challenge quilt – Sandy Gilreath

Endless Migration

A recent beautiful spring day was right for a ride-about. Not knowing our destination, I tossed a few small quilts in the car “just in case.”

When we stopped for our picnic lunch with this view of the sky and the trees, I was glad I had chosen to include Endless Migration, a challenge quilt from 2006. I had promised to write its details earlier when I did another post on paper foundation piecing here.

Our guild’s annual challenges always teach me something new. In 2006, our Challenge Queen, Tess, required that we do some curved piecing. As a rather new quilter, I thought about the possibilities all year (the challenge is announced in February, presented in November) but waited until nearly the last minute to engage in the sewing of my entry. If you know me, you know that this is a behavior in which I still engage…waiting until the last minute. Part of the reason is that I can’t keep a secret very long, so procrastination means I have less time to deal with that. But I don’t wait until the last minute to think about it…the whole intervening time between announcement and presentation, I have the challenge topic on my mind.

I loved the geometry of Mariner’s Compass blocks and had played with paper foundation piecing to accomplish a block or two of that type.

I wanted to create an oval ring of flying geese around a tree of life motif. I had a tree pattern I liked, enlarged it to a nice wall hanging size, then made the oval to fit it. I did not have an oval the right size – this was before Cindy Needham created her marvelous templates, so I drew the concentric ovals on freezer paper by using two thumbtacks and a string. I drew in the flying geese as well, and it was to the sewing machine.

I loved (and still love) Fossil Fern fabrics. I had bought a couple of sets of the complete range of colors in 3″ squares, so I arranged lighter ones to fit in the sky portion and darker ones in the earth portion of my landscape.

The tree is a batik fabric fused to the background. At this early stage of my machine quilting life, I only knew how to stipple. So that’s the quilting done with invisible thread, I think.

The guild’s current challenge topic is Something Feathered. I’ve already made three possible entries and I have another one brewing…they are to be shared in a couple of weeks since we couldn’t meet in November 2020…so I still have time to make another, right?

Oh, and our picnic destination was Dowdell’s Knob where FDR often visited when he visited the Little White House near Warm Springs. Here you see he is holding Endless Migration. Another quilt’s visit to this spot is documented here.

Heaven in a Wildflower

It was a glorious fall day and the gingko leaves were turning. We grabbed cameras, a couple of quilts, and went in search of photo ops.

As we drove around town looking for public access to beautiful trees, Jim was looking at the sky, wanting the contrast of blue skies and golden leaves.

I was looking for a carpet of fallen leaves to blanket my latest quilt creation, Heaven in a Wildflower.

We found both shots through our camera lenses.

My quilt guild’s challenge for 2019 was to be “charming”. A charm quilt is one in which each piece of fabric is different from all the others. Traditionally, the pieces are all the same size and shape, such as a tumbler quilt. But our challenge always encourages us to think in a new way, so I came up with this design.

I selected a piece of an overdyed fabric with fruits and vegetables on it. I believe it started as an old tablecloth. The artist who painted it is Wendy Richardson. I have amassed a collection of beautiful fabrics from Wendy and selected this as the focal point. I added bits from my Cherrywood hand-dyed fabrics and some woven stripes from a Kaffe Fassett collection, then pieced the selections improvisationally in a modified log cabin layout.

Those big blocks of solid fabrics needed details that luscious quilting could provide. I wanted to incorporate a word or phrase in the quilting.

When I asked Jim for advice about a word or phrase that the painted segment conjured up, I got more than I bargained for. He came up with a lot of words: from William Blake’s Auguries of Innocence.

To see a world in a grain of sand,
And Heaven in a wildflower,
To hold infinity in the palm of your hand,
And eternity in an hour.

So intense quilting ensued!

The challenge specified a perimeter of between 120” and 200”. My quilt measures 34” x 41”.

The colors seemed destined as a background for posing gingko leaves. Mission accomplished!

Princess Priscilla

I looked up from the sewing machine and saw another heart on the wall. I hadn’t exactly forgotten this one, but she is old.

I made her in 2005 in answer to a challenge at my local guild. Tess, our Challenge Queen, had directed us to make a quilt including hearts. A great idea since we are the Heart of Georgia Quilt Guild.

I was new to the world of quilting and to the challenge notion. This was my second opportunity to enter that competition and appliqué was the newest tool in my toolbox.

