European Patchwork Meeting • Final Post

This has a billion pictures, so get ready to scroll.  I need to wrap this up and bring my head back to what I’m doing in real life.  This is the final post of my visit to the European Patchwork Meeting in the Alsace region of France, this past September.  I have a main page that lists all the posts, in case you come at this from a side street on the web.

This quilt show, or meeting, was held in four different towns in France, and I’ll wrap up the first town, Sainte Marie Aux Mines, then move to St. Croix Aux Mines, and finally Liepvre.  We didn’t make it to the last town, Rombach le Franc, but Jodie Zolliger, who lives in Europe, has written several great posts about what she saw, including the Amish exhibit.  If you are interested, feel free to click over to her blog to catch more.

The Amish exhibit was beautifully laid out in this venue, and as I mentioned, Jodie wrote a great post about it, with better titles and information than I gathered.

EPM_streetside

We walked down to the Temple Reforme, where the Val Patch Association, the local guild, had an exhibit titled “La Maison,” or Home.  All of the quilts in that exhibit centered around the theme of home, showing slices of daily life.

EPM_Guild1

I took a panoramic of the colorful quilts across one side of the church. EPM_Guild3EPM_Guild2

But fell in love with these panels, made by several members.  Jodie has a great post on this one, too.

EPM_SCM1

Off we go to the next town.

EPM_SCM2

Pilot, 1995 • 100cm x 126 cm

I selected to head to the Espace Expositions first, to see the Beauville Company’s exhibition of prints from their archives, but was entranced by the skilled and exquisite use of log cabin construction by Andrew Leblanc in her quilts.   I am listing the sizes of the quilts in centimeters, as noted on their title signs.  (100 centimeters is roughly equal to 39 inches.)

EPM_SCM2a

Pilot, detail

It was pretty amazing to me how she’s used the width of the strips to create her portraits and pictures.  Again, the lighting was superb.

EPM_SCM3

Professor, 1996 • 76 cm x 100 cm

I laughed at this one, because my husband is a professor (but he doesn’t look like someone out of 10th century Russia, or what I thought this man looked like).  Detail of the glasses, below.

EPM_SCM3a

EPM_SCM4

Oasis, 2011 • 103 cm x 103 cm

While this isn’t a figurative portrait, the use of these fabrics was so interesting–not ones you’d associate with creating a design of any kind.  Detail, below.

EPM_SCM4a

EPM_SCM6

Colin-Maillard, 1995 • 110 cm x 220 cm

EPM_SCM6a

Colin-Maillard, detail showing fabrics

EPM_SCM7

I like how they’d put other constructions of hers in a tableau on the floor.  She had many quilts there.

EPM_SCM8

EPM_SCM10

Grand-Pere

EPM_SCM9

She was always busy talking to people at her table, so I could only get this sideways shot of her.  Her website shows many different parts of her creativity.

EPM_LiepreMuller

We headed down the road, again, to Liepvre (and try as I might, I cannot get my blogging program to allow the accents over their words, so I apologize–it keeps kicking them out when it spellchecks), to the Eglise de l’Assomption where an exhibit of Hildegard Muller (Germany) was hung.  The lighting was very “contrasty” so I did a little photoshopping on these to render them closer to what I saw.

EPM_LiepreMuller1

At the birch grove, 2016 • 102 cm x 70 cm

EPM_LiepreMuller1a

Detail.  She hand-dyed her fabrics and then let her mind find the scene that was in the cloth, or so she told me later, when I asked.  However, other times, she had an idea in mind when she was dying the cloth, and made it that way.

EPM_LiepreMuller2

Love in wartimes, 2015 • 102 cm x 70 cm

EPM_LiepreMuller2a

Detail.

EPM_LiepreMuller3

Dreams of Amsterdam, 2014 • 102 cm x 70 cm

EPM_LiepreMuller3a

Dreams of Amsterdam, detail.

