quiltersmuse.com Blog

Rugosa Rose that was the root stock of Jackson and Perkins’ Simplicity Rose cultivar. photo by James Cummings

The other day, Jim walked around in our yard, taking a few photos. I have just edited five of those flower pictures to share with you. I have a simulated (paper) cross stitch Sampler in my collection that quotes these famous four lines:

Gather ye rose-buds while ye may
* Old Time is still a-flying *
And this same flower that smiles to-day
To-morrow will be dying.

The Sampler, popularly sold in the late 1930s, speaks of the end that will come to all life, and does so in a poignant manner.

photo by James Cummings

A song’s lyrics go like this: “The Bells of St. Mary’s, Oh, what will you give me?” I always think of that line, when I see Bell Flowers. We have them in Blue and in White, in the back yard. They grow wild and come back every year in areas that are not mowed.

photo by James Cummings – Notice the red “bug.”

A lovely and prolific plant that quickly spreads out of control is “Dyer’s Chamomile.” I love its bright yellow color, a small piece of radiant light and cheer on a gloomy day.

photo by James Cummings

Another wildly growing and spreading plant in our front yard is Blue Salvia. The spikey blooms are really more violet than blue and are a nice counterpoint to the yellow flowers, as seen above, that compete for space.

One last image for the day is a Gloriosa Daisy. These daisies come back every year and due to cross pollination, their colors are transformed each time they reappear. Years ago, Jim planted his first daisies of this type and they have not failed to come back annually.

Consider the lilies of the field, they neither toil nor spin, yet Solomon, in all his glory, are not arrayed as these.

Patricia Cummings

Anyone have a recipe for Rose Hip tea? If so, would you share it?
pat@quiltersmuse.com

I have been very lucky to have known good and decent men during my entire lifetime, beginning with my father, and continuing with my husband and my son, all of whom were or are hardworking and honest as the day is long, not to mention loving. Having had these positive experiences with males, I have actually come to prefer their company. Why? They make a whole lot more sense than a lot of women I’ve known. While it may not be true in some cases, most men do not tend to engage in the pettiness that belies and defines the weaker sex. Men are not usually into the game playing, manipulation, and social posturing that some women engage in. I’ll say it again. Doggone it, I do like the opposite sex!

The other night, when we were at an event, and veterans and or active duty military members were asked to stand up, my heart swelled with pride when my husband took his rightful place among those standing. He has served his country and his community well, with his work, sometimes work that others would like to look down upon. All of it required personal dedication, strength, and bravery.

I am proud that he chooses to work in geriatric care now, where he is making a difference in the lives of the old people that he cares for: bathing them, turning them, lifting them, feeding them, assisting them to the bathroom, making sure they don’t fall, attending to their every personal need, in a gentle, caring manner, and also being present at their sacred hour of death.

Yes, the men I have known have had some depth of spirit and a willingness to help others. My dear son has given up his summer to teach Latino and Black inner city “kids” who need help with English, and who hope to attend college soon. This is not the first time he has worked with Latinos. He has taught English as a Second Language (as I did, to a more limited degree), and in all, has been teaching for a total of ten years now, seven of those years devoted to teaching English at the university level. I am so proud of him and all that he brings to Education, especially his lack of discrimination toward neither the affluent, spoiled brats that cross his path nor the poorest of the poor, minority population. This is called Integrity. This is called Service. This is called being selected for a Greater Purpose than oneself. This is called Making a Contribution.

Today, I shall see my grandson. He is a love and a total joy. I am so happy to have lived long enough to have known I had a grandson. Our days are numbered, and like the hairs on our head, only the Almighty knows how many there are.

My days are full, but they are ordered only by me. I am happy to work for myself and to do free-lance journalism. I have much left to do, God willing. I appreciate my loyal readers and my “virtual” students of needlework and quilting, who sometimes put up with reading my reflections on LIFE.

You’ve heard the expression, “Looking for just one good man”? I’ve got a few of them, and boy, am I lucky or what?

