The Milwaukee Art Quilters

The Milwaukee Art Quilters (MArQ) make contemporary art quilts, pursue exhibit and competition opportunities, and support each other’s artistic growth.

Leave a comment

Kid Art 2020

Voting took place to decide themes of challenge projects in the coming year. A first vote yielded six top choices. A runoff round of voting produced a clear winner: Kid Art. This will be our theme for the AQS Ultimate Guild Challenge in 2020.

  • Quilts are to be 36” square, plus or minus one inch.
  • Any technique; any topic that conforms to the theme of children’s art.
  • These quilts will be due at the March 2020 meeting.

Andies Binkie — Terri Sankovitz


For-David, Nikole, Hans and Erich — Lisa Giesfeldt


Grand-Son Flowers — Kathleen Irons Sweeney



Ivy’s Cat — Linda Fleschner


Land of the Amazing Carrots — Judy Valentino


Mom’s Stainless Steel, French Door Art Gallery — Diane Tennant


My Granchildren’s Garden — Kathleen Hughes


School Gossip — Kathie Boucher


Snake in the Garden — Linda Fleschner


Snips & Snails — Judy Zoelzer Levine




Yipes! Stripes! 2019

Yipes! Stripes! Is the theme chosen for the 2019 Ultimate Guild Challenge project. Interested members must commit to making a quilt for this challenge by the December 31, 2018.

Specifications are as follows:

  • Quilts should measure 36 inches square, plus or minus one inch.
  • The quilt should be comprised of at least 25% striped fabric. Pieced stripe elements may be included and will be considered “striped fabric”.
  • Any subject; any technique.
  • Finished quilts are due at the March 2019 meeting.


“Are Striped Horses Really Just Zebras?”, Diane Tennant

“Are Striped Horses Really Just Zebras?”, detail, Diane Tennant

“City Rain”, Linda Fleschner

“City Rain”, detail, Linda Fleschner

“Dancing Dots”, Linda Fleschner

“Dancing Dots”, detail, Linda Fleschner

“Either Way You Look At It. Inspired by Picasso”, Diana Dunaway

“Either Way You Look At It. Inspired by Picasso”, detail, Diana Dunaway

“Evolving Stripes”, Kathleen Hughes

“Evolving Stripes”, detail, Kathleen Hughes

“Half the Sky”, Nancy Linz

“Half the Sky”, detail, Nancy Linz

“Incoming”, Judy Zoelzer Levine

“Incoming”, detail, Judy Zoelzer Levine

“Jump Up”, Kathie Boucher

“Jump Up”, detail, Kathie Boucher

“Petrified Wood”, Lisa Giesfeldt

“Petrified Wood”, detail, Lisa Giesfeldt

“Rainbow Sticks”, Kathy Downie

“Rainbow Sticks”, detail, Kathy Downie

“Red Window”, Linda Fleschner

“Red Window”, detail, Linda Fleschner

“Redacted”, Kathleen Irons Sweeney

“Redacted”, detail, Kathleen Irons Sweeney

“Strip Tease”, Jane Walton

“Strip Tease”, detail, Jane Walton

“Stripes Gone Wild”, Deb Kinder

“Stripes Gone Wild”, detail, Deb Kinder

“Supernova Shards”, Judy Valentino

“Supernova Shards”, detail, Judy Valentino

“Technicolor Zebra Stripe”, Maribeth Schmit

“Technicolor Zebra Stripe”, detail, Maribeth Schmit

Leave a comment

Yo-Yo Challenge 2018

In quilting, yo-yos are small medallions sewn from circles of gathered fabric. Fabric yo-yos peaked in popularity from the 1930s to 1950s, when makers made thousands of yo-yos and stitched them together to create openwork coverlets.