EPM_LiepreMuller4

Imagination

EPM_French1

We walked from their to the Exhibition Hall to catch a couple of exhibits; we had to choose as we didn’t have time to see them all. So many of the quilts in this building were perfectly done, all Best-of-Show-type quilts.  The one above took my breath away, so I have a few details shots of it.  I loved that it was an imitation of one in the Shelbourne Museum — another way our patchwork influence crosses the ocean.  The title of the quilt was Marie-Henriette, and was made by Martine Crabe-Lanux.

EPM_French1cEPM_French1aEPM_French1bEPM_French2

The Twinkle-Stars Remake Quilt by Helga Huisman Hildebrand was also in the “France Patchwork” association section.  There were several countries represented in this hall.

EPM_French3

Another France Patchwork quilt, titled Bleus, and made by Maria Vuilleumier.

EPM_French3a

She also had one done in gray, black and white strips, but that one was called Insomnie, or Insomnia.  (Because I’m trying to wrap this up, I’ve heavily edited what I’m posting.)

EPM_GermanSign

Last section, last group of quilts is from the Patchwork Gilde of Germany.  These quilts blew me away.  Every year they have an exhibition and members are asked to enter what they’ve been working on (more info on the placard, below).  This grouping was titled “From Tradition to Modernity 21.”  Because your scrolling fingers are probably worn out at this point, I’ll post the title and the maker on the quilt; some titles are in German.

EPM_GermanPlacard

EPM_German1

Komposition, by Christa Ebert • 110 x 142 cm

EPM_German1a

Detail, Komposition

EPM_German2

Frau Hansen Klaverquilt, by Uta Rodemerk • 183 cm square

EPM_German3

Mannerschmuck in Frauenhand, by Sabine Koch

EPM_German3a

Mannerschmuck in Frauenhand, detail

Okay, as near as Google could translate it, I think this means “Men’s Jewelry in Women’s Hand,” which I thought was really clever given that these are neckties.

EPM_German4

Ausrangiert-neu sortiert, by Inge Bohl of Germany

Discarded, rearranged is how Google Translate interprets this title.

EPM_German5

Zerbrochene Illusionen, by Lilo Hartmann

Zerbrochene Illusionen means Broken Illusions, as translated by Google Translate.

EPM_German5a

Zerbrochene Illusionen, detail

EPM_German6

The Power of Blue, by Gabriele Schultz-Herzberger • 75 x 132 cm

EPM_German7

Flussaufwarts, by Susanne Fellmann-Horsch

EPM_German7a

Flussaufwarts, detail

EPM_German8

Crazy Canadian Square Dance, by Barber Reschka • 108 x 107 cm

EPM_German9

Schattenspiel, by Monika Flake • 107 x 131 cm

EPM_German9a

Schattenspiel, detail.

EPM_German10

In GrossmuttersNahkastchen gekramt, by Christine Naumann • 78 x 86 cm

EPM_German10a

In GrossmuttersNahkastchen gekramt, detail.

EPM_German11

So what do you do about it? by Maire-Christine Chammas • 108 x 147 cm

Very cool quilting.

EPM_German12

Vogelwild III, by Tina Mast • 129 cm x 94 cm

I was told that she teaches art at the local university.  This was stunning.

EPM_German13

Leaves, by Christine Brandstetter • 99 x 132 cm

I talked for a few short minutes to the Uta Lenk, who was the International Representative of the German Patchwork Guild, and she said they would welcome the chance to exhibit at American shows.  I know our local show, Road to California, often has exhibits come from other places, and I would love to see these there.  I almost joined the German guild, but realized that all their materials would be in German, and alas, I wouldn’t be able to read them, but I did buy a pin.

All in all, going to the European Patchwork Meeting taught me that while we Americans fanned the flames of patchwork, the idea of three layers held together somehow, has taken wings, and taken off.  If I were to go again, I’d leave at least two days for the show, and perhaps stay somewhere closer (we stayed the first night in Mulhouse, about an hour away) and in Turckheim the second night (35 minutes away).  It’s near Colmar, and there is much to see in that town, as well.  And…bring an empty suitcase!