Patricia Cummings, who hopes to find the time to create and post a file of flowers from our garden, later today. Stay tuned. In the meantime, “Walk on the Sunny Side of Life.”

On June 28, 2007, we had the pleasure of hearing film maker, Ken Burns, speak at the Capitol Center for the Arts in Concord, NH. With an attentive and appreciate audience on hand, including veterans of World War II, and active duty and retired military members, Burns shared film clips from his new film, “The War.”

In all, the audience previewed about one hour’s footage from his new, seven part, 13.5 hour series about World War II, a film that was six years in the making. New Hampshire Public Television will begin running the series on September 23 at 8 p.m. http://www.nhptv.org/

Burns explained some of his reasons for making the documentary. First of all, he was influenced by the example set by Tom Brokaw and his book, The Greatest Generation. He also realized that one thousand World War II veterans are dying every day in America. Time is running out to gather information from oral interviews. In addition, the wish to educate the current generation was a motivating factor after Burns found out that, in one survey, high school graduating seniors seemed to think that Americans and Germans fought on the same side, during the largest armed conflict of the twentieth century.

I came away from this event more mesmerized than ever before by this period of history. With an estimated 50-60 million casualties during the war, one wonders when “enough” killing and brutality will be “enough” for mankind. We continually become engaged in armed conflicts. Usually our youngest, our bravest, and our strongest are sacrificed. World War II has been referred to as a “necessary” war, and after seeing the film, you will begin to know why.

What an amazing experience!

Patricia Cummings

Press Conference Held to Set Record Straight on Gee’s Bend
Call by Arnetts for End to Allegations Harmful to the Quilters of Gee’s Bend

A lie can travel halfway around the world while the truth is putting on its shoes – Mark Twain

One of three quilts belonging to Lucinda Pettway.
All photo edits by Patricia Cummings

Atlanta, GA – (Wednesday, June 27, 2007) – Gregory H. Hawley, of White, Arnold, Andrews, & Dowd P.C. of Birmingham, and Gary L. Coulter of Coulter & Associates of Athens, Georgia, co-counsel to William Arnett, Paul Arnett and Matt Arnett, art collectors and promoters of the Quilts of Gee’s Bend, held a press conference today (June 27, 2007) to set the record straight on recent allegations concerning the Quilts of Gee’s Bend.

During the press conference, which took place at 1:00 p.m. at the main conference room of the Birmingham Bar Association, 2021 2nd Avenue North, Birmingham, Alabama, Mr. Coulter and Mr. Hawley discussed the most recent lawsuit and the quilt at issue in that lawsuit, which were on display.
We called this conference to set the record straight about three quilts that are at issue in a lawsuit filed last Thursday (June 21, 2007) and that were the subject of a recent story in the Mobile newspaper. Plaintiff’s lawsuit makes some remarkable claims. First, the plaintiff claims that the quilts were made by her great-grandmother, a quilter in Gee’s Bend. Second, she claims that two of the quilts are more than 100 years old. Third, she claims that the quilts are “priceless,” stated attorneys Coulter and Hawley.

Lucinda Pettway’s “Economy Quilt” valued at $100 – $250 by Julie Silber and dated 1950-1960. Called “Diamond in a Square” by Holly Anderson, and dated circa 1965.

Ten years ago, the Quilts of Gee’s Bend were a local craft that was unrecognized and largely unknown outside the Black Belt of Alabama. The story of Bill Arnett’s recognition of this local craft as significant art is well known. Through his efforts and the efforts of his son, Matt Arnett, these quilts have toured the nation and appeared in dozens of museums that have validated this as an important art form. Now that these quilts are well known – and some possess great value – it is important to protect the integrity of Gee’s Bend Quilts. To misrepresent the age of a Gee’s Bend Quilt, or the creator of a Gee’s Bend Quilt, is just as reprehensible as promoting a counterfeit as an original Picasso. Some of these allegations in these lawsuits undermine the good name and goodwill of the Quilts of Gee’s Bend, to the detriment of the quilt makers who earn a living through this art.