A Milwaukee Art Quilters member, Diana Dunaway, happened on a partially completed yo-yo quilt project at a thrift shop. Some of the yo-yos were stitched together into the beginnings of a coverlet. There were also piles of completed loose yo-yos, fabric circles waiting to be made into yo-yos, and bits of vintage yardage. Diana bought it all, and the MArQ group decided to work with the yo-yo collection as an exercise in creativity, and as a tribute to an unknown quilter who worked hard on her yo-yos, but was never able to complete the project.

Each participant received a five by five square of assembled yo-yos, a selection of loose yo-yos, and a bit of ticking–all part of the original thrift shop purchase. Extra fabric circles and fabric were available for anyone who needed more. There were no size requirements for the challenge quilts and members could use any technique and any treatment of the yo-yos.

The quilts were completed in the fall of 2018. MArQ members made 15 quilts.


Yo-yo quilt made by Linda Fleschner

Rainbow Yo-yos by Linda Fleschner. Linda riffed on traditional quilt blocks using yo-yos as block centers for her stars.

Detail of Rainbow Yo-yos quilt by Linda Fleschner.

Rainbow Yo-yos by Linda Fleschner, detail.



Contemporary floral quilt with yo-yos used as flowers.

Wild Flowers by Linda Sweek. Linda added paint to her yo-yos in this quilt called Wild Flowers. Raw edges and hanging threads underscore the casual and contemporary mood of this quilt.

Detail of Wild Flowers quilt.

Wild Flowers by Linda Sweek, detail.



Floral Yo-yo quilt.

Yo-yo Garden by Lisa Giesfeldt. Lisa’s whimsical yo-yo flowers, set on a black background, use vintage ticking fabric for stems and piping.

Yo-yo Garden quilt by Lisa Giesfeldt, detail.

Yo-yo Garden by Lisa Giesfeldt, detail.



Art quilt depicting sea life, using yo-yos and smocking techniques.

From the Sea, to the Sea by Diane Tennant. Diane used yo-yos and smocking techniques to depict shoreline animal life in From the Sea, to the Sea.

Quilt depicting sea life uses yo-yos and fabric smocking techniques.

From the Sea, to the Sea by Diane Tennant, detail.



Symmetrical art quilt using yo-yos.

Posy Patch by Maribeth Schmit. In her Posy Patch quilt, Maribeth used traditional influences and sprightly colors.

Detail of symmetrical floral art quilt.

Posy Patch by Maribeth Schmit, detail.



Art quilt with blue background and garden imagery.

Rescued Yo-yos by Linda Woltmann. Linda looked to children’s art as inspiration for the garden imagery in her quilt.

Detail of small blue quilt with garden imagery.

Rescued Yo-yos by Linda Woltmann, detail.



Art quilt with black background and a yo-yo border.

County Fair by Kathie Boucher. Kathie contrasted bright colors and vintage fabrics with with solid black.

Detail of black background art quilt with large star and yo-yo border.

County Fair by Kathie Boucher, detail.



Art quilt depicting cats in a window, surrounded by flowers.

Mesmerized by Diana Dunaway.  Diana’s cats peer through a window surrounded by a garland of appliqued yo-yo flowers and greenery.

Art quilt depicting cats in a window, surrounded by flowers.

Mesmerized by Diana Dunaway, detail.



Art quilt depicting flowers under a bright yellow sun.

Quilter’s Garden by Kathleen Hughes. Kathleen’s fanciful flowers shine under a warm sun.

Art quilt depicting flowers under a bright yellow sun.

Quilter’s Garden by Kathleen Hughes, detail.



Art quilt with blocks sewn from strips of bright solid fabrics depicting a house.

Yo-SUN by Betsy Rasmussen. Betsy used improvisationally pieced blocks to depict a house sitting under a yo-yo sun.

Art quilt with blocks sewn from strips of bright solid fabrics depicting a house.

Yo-SUN by Betsy Rasmussen, detail



Art quilt depicting a woman's face among watery fabrics and yo-yo garland trim.