SAQA in France: Studio Art Quilt Associates

This is one in a series of posts I’ve written about the Carrefours European Patchwork Show held in September of 2017, in the Alsace region of France.  This exhibit was titled My Corner of the World — Canadian Quilts, and is by a variety of artists.  As I mentioned in the last post, I was giddy with the ability I had to photograph these, as SAQA usually has big NO signs up everywhere, barring us from photography in shows in the United States. Here they are in no particular order:

EPM_SAQA1

37″ wide 30″ long

Washday Blues, Northfield Drive by Millie Cumming, 2017

EPM_SAQA2

27″ wide 30″ high

You’ve Got Mail by Susan Tilsley Manley (2017)  I may get some of the names not quite right, as they had reversed the first names and last names on all the cards.

EPM_SAQA3

22″ x 23″

Rocks on Lake Huron by Hag Gunnel (2017)

EPM_SAQA4

22″ x 29″

Good Morning, Canada by Toni Major (2017)  Detail, below.

EPM_SAQA4a

EPM_SAQA5

28″ x 48″

Looks Like a Nice Day Up There, by Phillida Hargreaves (2017)

EPM_SAQA6

27.5″ x 22″

Beaches #1 by Mardell Rampton (2017)

EPM_SAQA7

23″ x 34″

Poplar Point, by Jaynie Himsl (2017) Detail, below.

EPM_SAQA7a

EPM_SAQA8

29″ wide 20″ high

Ted’s Garage, by Robin Laws Field (2017)

EPM_SAQA9

20″ x 37″

Albert Cote’s All I Need is a Garden and a Chair (2017)

EPM_SAQA10

37″ x 28″

Ann Fales’ The Blueberry Patch (2017)

EPM_SAQA11

38.5″ x 28″

Reflections of the North, by Arja Speelman (2017) You can tell I really liked this quilt and the way she constructed it, judging by the two detail shots below.

EPM_SAQA11aEPM_SAQA11b

EPM_SAQA12

22″ x 20.5″

Down on the Farm, by Shirley Bailey (2017)  This handmade, homespun-looking piece is not one I’d usually expect to be in a SAQA show, but I thought it wonderful.

EPM_SAQA13

28″ x 21″

Janet Scruggs’ Looking Down (2017)  Detail, below.

EPM_SAQA13a

It appears to be raised and embossed, but most of that was done with color and contrast and quilting.  Very cool effect.

Luke Haynes, Ian Berry & Nancy Crow

I hope the combination of the above three piques your interest, for it was an interesting juxtaposition of quilters.  We also had SAQA in the same space, as well as Mirjam Pet-Jacobs, with her pieces on wastefulness.

I kept track of who was where by looking at my charts:

(You can click to enlarge them, but really, they are just my scribbles.)

These artists were all in the Space des Tisserands, a large room that had been subdivided to accommodate all these quilters.  While some of these pictures are tiled in groups, you can click on any individual image to see a larger version.

First up is Ian Berry.  Yes, he’s the blue jeans guy.  He cuts up blue jeans into shapes and tones and colors and contrasting pieces, then re-assembles them via gluing, into recognizable images.  We had a few minutes before the crush of fans wafted in again to visit with him, and found him a lovely conversationalist.  We talked about quilting, what else?

EPM_IanBerry6

Then he was called in for a group picture, one of many I saw him do that day. I wish I would have snapped the photo of the group of ladies posing on the blue tiles in front of the washing machines in the laundromat.  I didn’t know you could step into a work of art that way, but no one was stopping them.