The pattern came from a book by Robyn Pandolph and many of the fabrics I used came from her designs, as well. Those were the days when I used fabric from one collection. And followed a pattern. As already stated, I was new at this quilting thing.

New at giving titles, too. I named this one Princess Priscilla loves Paisley.

Well, I sorta followed the pattern. I remember the challenge specified hearts, plural, so I added the hearts in the border. They are low contrast (I love that touch of subtle in a quilt) and asymmetrically placed. (Oh, how I love that!)

And the doll nestled among all those quilts is just one I had to bring home with me a few years ago. She’s happy bouncing around the house posing on quilts.

Speaking of posing, Priscilla went to Tifton recently and posed in front of Plough Gallery there. Don’t you just LOVE these blue doors? And, the hexagons in the paving on the walkway?

And the art in the gallery is nice, too! More stories from this place to come.

Christmas Quilts

I love to stitch with the colors of the season. I know professional artists have to work ahead of the season, getting seasonal prints, cards, books ready during the summer for Christmas, working on Easter themes during snowstorms. Not me.

I love to sew on pumpkin colored fabrics in the fall, pastels in the Spring, and give me some red and green to stitch while the tree is up.

Right now, I’m stitching on a project called Mistletoe and Holly (that’s the name given to it by the designers, Barb Adams and Alma Allen – and my working title now. But as the stitching goes on and the design evolves within my life, that name is subject to change). This is a design I’ve loved for years.

Here is a photo of their finished product. This Christmas season finds me stitching on lots of bindings, finishing some projects for gifts, some for our guild’s upcoming quilt show. But I had to start a red and green project or the season wouldn’t feel right to me.

Earlier in December, I stitched this wool appliqué piece from a block-of-the-month from Maggie Bonanomi. I believe this project will be in her book coming out in 2018.

My quilt ladder shows evidence of my fascination with red and green. In the center is Five Seasons in Bonaire folded with the Christmas season showing. The top and bottom are Tree Farm of Lorane and Small Tree Farm. These are two sizes of a quilt I designed and made for my daughter’s family a few years ago. Friends saw it, loved the simple technique, and patterns were born.

Pomegranates and Poinsettias is in the dining room, Miss Lily’s Baskets are in a basket, and a red and green Irish Chain I made for a challenge one year (but did not enter it, I liked another project better for the competition) are around, too. Detailed descriptions of these projects in earlier posts are here and here.

Above the playhouse hutch, a Santa marches through the woods (based on a design by Jan Patek). Just as I finished this piece a couple of years ago (needed something seasonal to fit the space), I found the wooden Santa you see on the top shelf marching along in an antique store. Serendipity! Oh, we do know how to spell Noel in our house, but when I bought these blocks in the 1980’s, Jim said to the clerk, “Do you think I should be worried? I don’t know anyone named Leon. Why do you think my wife is buying this?” Her laughter still rings in our ears. So as a tribute to that memory, we sometimes display the blocks that way. I forgot to move them when I took the photo.

If history repeats itself, the Mistletoe and Holly thing will be part of next year’s display. I have another couple of ideas in my brain, too. But the ideas sometimes flow faster than these fingers can stitch, so only time will tell how much gets done.

Let’s Strip

Some of my best friends are strippers. One member of our organization moved away and became a hooker, but stripping seems to remain a favorite activity.

My quilt guild’s annual challenge quilts were presented this week. This year’s challenge title was “Let’s Strip.” So, strip we did.

The rules were simple. Make a “strippy quilt”, any size, any color (no orange required this year), any technique. That was open to interpretation by the maker. Refer to antique English quilts, Amish bar quilts, recent jelly roll collections from manufacturers – or any other type of quilt in which you assemble the units in strips.

Members mingle and socialize while examining all the entries before casting their vote. In addition to choosing their favorite quilt for ribbon awards, members study the quilts for evidence of personalities in the work. One of the most coveted prizes of the day is the one awarded to the winner of “Guess the Maker”, the person who is able to identify more quilt makers than anyone else.

In the photos, you see Queen Tess moderating. She periodically announces how much time is remaining for judging and reminds us again to follow directions we tend to ignore. Here, she is standing in front of Marie’s entry, One Golden Autumn Day. As winners are announced, they reveal the story behind their entry, then all other members do the same.