Island Girl by Judy Valentino. Judy’s applique technique and use of color sets a breezy island mood.

Art quilt depicting a woman's face among watery fabrics and yo-yo garland trim.

Island Girl by Judy Valentino, detail.



Art quilt depicting large flowers.

Bouquet by Nancy Linz. Nancy used oversize flowers, leaves, and careful color choices to create depth in her quilt.

Art quilt depicting large flowers.

Bouquet by Nancy Linz, detail.



Art quilt depicting circus theme.

Don’t Bother, They’re Here! by Kathleen Sweeney. Kathleen used clown appliques, yo-yos, and prairie points to create a circus theme.

Art quilt depicting circus theme.

Don’t Bother, They’re Here! by Kathleen Sweeney, detail.



Abstract art quilt with stamped and painted yo-yos.

Collision #2 by Deb Kinder. Deb used a yo-yo stamp to embellish her quilt with additional imagery.

Abstract art quilt with stamped and painted yo-yos.

Collision #2 by Deb Kinder, detail.



Art quilt depicting improvisationally appliqued fish with big teeth.

YO-SMILE by Margaret Knepper. Margaret built a fantasy undersea world with fanciful applique.

Abstract art quilt with stamped and painted yo-yos.

YO-SMILE by Margaret Knepper, detail.


Supporting Words 2018 Challenge

Create a quilt using any theme, but use text as a background element, not as the main design feature. Any technique. Size: 36 X 52” (+-1”), vertical format. Quilts due at the MarQ March 2018 meeting.

“Dictionary Tangle”,  Kathy Downie

“Floating”, Linda Sweek

“Leslie and Gene in Gay Paree”, Kathleen Irons Sweeney

“Mystical Garden”, Kathleen Hughes

“Autumn: Behold with Gladness” Linda Fleschner

“Red”, Mary Ellen Heus

“Chattering Shattering”, Kathie Boucher

“Explore Serenity”, Judy Valentino


1 Comment

Not So Mellow Yellow 2017

“Create an art quilt, any subject you wish, using yellow. Your piece must be at least 50% yellow, and read yellow. You may use the full range of values. Use of any green yellows or orange yellows would be in addition to pure yellow values, not part of the 50%. Vertical format, 31-32” wide by 41-42” long. Any style, any technique.”

I Love Yellow, Jane Walton

A Month of Sun Days, Linda Fleschner

Yellow Brick Road, Maribeth Schmit

Yellow Tree, Mary Ellen Heus

Autumn Ginkgo Splender, Diana Dunaway

Embrace Me, Deb Kinder

Our Yellow Magnolia, LisaAnne Giesfildt

Spring’s Future Canvas, Kathy Downie

Bright, Shinning as the Sun, Kathleen Hughes

Pointy Objects, Kathie Boucher

The Gift of an Ordinary Day, Nancy Linz

Cottonwoods on the Rio Grande, Maribeth Schmit

The Green Flash, or Not, Judy Valentino

Thirteen and a Blue Box, Kathleen Irons Sweeney

Zen-Strength“Zen:Strength”, Judy Zoelzer Levine




1 Comment

Art Deco 2016

Create a quilt using design elements of Art Deco.
Any colors, 31″ x 50″, vertical orientation. No borders. Due at the March 2016 meeting

ADD: Art Deco Door by Kathy Downie

ADD: Art Deco Door by Kathy Downie

Vogue by Diana Dunaway

Vogue by Diana Dunaway

Miami Moon by Linda Fleschner

Miami Moon by Linda Fleschner

Milwaukee's Night Light by Kathleen Hughes

Milwaukee’s Night Light by Kathleen Hughes

Studio 15W by Sonja Pavlik

Studio 15W by Sonja Pavlik

Le Dame Moderne by Kathleen Irons Sweeney

Le Dame Moderne by Kathleen Irons Sweeney

You Decide 2016 by Judy Valentino

You Decide 2016 by Judy Valentino

Forty Wonderful Years by Chris Lynn Kirsch

Forty Wonderful Years by Chris Lynn Kirsch

Leave a comment

Shape Exploration – December 2015

This year’s small challenge was Shape Exploration: Choose one basic geometric shape and explore it. The shape of the quilt was up to the maker. Maximum size 31″ in any direction.