EPM_Haynes

Next up is Luke Haynes (self-portrait, above), who burst onto the scene about three years ago, and remade the quilt world into his world, by utilizing traditional art studio techniques.  This means that he uses assistants to do the work, but they work under his name, and in this way he mounted his Log Cabin show.  At QuiltCon 2016, some quilters weren’t too happy with him, for to them this smacked of the subsuming of “women’s work” into the male creative world.  But Luke is a happy guy (really fun to hear him talk, and I admire his creativity) and he then morphed into this show (of course, this is all MY view of things–he may have a different take), which was called a collaboration of quilters.  Or Quiltllaborations, as his exhibit was called.

Top Row: [Collab #8] Indigo DWR by Luke Haynes and Rachael Dorr (2017)  90″ square
Second Row: [Collab #6] Polka by Luke Haynes and Libs Elliot (2015) 71″ square
Third Row: [Collab #5] Kills It with Fire by Luke Haynes and Libs Elliot (2015) 68″ square
Fourth Row (L): Untitled   It is one of my favorites, so please click on it to enlarge; however, it is not quilted.  Still cool, though.
Fourth Row (R): Another wedding ring, but I didn’t find the title card.  Some of his were nearly on the ground, or around a corner.

EPM_NancyCrow1

Nancy Crow, who helped co-found the Dairy Barn (in previous post) also had a few quilts  there under her name; I assume they were either colleagues or students.  One of my fantasies in my younger quilting years was to travel to Ohio and take one of her two-week classes.  I have just about every  book of hers, and screwed up my nerve to read her class supply list.  I was completely intimidated and decided that wasn’t the direction I’d be going.  But still, she is one of my Quilting Fairy Godmothers, although she probably wouldn’t like me calling her that.  (She is a serious quilter–she has a quilting studio with multiple GIANT design walls, scads of tables holding yards and yards of fabric).  Serious.

EPM_NancyCrow1a

Sea Ice–Cook Inlet, by Bonne M. Bucknam (USA)  79″ long

EPM_NancyCrow2

Conflict No. 7 by Judy Kirpich (USA)  76″ square  If you’ll remember, she had a quilt in the Quilt National exhibit titled Conflict No. 5 Mugging.  I know that Crow encourages those she teaches to work in a series.  If this is two quilts away from No. 5, Kirpich seems like the anguish has eased (if you can read that into a quilt)

EPM_NancyCrow3

Thirty-four? by Helen McBride Richter (USA) 75″ wide 70″ long  Did I mention that the name of this exhibit was Mastery: Sustaining Momentum?

EPM_NancyCrow4

Colleen Kole’s Time Fragments #11 In the Distance (USA 2015)  82″ wide 83″ long  Detail is below, that shows the really interesting quilting.

EPM_NancyCrow4a

EPM_waste1

US – THEM, by Mirjam Pet-Jacobs

Okay, I didn’t love this exhibit of Mirjam Pet-Jacobs, with her pieces on wastefulness, but that could have been just my mindset, or how things struck me that day, for she is a talented textile artist with many exhibits on many different topics (please visit her website to see the range of her artistry). Her exhibit was called “What a Waste!”  The above (on the floor in the middle of the gallery) is the waste that came out of a creative quilt studio.  [Update: She wrote to me to explain that this was a three-years accumulation, which made it feel more real, for after three years, perhaps my waste stream would be the same?]  Perhaps I don’t like to be reminded that there is lots of waste in quilting, and how many of us donate doggie beds full of scraps to our local humane shelter?  My hand isn’t up.  I try to recycle my scraps, using them, sharing them.  But I do know that our textile has long been known for waste–just type in “waste in the textile industry” and see the listings.  We try to ignore all that.  Maybe the way it was presented to me just didn’t make my heart leap?  Or maybe I don’t want to know about this?  Does our cycle of quilt fabric collections — almost too many to keep track of — contribute to this waste?

You can see that it caused me to think.  Also in this building were the quilts from SAQA–Studio Art Quilt Association.  They never let us photograph their quilts in stateside shows, so I felt positively delirious to be able to take photos of these quilts.  That’s in the next post about the European Patchwork Meeting.  I have created a main page, with a listing of posts.