This year’s third place ribbon went to Joyce, for Maui Sunrise.

Second place went to Mary, one of our most prolific members. Mary always does amazing work and has fun doing it. This fun piece, Chicken Buffet, was no different. Evidently, the block with the toilet paper was really an interesting one to make!

And, lucky me! My entry, Autumn Elegance, won the blue ribbon! My piece measures 29” x 47” and began as a jelly roll (a collection of strips 2 1/2” wide by 40” long) from Cherrywood hand-dyed fabrics. I added batik leaves, and then quilted it densely using a variety of motifs.

Carol’s entry had to have a name change. Carol began with strips of flying geese she bought at one of our guild auctions (we clean out our closets and bring things we no longer need and buy and sell from each other). Thinking they were brought by Betty, she had titled the quilt Miss Betty’s Geese. Learning that in fact Tess had made and discarded the strips, the quilt title is now Tess’s Geese.

Members aren’t limited to one entry. Marie finished her large quilt early, then had scraps lying around and made a table runner that complied with the guildelines, too. (it’s the red and black one with tiny squares in one row).

Susan made her challenge quilt (behind Tess in this photo) using our friend Candace’s pattern called Sonja’s Windows (available here). Susan shared another quilt (the one she and Tess are holding) from the same pattern, not assembled in rows, too. In addition, Susan made a strippy red and black quilt for the contest.

DeAnn, who is busy building a new house, created a pattern with a story in each panel. Times in the Garden depicts scenes from each house DeAnn has owned. so this wall hanging is filled with memories she will take with her. to her new home.

Hilda’s title, Study in Black and White, Oops, (seen in the background of a group photo) conveys the message that quilts have a mind of their own sometime. That red fabric just jumped in! Janet likes black and white, too. Her Silhouette came from a pattern she found in McCall’s quilting magazine.

Linda’s Sunrise, Gladys’ Kaleidoscope Pinwheels, and Angie’s Happy Scrappy, added to the inspirational display.

Carolyn’s Rework Nursery Rhymes depicts familiar scenes rendered in hand appliqué and framed with red calico.

Sharon and her grandchildren love to make bubbles, so Sharon made a bubble quilt using some unique materials to depict transparency.

Oh, if you are still wondering about the member I mentioned who left our group, she still keeps in touch. And she shares photos of the beautiful rugs she’s hooked from strips of woven wool. So, I guess that makes her a stripper, too.

Our meeting day was a rainy, dreary day, not the best for photography. I’ve included some views of my quilt in the great outdoors with sun shining on it.

Click on any image to enlarge.

Paducah 2017

The annual quilt contest of the American Quilters’ Society in Paducah, KY, was held last week and I was there. Two of my quilts were there, too. Jim and I drove up for a couple of days at the show. As usual for us, the journey was as important as the destination, so back roads and side trips were a big part of the week’s adventure.

As wonderful as the show was, and always is, highlights of the trip included an overnight stop in Desoto Falls State Park, AL and a two-hour visit to Bell Buckle, TN. In Kentucky, we spent time at Land Between the Lakes, then driving through stunningly beautiful scenery of green hills and blue barns as we headed east toward Berea. We stopped for a visit to the city voted “the most beautiful small town in the US,” Bardstown, then retraced steps from a trip 25 years ago, spending a night at the Boone Tavern Inn and visiting craftsmen and women in Berea. Heading east to Waynesville, NC, we explored Cumberland Gap National Park. Our last night on the road was spent at a favorite B & B.

All these adventures held conversations with interesting people, photo opportunities that beg to become quilts, and stories to be told. Later posts will detail some of that. But, for now, my impressions of the quilt show.

This year’s show included 404 quilts from 44 US states and from 14 other countries competing in 16 categories. Prize money totaled $125,000 and more than 30,000 people attended. More than 300 vendors were on hand to help me find supplies to make my next project.

I’ve attended this show at least six times, sometimes with friends, and staying four or five days. But when Jim and I go, I can see it all in two days. This time, I saw all the quilts twice, took lots of photos, and visited the vendors I wanted to see on Tuesday evening and Wednesday afternoon.

The winners this year were stunning, as always. Photos of the top winners are here. All of the quilts are inspirational, and I walk around taking photos and making voice notes on my phone of details I want to study later.