Rain Chains by Linda Fleschner

Rain Chains by Linda Fleschner

Magenta Pathways by Kathy Downie

Magenta Pathways by Kathy Downie

Triangles Gone Crazy by Judy Valentino

Triangles Gone Crazy by Judy Valentino

The Humble Circle by Deb Kinder

The Humble Circle by Deb Kinder

Circle Go Round by Lisa Giesfelt

Circle Go Round by Lisa Giesfelt

Isosceles Overlap by Chris Lynn Kirsch

Isosceles Overlap by Chris Lynn Kirsch

1 Comment

Black & White Plus One

Use only black and white fabrics plus one other single color. This is meant to be visually high impact. You can use as few or as many fabrics as you want, prints and tones on tones are okay as long as they READ black, white and the single chosen plus color in hue, tone and value. Your black should not drift into gray or your white drift into cream/beige unless you want gray or beige to stand as your third color. Black & white should be the highest ratio; any amount of color up to but NOT more than one third of the total surface. Style, subject matter and technique is the choice of the artist. Size is 32″ square (+/- 1 “).

Giesfeldt, Lisa ~ Higgs boson

Lisa Giesfeldt, Higgs Boson


Linz, Nancy ~ Endangered

Nancy Linz, Endangered

Boucher, Kathie ~ Noise

Kathie Boucher, Noise

Hughes, Kathleen ~ String Theory

Kathleen Hughes, String Theory

Pavlik, Sonja ~ Wakiya Thunderbird

Sonja Pavlik, Wakiya Thunderbird

Flescher, Linda ~ Midnight Carousel

Linda Flescher, Midnight Carousel

Dunaway, Diana ~ Let It Bee

Diana Dunaway, Let It Bee

Heus, Mary Ellen ~ Into the Woods

Mary Ellen Heus, Into the Woods

Zoelzer Levine, Judy ~ Intersections

Judy Zoelzer Levine, Intersections

Zoelzer Levine, Judy ~ Pods

Judy Zoelzer Levine, Pods

Riggio, Suzanne ~ A Star Spangled Banner

Suzanne Riggio, A Star Spangled Banner

Bermant, Chiyoko ~ Mis[s]fit

Chiyoko Bermant, Mis[s]fit

Walton, Jane ~ Going Green

Jane Walton, Going Green

Valentino, Judy ~ Coy Koi

Judy Valentino, Coy Koi

Fritz, Johanna ~ Off Kilter

Johanna Fritz, Off Kilter

Schmidt, Maribeth ~ Market Day

Maribeth Schmidt, Market Day

Kirsch, Chris ~ Golden Dusk

Chris Kirsch, Golden Dusk

Leave a comment

3-D Abodes – 2014 Small Challenge

Construct a 3 dimensional “abode”. The only size restriction is that it must be able to fit on an 18″ diameter pedestal. Any type of abode, any fiber technique.

The Old Woman in the Shoe by Judy Valentino

The Old Woman in the Shoe by Judy Valentino

Flower by Sandy Hendricks

Flower by Sandy Hendricks

English Cottage by Nancy Linz

English Cottage by Nancy Linz

Muse Abode by Deb Kinder

Muse Abode by Deb Kinder

Private Party by Sonja Pavlik

Where Have the Bees Gone by Ardene Brown

Where Have the Bees Gone by Ardene Brown

Kathleen Irons-Sweeney

Kathleen Irons-Sweeney

Bird's Nest by Sandy Hendricks

Bird’s Nest by Sandy Hendricks

Eiffel Tower by Jane Misslich

Eiffel Tower by Jane Misslich

Gnome Home by Chris Lynn Kirsch

Gnome Home by Chris Lynn Kirsch


The Jennings Homestead

sm Jennings Homestead
A slice quilt made by 27 members of the Milwaukee Art Quilters

