Sunday, January 12, 2014

New Signature Silk Thread Collections by Jeanne Sullivan for YLI!

Hi Everyone! 
    Happy New Year! (...only twelve days late) but I've made a promise to myself to try harder to post more often (let's see how long that lasts!). Honestly, I love writing and taking lots of photos and I have the best ideas and intentions. Somehow, though, there are never quite enough hours in a day for me. Onward! One post at a time!
    As you probably know from reading my book or taking a class with me, I love using silk thread for my hand applique. In fact, I really wouldn't be able to accomplish many of the special techniques or making very small applique pieces without this fine, strong thread. I also love the look of it for machine quilting.       
    I'm so excited to finally be able to share a little (well, maybe not so little) side project that I've been involved in for a while. I've had the pleasure of working with Jim Miller, the owner of YLI. It's always hard for me to keep a secret but now I can tell! YLI has launched three Jeanne Sullivan Signature Silk Thread Collections! Each is inspired by a project featured in my book. I hope you like them! And, here they are... Take a look! You'll notice I worked hard to figure out how to create snazzy photo collages with text for your viewing pleasure :)  Haha!

                    Baltimore Heritage Collection:

                             English Garden Collection:

          Butterflies, Birds & Lollipops Collection:

        The collections are popular for a lot of reasons. Tried and true silk lovers find the travel packs convenient and compact for on-the-go projects. If you've been thinking about trying your hand applique using silk (and, you really should consider taking the plunge...) the collections offer a perfect range of colors to get you started. Quilt shops will like having core thread color groupings without needing to carry the entire line. They make great gifts. And...they're simply irresistible! (I'm now laughing to myself...think I sound a bit like someone pitching a new product on the Shark Tank TV show!)...
       All three collections, along with all the YLI individual spool colors are ready and available on my web site.  If you visit there, you'll also find two new true pinks and a deep red, filling in the blanks in the range of pale pink through magenta. Here they are: 

                                     YLI Silk #268

YLI Silk #267 

YLI Silk #266 

     For my next blog, I plan to write a silk thread tutorial with tips and tricks for using silk for hand applique. Stay tuned... 

     If you dabble in Facebook, maybe you'd like to send me a friend request at   
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  or both! Thanks!

    I'm glad you stopped by!

Until next time, I wish you dancing needles!



Wednesday, July 17, 2013

Quilting Your Applique

     Ever get stumped when it comes time to quilt your applique project? Find ideas and techniques galore by studying historic quilts and today's applique projects!  

      When it comes to Baltimore Album Quilts, I'm so very fortunate to live in an area rich in quilt collections and quilt history. I live in Annapolis, Maryland, one point of a regional triangle which includes Baltimore and Washington D.C. Forty-five minutes in either direction and I'm walking into an amazing museum housing the most spectacular examples of antique Baltimore quilts. Among them, the Baltimore Museum of Art, the Maryland Historical Society, the Lovely Lane Museum, the Smithsonian and Daughters of the American Revolution Museum, with many more smaller museums and exhibits in between and just beyond the Maryland borders. Recognize this familiar Baltimore Album block?

A block from the Mary Mannakee quilt made by Mary in Montgomery County, MD, dated 1850. Quilting 15-16 stitches per inch. DAR Collection.

     I love applique so I'm naturally drawn to the album quilts. But, applique is applique and whether you enjoy recreating historic album quilts or appliqueing a whimsical folksy design, a lot can be learned by just looking closely at these old Grande Dames. I could stand there basking in their radiance, studying every minute detail for literally hours. I'm always mesmerized, feeling in some way connected to the women who stitched them so many years ago. I can count on a generous supply of fresh ideas and motivation for my own applique each time I visit and I'm ever thankful for the chance to experience and appreciate them with my own eyes, up close.

     Is it any wonder I'm wide-eyed and breathless during my visit with Mary's masterpiece? This is how near I am to her incredible work. I rein in, examining every applique and I'm incredulous at the sight of her perfect, miniscule stitches.

     I know many a passionate applique quilter who would give a king's ransom to be able to see even one example of an album quilt block in person, so I thought about showing you a few of the photos I've taken (with permission), so you can have the opportunity to study them for yourself. (If you plan to copy or share any of this, I ask you to credit me with the photos and link to my blog post. Thank you.) Please understand that I'm not a quilt historian or a credentialed expert on Baltimore Album Quilts. Here, I'm sharing in good faith whatever information I could find or think would be of interest. Mostly, I'm offering my observations and opinions with a focus on quilting for applique. 

