The 27th boxes of mystery.

Handmade clay buttons. Circa: 1977.

I "officially" stopped collecting boxes of mystery for the Inheritance Project a long time ago. Like, September-30th-2016-long-time ago. But in the way I always accepted old cloth before the Project became a thing, I still accept it now. 

At the end of this post is a sneak peek at one of the pieces from the Inheritance Project body of work, and when I send out the next newsletter, I'll give another peek there. I just finished a large piece yesterday and I'm on the home stretch for a May exhibition at the Anchorage Museum.

Meanwhile, a deep and belated thank you to the next two Vintage Linen Contributors to the Inheritance Project. These items were delivered this fall.

Life Essence.

Many Contributors to this project are artists, and Anchorage-based Carol Lambert is no exception. I met Carol two years ago, when we were both curated into a small group show at Alaska Pacific University called Fragments of Time. She is a fine artist -- draws, paints, and is someone whose eye seeks the details that flesh out the darker undercurrents of life: a severed bird wing, a bit of bone. Around Christmas, she opened her studio and offered years-worth of still life props to other artists and makers who could find them useful. Alas, I didn't make it to her open studio prop give away, but I'd already visited with her in my own studio this fall when she delivered culled fabrics and accoutrements. Of course, these items blended easily into my life, despite how long it's taken me to share them here. So long, in fact, that I've already used several yards of it (although the Canadian in me really still likes to think in meters). Thank you, Carol, for contributing to the Inheritance Project and for attending one of the Needle & Myth workshops at the Anchorage Museum this fall. It's been a delight to follow your work all this time.

​You, too, can see Carol's paintings and drawings here, and/or follow Carol on Instagram: @carollambertarts.

Various linens and shantungs, some old, some a little newer.

Several yards of fluid wedding gown satin found in Carol's mother's mother's drawer, circa: pre-1969, unused (age-worn and gorgeous). An Irish linen sheet with a "B. Altman, New York" label. Various other linens and chunks of newer upholstery with crewel embroidery designs.

Orange silk, originally a skirt and may become one again. So gorgeous.

All the various trims and hem lace/tape we all collect, but rarely have use for in contemporary dressmaking projects. The bottom row (left features a length of sturdy handmade bobbin lace trim and a lace dickie (false blouse front), which I've since dyed charcoal grey.

Handmade clay buttons: Maker: a family member in her 20's; Circa, 1977; Origin, unknown. They came in that groovy star-covered box at the beginning of this post, featuring that US Bicentennial vibe. So good.

Teeny tiny petit point on a linen napkin/handkerchief. Not to be confused with a really big dime.

Matching embroidered linen tea towels. Circa, Origin, Maker: Unknown.

Arizona Hardscrabble.

Thank you to Dennis Anderson, one of two men who have contributed to the Inheritance Project. Dennis and I were put in contact through the International Quilt Study Center & Museum in Lincoln, Nebraska last fall. The quilt he contributed was made by his Great Grandmother, Hettie, on a Singer treadle sewing machine. I love this photo of her and have it on the wall in my studio. It's a source of great joy and defiant power.

​Do not mess with this lady. Do not.
​

Hettie Colliie Nickell Harrison. Born 1873 at Str Lime Works, Lyon County KY. Now underwater as part of the creation of Lakes National Park.

"Please use the photograph to the fullest.  I love that picture.  My mother said that Hettie always dressed that way. The ranch house had a wind mill with a 100 gallon tank about 50 feet from the home. When I spent a week end there about 1949 they had running water in the kitchen.  I don't know about a bathroom. They had an outhouse about 100 feet from the house. It was a one seater with the quarter moon cut out in the door. And HONEST To GOSH a Sears and Roebuck catalog toilet paper."

--Dennis Anderson, Contributor

Hettie collected Bull Durham tobacco pouches from her husband and the cowboys at neighboring ranches, using the cloth to make this quilt. It is sun faded and water stained, but I've already incorporated a baby quilt and another piece -- an unfinished embroidery from Olga Norris in England, with its own story of strength and defiance -- to complete "War Room," for exhibition this May. Below is a sneak peek. For those of you who follow me on Instagram, here's where those 2,000 tapestry needles landed.
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"In that quilt is the love of the Anderson family. Hope you can find a place for it in your artwork." Dennis Anderson, Contributor.

"War Room," (46" x 62") Baby quilt, quilt, abandoned embroidery, domestic linens, foam, tapestry needles, 2017.

One year ago on this site:

The Thread Unraveled -- VM Art Gallery, Karachi Pakistan.

Two years ago on this site:

Broadsided.

Three years ago on this site:

Worth Keeping.