out for a bit in a hectic life), was holding me back.  I had a wish list of quilts a mile long and somehow my creative spirit was starting to rebel.  The TAFE classes had included a few on machinist skills so I was well prepared to tackle the accuracy demanded when machining together a top.  It was time to up-skill.    

Ed Note:

Participants in this project included:
Diana  - Overall Sam,
Chris - Doe & Darts,
Monica - Little Boys Britches,
Cathy H - Checkerboard Heart, 
Cathy J - Our favourite traditional design, Ohio Star; &
Me - Clays Choice.

City Slickers 1991

Into the Fray 1991-1997

After my time in country areas Queenscliff, Geelong and then Tamworth I found getting into a group in Sydney somewhat discouraging.  Many groups had full membership and I didn’t want to travel far in city traffic for meetings.  One lady (who owned a patchwork shop) even advised me to start my own group…  So I did in a way.

I made an offer to a nearby ACS team to voluntarily teach quilting, so a friendly P&Q Group started 27 April 1991.  We met fortnightly, continuing for nearly three years until the demise of the ACS office.  Staff was relocated and a total area reorganisation left us without sufficient numbers or a space to continue.  I too had started a full time job in the city, which was quite exciting but it left me little time to keep up a hectic schedule of regular classes. 

During my searches I discovered that the TAFE (1991-1992) at Dover Heights ran a Commercial Needlecraft Course and were offering a Machine Embroidery elective.  My application to attend this night class was successful and the class turned out to be every bit as interesting as I had imagined (after my workshop with Wendy Wright in Armidale).  Following on from this experience, I enrolled in the Home Furnishing & Décor subjects to learn how to sew my own curtains, cushions and lampshades.  As you do…..

By that time I had also unearthed a nearby Guild sponsored Quilting Group (1991).  This fairly large group met regularly but mostly at a Quilt & Bernina shop.  It was an evening group which I had thought would suit me but I found that my commitment to TAFE and work left me in need of evenings at home.  This group had a hefty program of swaps, exchanges and workshops so after a few meetings, I found I could not keep up and sadly had to leave.  

My new workplace offered me a number of surprises including a whole department dedicated to teaching craft.  One of the teachers invited me as a guest to her group at the Literary Guild.  These ladies met monthly on a Saturday.  They had a space in a machine quilting workshop in 1995 and I willingly accepted.  By now I was starving for quilting companionship!  I can remember they were all happily showing me their recently completed project – jewel box tops – and I felt at home immediately.  After a few more guest appearances, I joined the group and remain with them to this day.  The group gave up having organised workshops after a while; too many unfinished projects I guess!  They took a breather by 1998 and began generally working on their own (without an organised schedule).  Now we still meet monthly and get together for an occasional workshop, exhibition or lunch.  Lately, we’ve fitted in a few “shopping” trips…as you do to replenish that stash – not that we really need it but it’s always fun!

Sometime later I found an evening Embroidery Group where I was able to fit in a little embroidery too (with hopes of returning to finish my silk crazy) with my quilt stitching.  Sydney was indeed proving to be the land of opportunity!

Provenance

I can’t leave "Tamworth" without commenting on how difficult it has been so far to “recollect” details of my quilts.  Despite leaving a fairly decent paper trail courtesy of TAFE notes, photos, diaries and a feeble attempt to make up a Quilt Album (a bit of a fad in the 1980/90’s) I still find it difficult to date my quilts in detail.  Yes, I do sign and date my quilts – an early “must do” subscribed to by teacher Joc at Queenscliff - but only with the basics.  I’ve since made up a few labels with additional information such as quilt titles and try to embroider this detail rather than just pen it on. 

Keeping an annual appointment diary also helped as has my list preoccupation.  At the end of 1996 I must have decided to write up a wish-list (with pattern details) and added to it my UFO’s, which seemed to be getting out of hand.  Most years since, I’ve made this list-making my New Year’s priority.  That way I can keep a promise to myself to finish off at least one UFO a year (regardless of how much I really dislike it) before surrendering to something new or signing up for an impossible to finish workshop schedule. 

1922 "Wedding Quilt" MJH
NGA Collection

What brought me to comment on the value of labelling quilts?  The Armidale Symposium in 1990 held a Quilt Exhibition (14-19 September 1990) as part of its activities.  Aside from nearly 100 quilts from members and Symposium teachers, the exhibition had a special showing of two 1920's quilts by Mary Jane Hannaford, of Blandford (and also Tamworth), NSW.  Margaret Rolfe mentions an unknown MJH in her 1987 book, Patchwork Quilts in Australia.  At that time little was known of the elusive MJH, however, at least 3 of her quilts were in the safe hands of the Australian National Gallery at that time. (See photos above & below).  Because MJH initialled and dated her works, we now know of a further 4 quilts (6 are now held at the NGA along with a workbook of poems and sketches) and at least one other quilt, owned by a private collector.  Research and information has brought to light her name, her history and a little more of her life details. 

1924 "A Last Day" MJH
NGA Collection

We also have a wonderful on-line resource in the National Quilt Register, so if you have something that could enhance our understanding of early Australian life and textiles, help this resource list to grow. 

It is best then, to follow the advice in just about every quilting book out there and sign and date your work at the very least.  Future family members, quilt historians or owners may just want a little provenance with your quilt legacy left to them. 

Sadly, I don't have any photos from the Armidale exhibition but I did copy down a poem written by MJH.  She was indeed an inspiring and creative spirit from our early history.

Omission

It isn't the thing you do, dear

It's the thing you have left undone,

Which gives you a bit of a heartache

At the setting of the sun.

The tender word forgotten,

The letter you did not write,

The flower you might have sent, dear

Are your haunting ghosts tonight

The stone you might have lifted

Out of a brother's way,

For life is all too short

And sorrow is all too great

And it's not the thing you do

It's the thing you leave undone,

Which gives you a bit of a heartache

At the setting of the sun.

written by Mary Jane Hannaford, 1840-1930