     With interest high these days in making historical quilts, lots of questions have come my way asking about how quilting should or could be done on quilts featuring applique. By way of example, I thought we might first take a look at some vintage blocks, followed by one of my own quilted applique projects.

     Here's a precious beauty appearing in a quilt made for the Reverend Roberts found in the Lovely Lane Museum, dated 1848. The maker of the block is Hannah Harvey. Hannah looked for opportunities to quilt in the limited spaces between and around the applique motifs where it is easier to quilt through the layers of the quilt sandwich. She then added generous quilting around the borders surrounding the flowers and the reticulated basket. There is little quilting done on the appliques themselves.    

The following detail photo shows the particular care Hannah took to fill the open areas outside of the basket with carefully spaced, diagonal rows. There is quilting between the basket ribs where the background is accessible for stitching. Even though the base of the basket is a large size applique, there is no quilting on it. My thinking is that most times quilters of this era had access only to white thread, making quilting stitches on the surface of appliques pronounced and distracting. Hannah is meticulous and probably wouldn't have liked this. Also, I imagine she would have found it difficult (as we do today) to execute  tiny, even stitches through so many fabric layers.  

This flower bud motif below shows clearly how Hannah quilted around each applique element. She went on to do the background fill areas. This quilt block happens to be exceptional in its workmanship, yet see how the white applique stitches are noticeable along the turned edge folds of each applique and reverse applique? I'm making a point to bring this to your attention because so many quilters find fault with their work and are afraid of doing applique because their stitches are not perfect. Back in the day, do you think Hannah and her friends concerned themselves with this? I believe they each did the best they could and totally enjoyed creating their quilts. They weren't worried about the show judge! Take a minute to look again at the first picture above, of the block as a whole. It is stunning and here we are 165 years later still admiring it.  

Here's another detail photo showing that even the large white applique flower wasn't quilted. Again, you can see that Hannah filled in any available background space with a bit of quilting. 

This last detail shot of Hannah's block reveals wonderful examples of reverse and multi-layered applique. Hannah knew to let the appliques stand on their own. She allowed the diagonal quilting to tastefully frame her applique design.  

      Next, I'd like to share a block from the Reverend Robert Lipscomb quilt also in the Lovely Lane collection. While each of the 25 blocks making up the quilt is signed, sadly I didn't get the maker's name.
     You'll notice the diagonal lines of background quilting boast the addition of flower motifs and feathers.      

     The detail photo below shows a blue flower which appears in the center of the block's floral arrangement just above the large white flower. You'll notice this maker chose to quilt both between the applique elements and occasionally on the surface of her appliques. Look closely to see the quilting stitches (in white) sewn around the flower center perimeter and between some of the petals. 

      When we look back at the Lipscomb block in its entirety, we can't help but to be taken in by its beauty. The appeal of the design transcends time, appearing in very many Baltimore Album Quilts...both in antiquity and in today's BAQ's. But somehow, along the way, we got the impression that every detail in the BAQs are perfect. We put pressure on ourselves feeling we also need to be as perfect when making them. No wonder some call applique the A word! But, now you can see for yourself that there are details, from a technical standpoint, that could be greatly improved upon. Ah, what a relief for us! For those who would shy away from the pleasures of the needle because they think they "can't", you can now relax (with the pressure off) knowing full well that you can ! ...and, probably better than great-great-great grandma.

     This next quilt block is from an 1850 Baltimore Album quilt in the collection of the Baltimore Museum of Art. The maker is unknown. The hunt scene is a familiar block seen in today's album quilts, derived no doubt from this amazing creation. Notice the flower and leaf quilting motifs casually positioned and stitched in every available open background space. Totally charming!

     Below, this close up shows the incredibly well-executed, tiny stitches which form the creative quilting motifs. Beautiful stitches also surround each of the applique elements to give them dimension. Certainly, the quilter's tasteful choices illustrate that sometimes "less is more".

     Consistently, the quilter has selected to use quilting to define the perimeter of each shape. Notice in this example, that the delicate quilting stitches are placed slightly away from the applique edges. They are not done "in the ditch" here. I think it serves to raise the appliques a bit more and allows the lovely stitches to remain in full view. No quilting is added to the surface of the applique work. Don'tcha just love those trees and birds?! And, check out the eggs in the little nest. Too cute!