As Bill Arnett has said, “What is at stake is public confidence and the integrity of the Gee’s Bend Quilts. Ultimately, unreliable attributions can attain the status of settled fact. and the seriousness and reputation of projects about Gee’s Bend Quilts are undermined and are harmed.”

Background

In early summer 2004, there were discussions regarding an exhibition and book about the legacy of Dinah Miller, a former Gee’s Bend resident, who, according to family history, came to Alabama from West Africa around 1859. Arlonzia Pettway, Dinah Miller’s great-granddaughter and one of the quilters of Gee’s Bend, asked Matt Arnett to accompany her to Mobile and Pritchard to visit some of her relatives who might have information to share. She also wanted Matt to look at quilts made by her relatives.

Arlonzia Pettway, Mary McCarthy, and Matt Arnett traveled to Mobile, and visited the home of Arlonzia’s sister, Lucastle Pettway. After looking at some quilt tops that she had made and meeting several other family members, the group traveled to the home of Lucastle’s daughter, Lucinda Pettway Franklin, who is the plaintiff in this lawsuit. Ms. Franklin showed the group several quilts, including one she claimed was made by her mother and two others that she claimed were made by her great-grandmother, Sally Miller. Matt Arnett inquired as to how she knew the origin of the two older quilts, and Ms. Franklin claimed an uncle had given her that information.

Although he believed the quilts to be from a time period after Ms. Miller’s death (July 11, 1943 – death certificate available upon request), Matt Arnett photographed the quilts and then he and Arlonzia asked if he could take the quilts to Atlanta for further study and to obtain conservation information. Ms. Franklin agreed to loan these quilts to Matt Arnett, and he took the quilts back with him to Atlanta, and they have been in his possession until today.

Upon returning to Atlanta, Matt Arnett compared the quilts with other quilts and determined that they were made in the 1950s or the early 1960s. Matt Arnett acknowledged that “we have worked really hard to protect the integrity of the Gee’s Bend Quilts, and didn’t want anyone misrepresenting the quilts or their makers.”

He had the quilts verified by experts in the field, who also concluded that the quilts were made in the 1950s or 1960s. Matt Arnett was uncomfortable returning the quilts through the mail, and he expressed this concern to Ms. Franklin, as well as his desire to deliver the quilts to her in person. On several occasions, Ms. Franklin told Matt Arnett she was in no rush for the return of the quilts and that all she asked was that he care for them and keep them safe, which he has done.

Based on his consultation with various experts, Matt Arnett knew that the quilts’ origins were not as Ms. Franklin believed them to be. Although Matt Arnett had attempted to convey this to Ms. Franklin several times over the telephone, his attempts had been without success. In April 2007, Matt Arnett and Ms. Franklin had an e-mail dialogue related to scheduling the return of the quilts. Unfortunately, last Thursday, on the same day Matt Arnett e-mailed Ms. Franklin to arrange a weekend meeting to return the quilts, Ms. Franklin filed her lawsuit.

As Matt Arnett stated, “This exaggerated dating of the quilts is exactly the type of thing I was trying to protect against, and aside from the quilts’ safe return, was the main reason I had hoped to hand-deliver the quilts to Lucinda (Pettway Franklin).”

“Pinwheel (variant)” quilt appraised at current market value for $250 – $450, by Julie Silber, certified quilt appraiser. Date: 1950-1960. Holly Anderson dated the same quilt, circa 1965.

The quilts presented at the press conference today are the three quilts that were given to Matt Arnett by Lucinda Pettway Franklin at her home. One of them is clearly of recent vintage, but two are older. These are the two that Ms. Franklin was interested in having Mr. Arnett investigate and authenticate the date of creation.