 

Quilt National 15: the best of collection “Contemporary Quilts B”

Google France

There!  Now do you feel like you are in France?  (This is what I saw every morning.)

I am recapping, in a series of posts, my experience in visiting the Carrefours European Patchwork Meeting, in the Alsace region of France this past September.  In case you came at this topic sideways (which is usually how the internet works), I have created a master post, with links to the exhibits.

After visiting the vendors, and Gabrielle Paquin, the next quilt exhibit we went to was the best of the Contemporary Quilts B collection from Quilt National.  They have several groupings of quilts that travel, and since their European partner is this show, we were lucky to see some of these quilts.

dairybarn_frontofbarn_headerIf you don’t know about Quilt National, whose headquarters are in a former dairy barn in Athens, Ohio (above), you might want to read more about them.  Suffice it to say that their quilts are more artistic, less traditional and always intensively creative.

EPM_QltNational_1

The exhibit was in this site, with its half-timbered walls.  Inside it was very modern.

EPM_QltNational_2

36″ high by 40″ wide

Jayne Gaskins’ Memories (USA, 2014) paid homage to a street scene from somewhere in the Andes in South America (I assume), and was heavily thread-painted.  Detail is below, where you can see the dimensionality of this piece.

EPM_QltNational_2aEPM_QltNational_3

Skylight by Elizabeth Busch, USA, 2014.  Those spatters looked like dye discharge, and I wondered how she did it. It may have also been a batik-like process where she dyed it, then blocked it with a wax resist, then over-dyed it.  As this exhibit had no title cards, there was little information to go on.

EPM_QltNational_3aEPM_QltNational_4

This piece was quite large; I assume each panel to be about 20″ wide and 40″ long (couldn’t read the dimensions when I got home). It’s titled Entropy, by Kathleen Loomis (USA 2014).  I loved her use of striped fabric, not only to subdivide the sections of fabric, but she also used them like Gabrielle Paquin did, as a way to get texture and design into a flat area but without using floral or other motifs in the fabric.  Detail, below.

EPM_QltNational_4a

EPM_QltNational_5

62″ x 39″

Pam RuBert is a favorite of mine, and this is her quilt London–Wish You Were Hair (USA 2014).  (You can find another one of hers elsewhere on this blog.)

EPM_QltNational_6

35″ long 22″ wide

Rough-edged and exquisitely hand-quilted, Kate Gorman’s A Keeper of Secrets and Parakeets was a quiet, subtle masterpiece.

EPM_QltNational_8

42″ high 60″ wide

Amaryllis Set, by Jill Ault (USA 2014) appears to be multiples of the same photograph, printed on a fine fabric, then cut as to reveal different colors and shading. Detail, below.

EPM_QltNational_8a

EPM_QltNational_9

34″ square

Okay–is this a quilt?  Straps with paint and grommets on a tinker-toy-steel-rod grid?  Diane Nunez’ Cross Section (USA 2014) certainly makes me wonder.

EPM_QltNational_10

37″ x 57″

Roofs of Mumbai, by Jean Renli Jurgenson (USA 2014) was interesting because of the materials used: some stiffened, quilted fabric and some was non-woven, almost paper-like. Details, below.

EPM_QltNational_10aEPM_QltNational_11

I’m not usually drawn to the deep, dark, moody quilts, but her construction and the material she used was compelling. (See detail below for the small knots she used for keeping the layers together).  Judy Langille’s Nocturnus IV (USA 2014) is about 35″ high by 47″ wide.

EPM_QltNational_11a

EPM_QltNational_12

44″ square

EPM_QltNational_12a

Maria Shell’s To Agnes Martin with Color (USA 2014).  Now I know what to do with all my scraps of solids.  Again, I put my hand up for scale.  Those crosses are tiny!