     The following fruit basket block appears in a Baltimore Album Quilt by an unknown maker, dated 1849. It is quilted simply with a crosshatch design. The quilter's skill in perfectly aligning the diagonal lines from block to block across the seam is no easy feat. A geometric grid of quilting works perfectly as a backdrop to the flowing curves of the applique flowers and fruit.  

     As we've also seen in previous works, this quilt artist has deliberately chosen not to add quilting details on the surface of appliques, even with the very large fabric patches making up the pineapple and cleft peach. Instead, perimeter stitching surrounds each applique element (...and, the answer for inquiring minds is: Yes, that means there's quilting around each grape...) with additional quilting relegated to the small areas between motifs. Subtle inking is used to further define the pineapple.

     Coming up next is another basket with abundant flowers, many of which are the paisley roses, so named because of the distinctive shape of their center petals. The block dates back to 1852, Baltimore. Elaborate quilting includes sunflowers created with crosshatched centers surrounded with feathers suggestive of petals. Quilted meandering vines, leaves, and a variety of flowers cover nearly every available free space in the background fabric. This block resides in the same quilt as the hunt scene block. 

Enjoy soaking up every delightful detail in these close up photos of the basket...

This quilter exhibits extraordinary needle skills as evidenced by the smooth curves, pointy points, perfect deep inside Vs and hidden applique stitches. Think about it...she didn't even have an OTT light!!! The beautiful quilting is kept once again for applique perimeters and background areas, but not on applique surfaces. Here, too, an intentional space has been left between the applique edge and the perimeter quilting.   

      Well, I think you get the idea by now... There are no special rules or must-do requirements when quilting for applique. It has been and continues to be guided by a quilter's individual and personal aesthetic sense. It is an art as unique as finger prints. So, relax and be playful and do what pleases you. Worry aside, you'll love the process and the satisfaction as much as you do every other step in making your quilt. This block from historic Williamsburg's Abby Aldrich Rockefeller Museum is currently on exhibit. Talk about eye candy! I wish I had a full view of the block but the special glass which shields the quilts from harmful light would only allow me to get a partial, angled shot to avoid glare. I'm so happy I could capture at least some of the intricate details of this masterpiece.
     I must admit I'm more than a little humbled following this act! But, I'd like to share some of the quilting and how I handled it in making an applique memory album cover (a present for myself) to keep photos and memorabilia about my own applique journey safe and in one spot. Here's the finished quilted cover which I slipped onto an expandable scrapbooker's memory/photo album which I found at a Michael's chain craft store.
     My album cover design features applique lettering with embroidery embellishment. It is then hand quilted. I'll tell you more about it with each detail photo below.

    Here's what the applique looked like before I quilted it:

     I began by basting together a quilt sandwich: my completed top, pre-washed Hobbs Thermore (very thin poly batting...easy to needle with a good drape, although it didn't matter with this project), and a cotton backing. I used quilting stitches around the perimeter of each of the letters and applique motifs. I quilted a little to the outside of the applique edges, leaving a space to make them stand out a bit. 
     I love the look of crosshatching with applique. It's easy and adds just enough texture to compliment the slightly raised applique layers. And, once you settle into a relaxed rhythm you can move along at a fairly steady pace. I used 1" wide painter's tape to designate my quilting lines making it easy to position my stitches along the edges (one line at a time) and working from the center out on both sides.

 Take a close look at this detail photo of the M to see how I laid in the quilting stitches just to the outside of the applique edges and embroidered flourishes. Inside of the loop that formed the letter e, I only had room for a couple of quilting stitches but they did the trick. You can also see how some of the crosshatching intersects or runs along side some of the perimeter quilting.

My last name is a good example of how the upper case cursive S and a variety of lower case letters look when quilted. The quilting makes them stand out in a pleasing way. I think it's very effective. Notice the quilting which outlines the other appliques. I like to leave just enough space for the quilting to show.

     Next, I want to point out some examples of what I call mock quilting. Look closely at the three leaves surrounding the red blossom with the pink center (just to the left of the bird's head). I actually did this "quilting" with color coordinated embroidery thread before I made the quilt sandwich. It creates a subtle contour in the leaves while stabilizing the applique, tacking it onto the background fabric. This is a great way to handle larger appliques and multi-layered motifs. 
     Now, look at the other embroidered leaf veins. Essentially, this is mock quilting too because I execute my embroidery stitches with a two-step stab stitch so the thread goes through all layers, creating a subtle relief. This fancywork is completed before making the quilt sandwich.    