Many of my notes this year were about Japanese quilts. That’s not unusual. I love the Japanese sense of color, their attention to detail, and the embroidery that often accompanies their appliqué. This year, all three place winners in the hand quilting category were Japanese. There were other categories where the Japanese aesthetic was notable, too. I realized that several of the Japanese quiltmakers (winners and non-winners) used a background fabric that was gradated. They cut it and assembled it so that the center was dark, graduated out to lighter, then back again to darker. You would be right to imagine that I headed to the vendor’s booths to see if I could find some of that. I did!

I was pleased that most of the winning quilts have elements of traditional quiltmaking. In recent years, some have been so densely embroidered by machine, or so encrusted by crystals, that it was hard to see evidence of human hands at work.

One of the features I’m always examining closely is the quilting, especially the machine quilting, since that’s what I enjoy most. I expected this year to be full of ruler-guided quilting. There was some, especially in the modern quilt category, but not as much as I would have predicted. One phrase I did hear a lot at the awards ceremony was matchstick quilting. This term refers to closely spaced parallel lines.

There was a lot of English paper piecing, and what seemed like more of the Baltimore Album style quilts than usual.

The quilts in the vendors’ booths are always inspirational, too. New patterns, new fabrics, new tools have the cash registers singing. My favorites include Wendy Richardson’s hand-dyed fabrics, seen in the photo above (with her permission). Wendy dyes yardage of solid fabric with beautiful blends of many colors. She also overdyes vintage linens and commercial fabrics in unexpected ways. I always make my way to her booth on Tuesday evening to get first choice!

Other favorite booths for me include Primitive Gatherings, Front Porch Quilts, Fabric Peddlers, Cherrywood and Liberty Homestead. I saw a few other booths with intriguing merchandise, but I didn’t give a second glance to batiks or commercial fabrics. I have plenty of both of those categories. The booths that caught my eye had interesting selections of unusual fabrics. I did come home with some Japanese woven fabrics, some shot cottons, and some sueded hand-dyed cottons.

All my purchases have now been pre-washed and ironed and I’m ready to cut it up and sew it back together! I have many ideas for new projects, and one of them includes a journal quilt commemorating this trip.

Photo details: You can click on any photo and it will open in another window with more detail. You can zoom in even more in that view. The featured photo (you don’t see this one if you read the email version, it’s on Facebook and on the website) is of the booth for The Sampler, which sells Kaffe Fassett fabrics exclusively.

The first photo (featuring leaves) is a closeup of Autumn’s Master Painter, by Anna Reich, Lewisville, NC.

The one with the ribbon is Karen K. Stone’s Wonderful World. Next is a closeup of A Time of the Madder Red, by Toyoko Nakajima of Kirya, Gunma, Japan; then My Baltimore Journey by Darlene Donohue, Hilton Head, SC. The one with all the hexagons is Cache of Carats, by Gail Stepanek and Jan Hutchison of New Lenox, IL. Later you see Cherrywood’s booth with all the solids and a couple of photos show some of my purchases. Below are photos of my two quilts, Mom and Apple Pie, and Walker’s Pasture. I’ve blogged about Walker’s Pasture before (here). I need to tell the Mom and Apple Pie story, I guess. Soon.

Meeting the Challenge

My local quilting sisters and I just saw each other’s secret projects at our annual guild challenge. The photo above is a closeup of Alice’s entry. She won a ribbon with this beauty in which she combined our rules with a project in a Craftsy class online. The online class was free motion machine quilting with Judi Madsen.

Earlier I wrote about my resulting entry here. I didn’t write about all the ideas I had but abandoned along the way. As guild members shared their entries, many reported starting and abandoning, or adapting, or rethinking their process. All reported learning something, and having fun in the process.

Here are photos and snippets of stories of all 16 quilt entries at our meeting this year.

Ethel teasingly dubbed herself the complainer, said she called Queen Tess 65 times. She doesn’t like square quilts, doesn’t like the fan block, and doesn’t like yellow. But Ethel is not a quitter, she’s a quilter, and her resulting piece is one of my favorites (the blue in the center is to dye for).

Janet exercised her EQ design features by resizing a fan block to make a manageable project. Kelly’s Sunbonnet Sue quilt contained numerous fans. A sun, a cooling fan, and some blades of grass were also blades of a fan.