EPM_QltNational_13

55″ long 25″ wide

This has got to be one of our favorites.  Janet Windsor’s Crumbling (JP 2014) looks like  stream bed with multi-colored stones.  It looked, upon closer inspection, that they were wrapped fabrics around puffiness with a cardboard backing?  Some stones looked like they’d had some color applied, but that could have just been the fabric.  Talk about a quilt that you want to touch–this was it.

EPM_QltNational_13a

EPM_QltNational_14

47″ by 33″

Morning Walk, by Joan Sowada (USA 2014).  I left it uncropped so you could glimpse the exhibit’s layout on either side.

EPM_QltNational_15

64″ by 61″

Conflict No. 5 Mugging, by Judy Kirpich (USA 2014) made me wonder if she was had been the victim of a violent crime, with its shards of red and ominous, oppressive sky.  The quilting (below) was outstanding, expressive.

EPM_QltNational_15a

EPM_QltNational_16

39″ by 40″

Cecile Trentini’s C5–Red Circonvolutions was Picasso-esqe in its design, the quilting providing all the texture and interest.

EPM_QltNational_16aEPM_QltNational_17

Central Park West Winter VII by Linda Levin (USA 2013?)  This was large (can’t read the dimensions) but mostly it looked like a very cold and blustery day, writ in fabric.

 

Shopping at the European Quilt Meeting

EuroPatchwork Meeting Program

The brains of the meeting.  I’d done some prepwork (looking at the website) so I knew what I wanted to see.  The very first thing: see the vendors.  I told my husband it would be like going to Disneyland for quilters.  Everything was new and different to me, but since I only have a small suitcase, I had to choose fun and interesting things.

EuroPatchwork 2017_Vendorsprices
Since fat quarters were running about $5 a piece (with the conversion rates) and fabric was 22 Euro (about $25 dollars) per meter, I knew right off the bat I wouldn’t be buying any “American” fabric, and gained instant sympathy for European quilters at these prices!

The vendors were in a combination of inside “Espace Commercial” and outside tents, with one side of the tent opening to the passersby (and the weather).  I saw many of the drapes drawn to close in the booths when it was raining.

The Commercial Space was weather-proof, but hot and stuffy.  I took these photographs early in the morning.  When we doubled back before leaving, it was very crowded.

EuroPatchwork 2017_VendorsVenue4

Who wouldn’t want to shop at this booth, with its array of Kaffe fabrics and a vendor with bright pinky-red hair?

EuroPatchwork 2017_VendorsVenue6 Moda

This isn’t exactly a vendor, but the distributor (Rhinetex) who’d rented out the ground floor of this old house, displaying some Moda fabrics (don’t they always do it spectacularly?).

EuroPatchwork 2017_VendorsVenue6 Moda3EuroPatchwork 2017_VendorsVenue6 Moda2And inside, the famous Tula quilt for her new line, and a sweet scene at the fireplace, with their logo on the felt backdrop.  Lots of quilts in here, and it was fairly mobbed.

EuroPatchwork 2017_VendorsVenue5 creativesThe last venue I want to mention was titled “Les Createurs” and was filled with beautiful handiwork from “designers and craftsmen.”  I definitely coveted a few pieces of jewelry, as well as that blue coat in front. Now to show you what I bought and what their booths looked like.  I asked permission for all photos, but was told more than once they’d only like me to take a “general” photograph (imagine this word with a French accent); I totally understood their request and why they made it.

EuroPatchwork 2017_Vendors1These folks are from the west side of France; she has a book out (I saw it at the book booth, but since it’s all in French, well…)  I’m always thinking small, so I picked up these two fat quarters.
EuroPatchwork 2017_Vendors1aEuroPatchwork 2017_Vendors2
Across from them was the Costuretas de Moly booth, with the most charming kits and small handmades.  I saw a lot of sweet little bags and pouches with detailed scenes appliquéd and embroidered on the fronts and backs.  They are from Catalan, Spain.EuroPatchwork 2017_Vendors2a

A small bracelet, a quick blurry shot of the bins of bracelets (they didn’t want their booth photographed) and random German Christmas Tree, the only thing I regret buying.  The vendor had tacked green rosettes of fabric around all the outside edges, and I thought maybe I could tie on some green primitive rags instead.  Oh well, we’ll see.