    The embroidered French knots on this bud serve to tack down the applique, add a tad of dimension and an interesting detail all at the same time. Try it. You'll like it!

     All of the special lettering techniques, applique design, printable templates and complete directions for assembling the album cover are featured in my book, Simply Successful Applique.
     I've carefully selected the blocks and the project for this post hoping they would provide you with a good overview of ideas and techniques for quilting your applique. I hope you're inspired as well! Please take a minute to add a comment or ask a question if you have one. Maybe we can get a discussion going. The feedback would be great! Thanks!
Until next time...Stitch up a storm!
c/ Jeanne Sullivan 2013  

Saturday, December 8, 2012

My Crazy Christmas Oldie, but Goodie!

      So, what have I been up to all these past months? Can't believe I haven't posted since the end of August, but I had the best intentions...does that count in any way?! Well, a few highlights...A trip to North Carolina, the release of my new book Simply Successful Applique (published by C&T), a trip to Seattle, ten days at Quilt Market & Quilt Festival (for the book release and teaching) and now home working feverishly to reclaim the bits of my life that were overlooked for the two years I concentrated mostly on the book. I'm happy to report that I've made good progress in conducting a mega reorganization of my two guest rooms and studio space which had been designated as "book command central". They're now deemed safe again for human occupation at large, and just in time for the holidays...phew!
     During my cleanup effort, I spotted this Christmas stocking I had made in 2002. 

       I was so happy to come across it in a dresser drawer, carefully wrapped in archival tissue, as it remains one of a very few holiday things that survived a flood we experienced. It brings with it a rush of memories and I wonder if those wonderful images would have been triggered had I not had the stocking to spark them. For this, I am so grateful that I stitch. This one small project represents so much of what is me. I'm reminded of the many contented and happy hours I spent playing with small bits of fancy fabrics and threads to try my hand at making something that was Crazy Quilted...which always makes me smile since there's no quilting :) 
     The stocking project idea was sparked by Patty Shreiner, a member of a small embroidery group I belonged to when I lived in Pennsylvania. Group members took turns volunteering to present a project. The original stocking was quite large and I didn't want mine to end up as a UFO given the time it would take for something more ambitious. I redrafted the stocking shape and set about drawing up the fractured maze that would become the background. Then I was off and running! Keep in mind that the stocking is only 11" x 6" when measured at its widest parts. Here's a closeup view of the top:

     I was in my glory! I absolutely loved selecting a shape and then decorating it for all it was worth. The best part for me was the ''anything goes'' mindset and ''more is more" and "enough is never enough" charisma that is Crazy Quilting. I love my camera for its macro's an even closer look of the top right. I worked in thin gold thread to create the embroidered snowflakes on the red background:

     The top left area of the stocking gave me an opportunity to attach a small motif I found in my trinket box. I had made it back when I was learning to do tatting, using thicker thread that helps a beginner see the knots more clearly. It was perfect for this! A few touches of crazy embroidery and Voila! I then couched down some baubles that I found at JoAnn fabrics in the bead aisle. I teased the wire vine to suit my design. You can see I added embroidery stitch sequences along the background seam lines in a variety of threads... 

     Next up is the top center area. I had such fun with the mittens, though they still look very much to me like boxing gloves! They're made of felted wool. Don't you just love the look of buttonhole stitches? This photo gives you an opportunity to peek at the hand crochet lace edging (to the right of the mittens). I found this in my trinket box, was just a short length of the handmade lace left over from one of my other projects. need to save every little scrap! (This is how I justify my hoarding tendencies...)

     Now, onto the mid-section...

    ...followed by the zoom shots! Here's the detail of the white area seen in the above photo peeking out at the top center. Gold embroidery thread with gold beading does the trick!

     Now, let's take a peek at the green band. You can see some purchased gold trim on top. I used lazy daisy stitches to attach it to the background. The bottom edge sports an embellished red ribbon which has been decorated with various stitch sequences and french knots. The center of the band is accomplished with a pattern of gold thread fly stitches, green floss straight stitches and clusters of red french knots. I love embroidery for its  simplicity of execution. It always amazes me how much mileage you can get with just a few basic stitches, working them in different combinations and changing out the threads.

  The present was great fun to make! Of course, this gives you a glimpse of my applique skills at the time. I went from rolling over and basting the edges, to using needleturn. My less than crisp corners and edges tell the tale! At least most of it is covered by embroidery...