Linda combined this guild’s challenge with a project she was entering in a Windows and Doors exhibit at the Ashe Arts Center in West Jefferson, NC. Working from a photo she had taken in Nimes, France, Linda pieced the doorway panel. She added asymmetrical borders to bring the project to the 36” requirement for our guild, including pieced fans as butterfly wings and some yellow flowers blooming on the vine.

Angie expressed some frustration, but stuck with her traditional block to make a 36” square for now. She shared plans for further embellishment to add some zing to her entry. (Tess often reminds us that the rules do not say the challenge has to be finished to enter.)

Mary had other priorities, so stuck with a simple design, but got it finished in time for the challenge, and now has a functional table topper with pleasing fabrics.

Sharon made, not one, but two quilts. One was made with fabric she bought in Japan while visiting her son and his family. The other, Ocho, RibBonz, and Shadow–3 FANtastic Cats, was inspired by several quilts on Pinterest. She has two cats name Ocho and RibBonz.. Since she needed three fans, she had to make three cats, and Shadow is the name she gave to her imaginary cat. She was asked to explain about one cat’s tail. He’s scared, she said.

Susan looked for an easy pattern, crediting me with inspiring her to look for fun techniques. I’m known to remind quilters that, “it’s supposed to be FUN.” I love her ferris wheel blocks and would like to try this myself.

Deann hand pieces and hand quilts everything. Her work is always amazing, but she shared that her biggest challenge was the curved part. Wanda’s entry was her first foray into our challenge world.

Marie machine pieced and hand quilted a beauty including linen and cotton fabrics. Her title was Did you mean these fans? An M&M’s button on the label depicted her reference to the popular tv commercial. Dewey confessed that this commercial was his inspiration, too. His quilt exists only in his mind as he’s been busy building a new quilting studio.

Carol explored paper foundation piecing and got enough practice on her piece that she is now an expert.

Susi’s first place winner, Fantastic Frolicking Felines, brought smiles to all of us. Look how much fun these dancing cats are having. I think Dewey had fun, too, quilting this beauty. He added the thread-painted musical notes as he quilted the entry for Susi on his longarm machine. Susi adapted a pattern from Amy Bradley for this crowd pleaser.

Before leaving for the day, Sharon shared more stories about her cats and their names. Her quilt was visually appealing, but as with most quilts, the story gives it more life. Here are details you will remember:

“We adopted the two identical black kittens from our grandchildren’s other grandmother’s cat’s litter. The grandchildren were squealing excitedly when we brought them to the house and one kitten escaped by running up a tall tree. The more we called or tried climbing higher to get the kitten, the higher it went. After some time, it fell asleep about 40-60 feet up, then tumbled down through the branches to the ground. To identify them, we put a couple of ribbons on the untraumatized cat so we could closely watch the one who had obviously used up “one of the cat’s nine lives.” Not knowing if they were males or females, we named the uninjured kitty ‘Ribbons’ and the one with 8 lives remaining became ‘Ocho’. When we found out that they were both boy cats, we changed the spelling of Ribbons to a more masculine name ‘RibBonz’! We don’t have a third cat, but I thought a third cat needed to be on my quilt since three fans were required for the challenge. The surprised arched-back third cat became Shadow because our outdoor cats love to stalk chipmunks, lizards, moles, etc. from the shadow of bushes and other hiding places.”

Walker’s Pasture

In 2010, my photographer husband Jim captured a magical moment at sunrise with cows in the mist. I was captivated by the photo from the moment I saw it and immediately framed and hung an 8” x 10” print in our house.

Later, when I wanted to experiment with the online service Spoonflower, a business that prints photos on fabric, this image was one of the first I chose to upload. The print on cotton fabric measures 14” x 19”. This has been on my design wall for several months waiting for me to be inspired as to what I wanted to do with it.

Our guild’s challenge for 2016 in our guild was “fans”, not my favorite traditional block. The completed quilt had to be 36” square, contain at least 3 fan blocks, and have yellow in it somewhere.

While researching fan blocks online, I saw a modern interpretation that looked a lot like a windmill to me. Oh, a windmill. I just happened to have a pasture waiting for a windmill.

I pieced four fan blocks (paper foundation piecing because they are tiny – 2” blocks) to create the windmill. To create the base, I photographed a toy windmill I have as part of my decor (complete with cows on my hutch in the breakfast room) and printed it in various sizes to test the scale. Using that photo as a pattern, I painted the windmill base using India ink, appliquéd the fan unit (the windmill) and had my quilt.

