CLASSIC, COOL & COLLECTIBLE SALE
Lot 130:
Gee’s Bend, The Architecture of the Quilt Book Signed on 6-3-06 by THIRTY-SEVEN of the quilters whose work is pictured in the book including Mary Lee Bendolph. Tinwood Books, First Impression 2006. Some water damage to bottom.
13" X 11 1/4"
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Text Found in Images:
Image 1:
GEE’S BEND
THE ARCHITECTURE OF THE QUILT
MLB
GEE’S BEND
THE ARCHITECTURE OF THE QUILT
AP
GEE’S
BEND
THE
ARCHITECTURE
OF
THE
QUILT
China
Lucy
MLB
Ruth
GEE’S
BEND
THE
ARCHITECTURE
OF
THE
QUILT
Bettie
B
Willie
AP
ay
Image 2:
GEE’S BEND
THE ARCHITECTURE OF THE QUILT
GEE’S
BEND
THE
ARCHITECTURE
OF
THE
QUILT
Image 3:
ARCHITECTURE OF THE QUILT
The Quilts of Gee’s Bend brought the community to na
presenting
of research
art, and a more future-of focused the Gee’s into the nature and inspi-
Gee’s Bend
nurtured remarkable
place that had
rations-and The seven hundred or so inhabitants Bend quilt of tradition. this small. rural
exhibition and accompanying books provided the quiltmak-
Most
ers with new view of themselves as acclaimed artists working
Quilts quilt de- of
within a venerable tradition. Able to see their creations within
community are mostly descendants of slaves, and for genera-
ARCHITECTURE
OF
THE
QUILT
The
Quilts
of
Gee’s
Bend
brought
the
community
to
na
tional
presenting
of research
and
a more
focused
the
Gee’s
into
the
nature
and
Gee’s
Bend
nurtured
remarkable
place
that
had
rations-and
The
seven
hundred
or
so
inhabitants
Bend
of
this
rural
artistic
exhibition
and
accompanying
books
provided
the
Most
ers
with
view
of themselves
as
acclaimed
artists
working
Quilts
quilt
de-
of
within
a venerable
tradition.
see
their
creations
within
community
are
mostly
descendants
of
and
for
genera-
broad
history
of
and
Image 4:
Project Directors William Arnett Matt Arnett
Burak
CONTENTS
Published on the occasion of the exhibition
and the Tinwood Alliance
Proofreaders Misty McNally Jan Ronish
and page Illinois Phase One with 214 P25 the The Digital majority of the back attached to a guilts images Sinar were acquired view on page camera, in 2006 128 photo sessions supplemented using
The in this exception
Project
Directors
William
Arnett
Matt Arnett
Exhibition
Paul
Arnett
Thomas
Joanne
Cubbs
Eugene
Metcalf
Burak
CONTENTS
the
exhibition
Associate
Designers
Editors
William
Stephanie
Thomas
Bledsoe
Misty
McNally
organized by the
Museum
and the
Tinwood
Proofreaders
Misty
McNally
Jan
Ronish
Curator
Alvia J.
Exhibition
and page
Phase
One
with
214
P25
the
The
Digital
majority of the
back
attached to a
images
Sinar
were
acquired
view
on
page
in 2006
128
supplemented
using
book
were
photographed
Pitkin
Studio
The
Museum
Houston
The
in this
exception
Image 5:
which contains nine discrete compound
throughout the history of pieced guilts
blocks. The blocks primary units can be
Block piecing in the form that we recog-
nize today is widely supposed to have
plain squares or rectangles, O combi-
originated with European settlers and
nations of shapes such as two triangles
joined to make square. The plethora of
Europe, particularly in Britain during the
patterns breeds an almost infinite choice
migration to the United States that began
LUCY T.
PETTWAY
(1921-2004)
in
Circa 1945
Cotton
sometimes
referred to
patch
or
into
double
which
contains
nine
discrete
compound
throughout
the
history
of
pieced
The
primary
units
can be
Block
piecing
in
the
form
that
we
recog-
nize
today
is
widely
supposed
to
have
plain
squares
or
rectangles,
originated
with
European
settlers
and
nations
of
shapes
such
as
two
triangles
their
descendants.
The
pieced
joined
to
make
The
plethora of
Europe,
particularly
in
Britain
during
the
patterns
an
almost
infinite choice
migration to the
United
States
that
began
design
Image 6:
LILLIE MAE PETTWAY (1927-1990) Mary Lee Bendolph’s
From the Quilts of Gee’s Bend exhibition
/was just learning quilt out hung the finished, it in the little sel. Elizabeth. rows house looked It was guilt had Since it up If it and to me; good. with hem had was how-we hooked Mama; the been it my And My strings. quilt my Mama’s that the just sister made other put And Elizabeth wasn’t made quilt then two sister, me big it frames feel we would rows Lillie helped sat good. so Mae: to down on have good-because me it had " Me
LILLIE
MAE
PETTWAY
Mary
Lee
Bendolph’s
Circa
1965
wool
inches
From
the
Quilts
of Gee’s
Bend
exhibition
hung the
little
rows
house
looked
had
Since it
up
and
to
me;
with
hem
had
was
how-we
hooked
Mama;
the
been
it
my
And
My
quilt
my
Mama’s
that
the
just
sister
made
other
put
And
Elizabeth
wasn’t made
quilt
then
two
me
big
frames
feel
we
would
rows
Lillie
helped
sat
Mae:
to
down
on
have
good-because
it
had
Me
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