     But, here's the worst of it. Check out my applique holly leaves! Yikes...cute enough (and fine for this project) but they are nearly non-descript on their own. The only thing in my defense is that they're only 1/4" x 1/2" each. I did keep at it, though, and eventually got the hang of needleturn. But, thank goodness I worked out my Simply Successful Applique method! I can do the tiniest pieces now...quickly and perfectly. Look far to the right, here, and notice that I trimmed the stocking edges with twisted ropes of embroidery thread couched in the seam where the front and back of the stocking were sewn together. This technique makes a nice edge finish.

      I've saved the toe part for last. This little guy's dressed to kill! Yo-yos make a fine snowman body and embroidered details create the face (although his features do look a bit smushed...I needed to fit  them inside the tiny yo-yo center!)... His carrot nose is made of a one thread bullion knot.  I made his hat and scarf with crochet. The holly on top of the hat is made of snips of felted wool and tiny red seed beads.

      Thanks so much for accompanying me on my walk down memory lane! My little project invited me back to a specific time and place in my life. Like visiting with an old friend, I'm left with all those warm and fuzzy feelings.

      During the past months, my camera was always with me, so although I've been knee deep in other things demanding my attention, I'll have the photos and associated tales to share later on, as time permits.

      Wishing you the happiest of holidays and a wonderful New Year!  
Until next time,

c/ 2012 Jeanne Sullivan

Wednesday, August 29, 2012

DAR Baltimore Quilt Exhibit Dates

     Good news for BAQ lovers! I just got off the phone with the museum person at the DAR and got the following clarification concerning their current Baltimore Album Quilts on display which I covered in my previous post. Here's what I was told: The Sampler exhibit (located in front of the current Quilt exhibit) is ending this Friday, so on Saturday, Sept. 2, 2012 and through the following 30 days, the Quilt exhibit will be inaccessible while the museum works on a new special exhibit to replace the Samplers. When the museum hall reopens in October, the current Quilts will continue to be on display until October 2013. Phew! You've got plenty of time now to plan a visit!

     While you're in the area, why not visit nearby Georgetown. The shopping is diverse and upscale. Maybe plan lunch at J.Paul's dining saloon. Enjoy open front dining so you can catch the breeze and a view. Fresh pretzels are served with mustard when you're seated. Mmmmm. The tilapia with a side of cucumber salad is divine. Or, maybe you'd like their lobster quesadillas! Delicious and value priced.

    Me: Back to cutting fabric kits...

Cheers, Jeanne

c/ 2012 Jeanne Sullivan

Baltimore Applique Quilt Exhibits

     After spending much of the summer indoors because of the record-breaking heat and humidity here in Annapolis, I think I've come down with a major case of wanderlust! With William out on the west coast for an antique tool event, I decided to go adventuring on my own.

     I set off to visit with my friend Jean Clemens who lives in Williamsburg, VA. We met a few years ago while I was teaching at Applique Academy and she volunteered to be my classroom assistant. What a pair! She's a wizard at organization and kept me on the straight and narrow :) 
    With well over fifty quilts to her credit (among them 3 king-sized), it's no surprise that she's one of the most prolific quilters I know. Whether hand appliqueing or piecing or quilting, her work is just beautiful. She's no stranger to machine work, either. But her hand quilting is most enviable with perfect stitches on top and bottom!
    Here's Jean sharing some of her creations with me. Jim, Jean's sweetheart for 57 years (in a few weeks), kept discovering and delivering more and more quilts for us to fawn over.

    I had the extreme pleasure of meeting some of Jean's lovely quilting friends, "The Glory Bees"! Jane Bergstrahl, Elaine Miller, Lee Wallingford, Barbara Carper, Cindy Garmen Squire and Martha Bjick were there. What a fun and talented group! I was so inspired as they shared their works in progress, finished pieces and mounds of newly acquired fabric! I'm sorry I didn't take more photos this time around but I'm hoping they'll adopt me so I can join them again sometime.
    I did get Lee (on the right) showing her newly completed log cabin quilt arranged in a unique setting which she said was called "Perkiomen" (pronounced Perk-ee-omen). I believe she said it was an older traditional Pennsylvania design.