The handmade, laser-cut embellishments were purchased next, from a booth that made it hard to decide, given their categories of sewing, animals, children, family, house, etc.

EuroPatchwork 2017_Vendors5aEuroPatchwork 2017_Vendors5Even though I said to myself “no fabric” the Filarte booth drew me in with their linens.EuroPatchwork 2017_Vendors6My husband and I both liked the scarf on the outer upper edge of the houses, but when I tried on the leafy print next to it, well, that one came home.  It is wool and cotton so I will be very warm in sunny old Riverside. (I’m wearing it now, as I type this next to the chilly window in our hotel in Geneva.)

EuroPatchwork 2017_Vendors7cI had a total fangirl moment when I realized whose booth I was standing in front of: Un Chat dans l’aiguille.  The lady on the right is the artist who makes up all these beautiful pieces (and whose name I think is Christel–hard to figure it out when you don’t speak the language).  I fell in love with her Matryoshka needle case, that I saw in a shop when I was here in Geneva last year, but they didn’t have any more (it’s out of print).  So when I got home, I looked up who made it and read all about her and her designs.

EuroPatchwork 2017_Vendors7aa
But what to chose?  None of them are cheap, so I had to choose carefully.EuroPatchwork 2017_Vendors7aEuroPatchwork 2017_Vendors7bI went with this little pouch with all its flowers and scalloped edge detail.EuroPatchwork 2017_Vendors7aabWhen I looked inside, I can see why her kits are so popular: everything is well-labeled, ordered and she even included a needle.

EuroPatchwork 2017_Vendors9

Sometimes what draws you in to fabric is that it is the exact opposite of what you’d normally buy.  Like the dusky shades of printed and dyed linen on the left.  Then you spend the next two hours mentioning to your husband that it won’t be enough fabric to do anything with, so you circle back around (my husband is a saint) and then pick up two more fat quarters to round it out.  I’m assuming it was the wife of the man (below) sort of strongly suggested that it was not good to put the heavier weight linen next to the quilt-fabric-weight linen on the right.  But I loved the look of the thicker threads in the first pack and couldn’t be persuaded to change.  If only they’d had the colors on the right in the heavier.  The vendors are from Germany.EuroPatchwork 2017_Vendors9a

EuroPatchwork 2017_Vendors9b

Here’s the back of the package, in case you ever run into them.  Like I said, nearly everything I saw was unique, unusual, and not seen in the American markets.

Like these doll heads:EuroPatchwork 2017_VendorsRandom HeadsEuroPatchwork 2017_Vendors10EuroPatchwork 2017_Vendors10a
We saw this sign while walking between exhibit locations, and entered into the little lane where several booths were set up with bolts of fabric.  At the back was a burned out house (?) with buttons for sale in what looks like the garage.  Or maybe the whole house was under renovation?EuroPatchwork 2017_Vendors10bEuroPatchwork 2017_Vendors10cThe quilts are pretty backdrops for what I purchased: the two buttons, above, and a necklace.

EuroPatchwork 2017_Vendors11

The penultimate purchase was this dishtowel from the Beauville exhibit in Sainte Croix-aux-Mines, one town away from where we started.  I have one more purchase, but I’ll mention it when I get to the various exhibits.

Alsatian Dress Lady

Here’s the woman in the Alsatian dress again.  It is so beautiful, and of course, I wondered where I could get that apron fabric.  We saw her again later in the Old Theater venue, so stay tuned.

SaveSave

SaveSave

SaveSave

SaveSave