But, not quite. The finished quilt had to be larger. So I pulled a Cherrywood hand dyed fabric that closely matched the sky in my photo, added hourglass blocks to extend the pasture area, and framed the entire scene with a darker blue in Cherrywood fabrics to meet the size requirement.

Then I remembered “yellow” requirement. Yellow, like the sun. Got it. The photo was taken at sunrise. So, a rising sun was appliquéd, then the quilting came into play. Green grass, blue wind, and continuous curves in the outer border all were quilted with 100 weight silk thread. Now I’m a fan of fans.

Goats

Pa, he bought him a great big billy goat

Ma, she washed most every day

Hung her clothes out on the line

And that old goat, he’d come that way.

My Daddy didn’t sing a lot, but this song was one of his favorites. I can hear his gravelly voice belting it out now, often at my request or a plea from any of his grandchildren. I don’t recall my mother or my sister requesting it – it wasn’t refined enough for them. Especially the part when the goat belched up that red flannel shirt and he flagged down that durned old freight.

The musical interlude might be followed by the story of Daddy’s experience with goat farming, or rather the decision to end that venture. Something about a goat and a pond and repeated disciplinary action leaving the goat wet and calmer while Daddy was exhausted.

So fond memories might explain why I like to see goats in a pasture, have taken lots of photos of goats, and why they end up in quilts.

The guild’s quilt challenge for 2013 required us to use small bits of fabric from Tess’s stash. The Challenge Queen does this occasionally; requiring the use of what some might think of as uglies. That certainly was the case for my envelope. Yuck. A red and black color combination was given to me, a calico and something else, 2” squares of each. I tried several things that didn’t make my heart sing, but at some point I remembered a pattern from Country Threads featuring pieced goats.

I found an assortment of farm and goat looking fabric, pieced three blocks, added a title, and used the ugly fabric as a couple of their kerchiefs. The piece finishes at 24″ x 18″ and was freemotion quilted using cotton batting and cotton threads.

A well-dressed goat appears in 52 Tuesdays, too. One of our visits to the Georgia National Fair in 2015 included attending a goat show. I was intrigued by the goats awaiting their competition. After being bathed, blown dry, and powdered, they were often wearing jackets so they stayed clean and sawdust free until their competition. One wearing a leopard skin coat caught my eye and became the image for that week in the journal quilt.

And, once a goat appeared on the label of one of my quilts, Hartwell Commons.

The photo of the live goat, not in cloth (yet) was taken at the Jimmy Carter Boyhood Home national historic site near Plains, Ga.

A Tree Grows in Gondor

I’m still working on my guild’s quilt challenge for 2016. It’s almost done, and there is nearly a week to spare! I mentioned it here.

Working on this project has me thinking about how much I’ve learned from the guild’s challenge over the years. It seems like a good time to document some of those design processes. I’ve shared some challenge quilts earlier, but here’s another.

In 2008, the challenge was “trees”. The quilt had to contain at least one tree, pieced or appliquéd, and a bit of orange somewhere. A few years prior, I had been enchanted by the white tree against a blue sky prominent in the Lord of the Rings movie Return of the King. I’m sure the tree in the movie was a Sycamore, and that must have added to my determination to create this image in cloth.

I chose a brilliant blue hand-dyed fabric from Cherrywood as the background, inserting a narrow inner border of another hand-dyed fabric which included many colors, including orange. Wanting to include a little interest on the “bark” of the white tree, I researched quotes about trees and facts about trees.

This photo shows the background pinned to the design wall with my paper pattern drawn. That pattern was transferred to white Kona fabric, then the handwriting began. Sandpaper underneath the fabric helps to keep the fabric from slipping. I used Sharpies and Pigma Micron pens.

Once the words were pressed to make them permanent, I used needleturn appliqué to fix the tree to the background. In the areas of white where the blue background fabric showed through, I added a lining layer of white fabric.

Cotton batting was used and all quilting was hand-guided, freemotion stitching. Only the griffins on either side of the trunk were marked, all other quilting was spontaneous. Most used a matching blue cotton thread (50 weight, 2 ply), but some variegated thread was added in a few places for interest.

The quilt finishes at 40” x 62”.

Information on the label is sunprinted.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: