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