The quilts depicted in the photographs were taken at the time that Ms. Franklin lent these quilts to Mr. Arnett. Ms. McCarthy (who was present at the press conference today) has verified that these are the three quilts that they collected from the plaintiff.

We have had these quilts appraised by certified appraisers from Georgia and California. The Georgia appraiser, Holly Anderson, appraised the two older quilts as created in 1965. Julie Silber, an appraiser in Albion, California, dated one of the quilts as made between 1950 and 1960, with a value of $250 – $450. Ms. Silber appraised the second quilt as made between 1950 and 1960, and valued at $100 to $250. (Copies of these appraisals are available upon request.)

According to these evaluations, these quilts clearly cannot be 100 years old. Moreover, because these quilts were estimated to have been created in the 1950s or 1960s – and contain fabrics made in the 1950s – it is impossible to believe that they were made by Ms. Franklin’s grandmother, who died in 1943.

Finally, these experts in the field of fabric and quilts indicate that these quilts are worth, at most several hundred dollars. They are not “priceless” as plaintiff claims, or worth “$100,000,” as was reported in one newspaper story.

Because Ms. Franklin’s claims may have the effect of undermining the integrity and goodwill of Gee’s Bend Quilts, a motion was filed today by the Arnetts’ attorneys for the federal court to appoint its own expert in the field of quilts and fabrics so that these sensational allegations can stop before further damage is done.

When public confidence in the integrity of this art is undermined, the ultimate losers are the women of Gee’s Bend who create these quilts. When the integrity is called into question, art galleries are less likely to represent the women and their quilts. Art museums are less inclined to promote tours of the quilts. Ultimately, the value of these art forms could decline and the demand for them will diminish. This is to the detriment of everyone involved with Gee’s Bend Quilts.

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Press Release sent to Quilter’s Muse Publications: http://www.quiltersmuse.com
by Dindy Yokel,
(305) 632-4455, dindy@dindycopr.com

What exactly does the word “primitive” mean? Today, we have a relatively new embroidery style that folks are calling “primitive.” This embroidery genre is based on simple line drawings of angels, pumpkins, houses, fences, and other “folksy” designs, all drawn to give a purposely unschooled look. There is nothing fancy about the work. It is often worked on tea-dyed fabric and executed with straight lines or outline stitch. The idea of “primitive” motifs has led me to think about the term, as it applies to ancient people and their art.

First, the work of prehistoric, Paleolithic man comes to mind, as seen in the images that were painted, incised, or sculpted onto the walls of a cave in Altamira, Spain. The most famous of the figures, perhaps, is a wounded bison that has fallen to the ground.

Cave paintings are a reflection of the culture that created them. Nor is that cave in Spain the only one to feature “art.” One lesser known cave in Spain depicts the processes of procreation and reflects an early understanding of biological actions and results. A cave in Lascaux, France also feature painted animals. Some art historians have considered the hunting scenes of early cave paintings to have been used as a good luck omen to cast a magical spell on the good fortunes of the hunt.

Another group, North American Indian “artists,” has now, mysteriously, disappeared. Once a thriving population, the Anasazi Indians of the Four Corners region of the U.S., were an advanced, sophisticated, and savvy group. Their ruins are a place that still calls many visitors to the southwest, each year. On rocks, the Anasazi etched “petroglyphs,” still studied by artists and archaeologists.

A third group of “primitive” people were the Mayans. They also had a very advanced culture. Please read the entry under “Art Discoveries,” on this blog, that describes how a professor from the University of New Hampshire discovered some new “finds,” not too long ago.

People have always found art to be pleasing, hopeful, satisfying, expressive, a good luck omen, spiritual, magical, reflective, and many other words we could use to describe what we generally just call “art.” The lesson to be learned, in this discussion, is that there really is “nothing new under the sun,” as is stated in the Bible. As long as there are people, I predict that many of those individuals will continue to want to create “art,” for its own sake. Primitive Art, in general, gives us a window into the creative processes of the human mind and its expression in art from times passed.
Patricia Cummings