Four Brothers

The man on the far right…what’s that he’s holding in his hand?  That’s my grandfather, here with three of his brothers.  When I find a photo in which he is included, I’m always intrigued by how the photo was taken, since he was usually the one behind the camera.

I recently wrote about the coincidence that both my husband and I had maternal grandfathers who were professional photographers.  Sometimes we can find a cable in the photo leading to a remote shutter release.  Those were available from as early as 1918 in  advertisements like this one found here.

In this case, zooming and examining (you can click on any image to enlarge it) reveals no cable, and in the 1940’s when this photo was probably taken, there was no timer built in to cameras as we have now.  However, my Grandfather did have a son who helped him with his photography business by that time. Homer, Jr. went to work in the darkroom at age 7, in 1935.  It is likely that he, Jr.,  is the one taking this photo.  And, GrandDaddy is probably holding the remnants of a cigar.

I printed this photo on fabric from a vintage linen tablecloth, painted some elements, layered it on wool batting, and stitched around the figures with silk thread.  It is layered on cotton fabric, a layer of old burlap, and then on an old quilt remnant.  The resulting piece measures 14” x 17”.


The process of stitching these photos sometimes yields as interesting an image on the back as on the front.  Here you see what one viewer considered the shadows of these brothers.

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Man With Bicycle, 1905

Homer Carter and Homer Youngblood were both professional photographers in the early part of the twentieth century.  In our house, we have a lot of photos taken by these two men who, to our knowledge, never met.

Homer Carter was the father of Sadie, my mother-in-law.  Homer Youngblood was the father of Cleo, my mother.  Interesting, don’t you think?

This serendipitous happening means that we have some images on hand that were made with the best photographic equipment available at the time, and printed on quality paper.  Perfect for scanning and printing on fabric, I think.

This photo of an unidentified gentleman of the early 1900’s was compelling to me.  He was a client of Jim’s grandfather.  I printed his image on a remnant of a vintage linen tablecloth, painted the bicycle red, and quilted the layers with silk thread.  Free motion quilting gives dimension to the man and the bicycle with wool batting underneath.

The image is layered on a denim remnant, hand stitched with a Kantha stitch using red embroidery floss.  All is then layered and attached to a scrap of an old tattered quilt.

The label is written on a piece of an old man’s handkerchief.

Sewing Notions


Look at this bit of info I found inside a package wrapper on some vintage seam binding.  What a wonderful marketing strategy to entice sewing mothers to introduce their daughters to the craft!

I found this when I opened a package of rayon binding to use as ties in a drawstring bag.  There is no copyright date or price on this package, but a similar one with 1939 as the date has a price of 29₵.

And then this one advertising a product to increase the length and breadth of a child’s dress is interesting, too.  My mother sewed beautiful clothes for me and for others, but I never recall seeing this product.  Maybe because I was so frightfully petite, there was no need to have “galloons” in our vocabulary.

This discovery was fun, the research on Wrights reveals its long history in the sewing industry…since 1897.  The name is still used on notions, but now owned by Simplicity.  This is according to Wikipedia.  Another site with even more info is here.

You know from past posts that I love buying vintage fabrics and trims.  I find the old ones to be superior because of materials used and the flea market pricing, but the history lessons are valuable, too.  I bought some of these trims on this adventure.

There is good news about young people learning to sew in today’s world.  The Modern Quilt Guild and the aesthetic they promote is enticing young people to sewing and quilting in a big way.  Applause, please.  Times have changed and children aren’t learning to sew from their mothers by making doll clothes any more, but children are interested in sewing.  And more good news:  it’s now ok to get boys interested, too.

The drawstring bags are made using a pattern from Jeni Baker here.  I see now that her site has a video tutorial for the bags, but the pattern alone is very clear.  Her design is great!  You quickly end up with a nice lined drawstring bag and directions are given for multiple sizes.

Hearts in the Kitchen

This time of year we see hearts in abundant numbers.  This symbol of love is everywhere, and often seen in shades of red.

I love the heart motif and have it all around my house and in quilts I’ve made.  This year I’ve been adding to my bowl of blue hearts in the breakfast room.  I made a few last year and in the past couple of weeks, I’ve been adding more.

I’ve used ribbons, buttons, and lace to embellish some of them.  In other cases, I just stitched and stuffed some of my favorite fabrics.  I added French knots to one.  On another I stitched pearls from a rescued strand I bought.  The fabrics include barkcloth, vintage ticking, African indigo batik, hand-dyed linen, bits of an old quilt, and fabrics from well-worn clothing.

This bowl of stories sits on the breakfast room table.  It warms my heart (pun not intended, but appropriate, I guess) to recall memories associated with each element.

Oh, I can use red fabric, too.