     Jean, Jim and I made plans to visit the Abby Aldrich Rockefeller Folk Art Museum in Colonial Williamsburg. There's a new exhibit there featuring some stellar examples of Baltimore Applique Quilts. The good news is that the exhibit will remain until May 11, 2014 so there's lots of time to plan for this not-to-be-missed display.  
    I'm finding that most museums are now encasing their textiles behind a new type of glass which protects them from the harmful effects of light, which is a good thing. However, it's really difficult to get good photos because of the shaded glass and glare from overhead lighting (and off-kilter photographer). If you have a digital camera I suggest you set it on P (Program setting), but you'll still be challenged to get satisfactory images. Apologies aside, here are some photos to whet your appetite for an in-person visit with the collection...

        Here's a closeup of block D5 (bottom right corner).

And, who can resist this red and green beauty...
The quilt has two alternating blocks. Here's one of them...
This spectacular block from another quilt sports spectacular stuffed work and quilting. I was breathless.
     I'm so grateful to be able to experience these amazing exemplars of fine needleart first hand. I could move right into the museum and live there for months ogling every detail over and over.
     In addition to exhibits featuring every type of folk art imagineable, the museum also houses an expansive collection of antique textiles and needleart. Here's a woman's ''pocket'' with decorative surface stitching known as crewel embroidery.

          The following example of whitework is shown against a lighted background to accentuate the multitude of filled and drawn thread stitches. The photo shows only a small portion of the piece which takes up the entire display case.

     If you haven't ever been to the Abby Aldrich Museum, you really need to put it near the top of your bucket list.

    Next up...Bassett Hall...  Rockefeller played a major role in financing and planning for the restoration of Colonial Williamsburg. John and Abby made Bassett Hall their home for several months each year during the 1930's and 40's. The story of them and their extraordinary vision, appreciation for the arts, their generosity and accomplishments is highlighted in a movie and guided tour at the house. You'll be fascinated! 

     It seemed every square inch of the well-appointed rooms were covered with eclectic mix of modern and folk art (hers), with classic fine art representations (his).
    My eyes locked in on anything stitched or hooked! Here's a beautiful example of a hand hooked rug found in an upstairs hallway...

And, a large primitive piece covering the bedroom floor...
Lovely hand crocheted spreads covered each of the twin beds. They caught my eye because I have a tablecloth made by my grandmother in the exact same design. It must have been all the rage in the 30's!
OK. Time out for lunch! Jean and Jim introduced me to Firehouse Subs. Great food, great service and great prices! I gained five pounds.  
     I said goodbye to my gracious hosts, gased up and was on my way to Wilmington, NC to see my son and daughter-in-law (at least that's what I told them)...but, I really needed a grandbaby fix.
     I got home a week later just in time to pick William up from the airport.
     No rest for the weary! Today we piled into the car and headed for the DAR Museum in Washington DC, about 45 minutes away. Can't seem to get my fill of wandering these days, especially when there are luscious quilts to be enjoyed.
     The DAR exhibit has been up for a while but I had to move quickly now since the exhibit is coming down at the end of this week. It features 8 Baltimore Album Quilts from the DAR collection and rumor has it they won't be displayed again for quite some time (some say ten years...) and I didn't want to miss out.
Among the most recognizable (for me) was the Mary Simon Quilt Top. I know this one well because of Nancy Kern's quilt (see previous post). I was weak in the knees being inches away from this stunning original grande dame. You can see all the pertinent information about it on the Quilt Index web site.

     Another distinctive BAQ is the Mary Mannakee Quilt. I've seen more than a dozen reproductions of this popular and appealing quilt. Visiting with her today in all her glory was indeed a thrill. Here's one of the blocks...

     I could hardly drag myself away. Then I spied the Mary Simon block that I had stitched for the Dear Friends Remembered Quilt now in the Elly Sienkiewicz Beloved Baltimore Album Quilts collection. Here's the orginal block:

And, here's my reproduction block #G4 in the Elly quilt:
     If you're close enough to make a last-minute trip to the DAR this week, definitely do it! If not, don't despair because the museum usually has a number of fine quilts on display at any given time. They just may not include a BAQ in the mix. I'd recommend you call first, just to make sure they're not between exhibits. My first love, of course, is applique and quilting, but the museum has so much else to offer. Their library, for example, is worth the trip on its own merits. And, don't forget to stop by the gift shop for books and patterns and more!
     Well, that's about it for now. I'm sequestered...knee deep in fabric kits, templates, patterns and lesson plans for the Baltimore on the Prairie Applique Conference scheduled to begin on Sept. 12th.
     Thanks for stopping by. Stitch up a storm!
Best, Jeanne
c/ 2012 Jeanne Sullivan