 

Photo notes:  The pitcher with heart is part of my Rowe pottery collection.  The wooden bowl (and possibly some of the spoons) is by my favorite wood carver, Ralph Smith.  The heart-shaped bark basket holds memories of St. Simons Island where I bought it many many years ago.

Quilters’ Retreat

A few days ago, I crashed a party.  We were on a backroads jaunt and I remembered that some of my friends were attending a quilting retreat at a nearby wildlife refuge.  I asked Jim to make a stop and let me say Hello.  He asked, “Can you just pop in?  Were you invited? “  I assured him, “It will be fine.  They won’t mind.  They will all be happy to show me their projects.”

And, they were.  They were busy.  They were happy.  And they did not mind my intrusion.

There is a reason many quilters like the bee motif.  Quilters and bees buzz about with a purpose in mind and get things done!

I was greeted with smiles and hugs from many friends, and made the acquaintance of new quilters as well.  Sheila and Barbara and Jean and Donna were the first to see me and report on the fun.  I didn’t get photos of everyone’s work, but everyone was busy and productive.
Angie was piecing some animals.  Mary was working with baskets.  Jean had stars on her design wall.  She had discovered that her alternate blocks were cut from directional fabric, unnoticed until they were put on the wall.  She had lots of advisors to help her decide how to deal with this dilemma.

Joyce had two big appliqué projects: a Baltimore Album that just needs a few details and a border attached, and a fabulous Kim McLean pattern all with big pieces of Kaffe fabrics.  Joyce is one of our guild’s charter members and she still produces more quilts than several of the rest of us combined!  She was sitting beside Hilda, her BFF for more than FIFTY years.  They have worked on many projects and been to many retreats and heard many stories in that time, don’t you know?

Dewey was there with his longarm machine and an eight-foot table.  He had already quilted two quilts at the retreat for other participants and was doodling on his machine while he waited for others to get backs prepared for him to quilt their tops.

Here is Donna working on a One-Block Wonder.  And Dewey had just finished the quilting on her Friendship Garden  before the retreat.  Now she can add the binding and label and it’s done!

Mary had run to the store, but her work-in-progress is here.  Mary is the organizer of this event.  Someone has to take charge and she does it well!  She reserves the space, organizes the guest list, plans the food, and assures that everyone has fun.  And she is successful, because these people plan their calendars around Mary’s retreat dates.  Because of her, the sisterhood thrives.

Candace is a local designer and teacher with her own line of patterns.  Here she is working on a new pattern design.  And there were some of her finished products with chickens made from her hand-woven fabrics.  Wow!

Lynn was putting the finishing touches on a garden scene, while Eleanor was working on a batik project complete with labels to insure that every block ended up in exactly the right place.

Getting away from home, focusing on a project or two, socializing while you work, learning from each other, what a blast!  I loved visiting this beehive.

Studying a Master

At the urging of my friend Priscilla, Jim and I took a road trip today to Newnan, Ga.  Selections from Caryl Bryer Fallert-Gentry’s body of work are on display there.  This amazing quiltmaker’s work has always intrigued me, so we hit the road.

Our route was along backroads, as usual for us, and we included some antiquing and enjoying other parts of the day, but the purpose and highlight was studying some 43 pieces of Caryl’s work.  We were almost the only ones there, photography was allowed, so we took our time. I read every word of her descriptions, studying the weight and fiber content of thread, marveling at the stitches she used and noting the color choices in each space.

Like many quiltmakers, Caryl Bryer Fallert-Gentry began making traditional quilts with commercial fabrics.  Over the years, her style developed using her hand-dyed fabrics, then a line of commercial Gradations fabric that she designed.  Some of her work is abstract, but all is full of meaning.  And the girl knows her mathematics!

Some of the work was familiar to me as signature Caryl Bryer Fallert – like the feather studies, the Fibonacci series, and her dancers.  Others, specifically the pictorial ones, were surprising to me that they were hers. Each piece was interesting in its own way.  I learned a lot from the experience, but being able to take close up photos of the quilting designs meant that I will learn from her work over and over again.

There’s something about seeing a quilt in person that makes it worth the trip.  Technology allows us to learn a lot online, to study excellent professional photos that inform us of details, and even to take classes from experts.  I’m familiar with Caryl Bryer Fallert-Gentry’s work though those technologies.  But the tactile nature of fabric means that any distance from a piece of fiber art diminishes the intimacy of the art form.  So being close enough to touch (even though I didn’t dare) brings that back into the experience.

I’ve seen some of Caryl’s work in shows in the past, but today at my leisure, I examined a variety of her works spanning forty years of quilt making.  Wow.

The Donald Nixon Center for the Performing and Visual Arts is currently “Forty Years of Light and Motion” through February 17.  Their website is here if you want details.  And Caryl’s website is here if you want to read more about her.

All photos are of Caryl Bryer Fallert’s work on display at the Nixon Center in Newnan, GA.