Dedication:  To Teresa and Paul Jennings

Size:   69.5” wide x 45” high

Date:  December 5, 2011

Materials:  Commercial and hand-dyed cottons, cord, paint, fabric markers, ink, thin batting,  threads

Techniques:  Piecing, applique (hand, machine, reverse, raw-edged, replique), fusing, painting,  inking, machine quilting, machine and hand embroidery, machine  free-motion embroidery, bleach discharge, use of markers.

Colors:  White, blue, brown, green

Care:  Vacuum through a screen; hang out of sunlight

Contact person:  Suzanne M. Riggio,, 12309 Watertown Plank Road, Wauwatosa, WI 53226, 4144768873

The Story of the House

Jennings photo

The Jennings homestead at 12237 Watertown Plank Road in Wauwatosa, Wisconsin, started life as the farm house of the Edward Robbins family in 1884. This farm extended from Watertown Plank Road on the north to 124th Street on the west to Underwood Creek on the south and to an unknown (to us) boundary on the east.  The house was sited on the highest part of the 70 plus acres.

Clad in wood clapboards with a wood shingle roof later covered in the early 1900s by an asbestos cement roof and topped by several lightning rods, the farmstead had nearby a three-story shed which once held horses and buggies, a well-equipped shop, chicken and pig quarters, and a storage attic.  Other artifacts found on the property included a grindstone, a huge driveshaft, an under-basement cistern, a well, and the foundation of an additional outbuilding, possibly a milk house.

By 1987, when Paul and Teresa Jennings purchased the house and 2 acres, the place was in considerable disrepair.  The grounds were tangles of trees and overgrown shrubs all tied together with grape vines run amok.  Stinky trees of heaven shoved against the east side of the house.  However, on the west side, 2 beautiful elm trees over 100 years old provided blessed shade.

The house had 2 porches, both sagging and rotting.  The original clapboards were hidden beneath asphalt shingles. Inside, the Robbins’ heirs had created 2 apartments, one on each floor.  Decorative Victorian ceilings had either been dropped or covered with ceiling tile.  Floors were overlain with modern materials.  Plastic tile, circa 1952, adorned the kitchen.  In the basement, a boiler that looked like an octopus overpowered the space.

The Jennings began a program of restoration, first reconverting the house to a single family dwelling.  As funds became available, the asphalt shingles were removed, revealing mostly intact clapboards and a surprise:  the footprints of eyebrows over the windows.  Carpenters replaced broken clapboards and restored the eyebrow feature.  Next came insulating the walls, painting the exterior, adding air conditioning, and replacing the octopus, which had been sheathed in asbestos, necessitating a Hazmat treatment. The front porch was restored.  The side porch was torn down and replaced with a 4-season room.  An elevator and a small indoor pool were added to accommodate Paul’s health issues.  Both Jennings each had an office on the first floor.  Two recent projects were the front foyer, restored to sparkling Victoriana, and a master bathroom in the Craftsman style.  The remaining rooms are works in progress.

In 1990, the Jennings began Plank Road Publishing in their dining room, living room, and offices.  Their main product was Music K-8, a music magazine for school children.  After 3 years of employees taking over their first floor, the Jennings rented a small building next to Underwood Creek in nearby Elm Grove.  In August 1998, the creek had a flash flood, inundating their offices, ruining computers, desks, and inventory.  The company returned to the Jennings house while looking for a new rental space that was suitable.  And dry.  In the fall of 1998 they moved to the current space on 126th Street in Brookfield, leaving the 1884 house once again the residential domain of the Jennings.

By 2001, the Milwaukee Art Quilters membership was enlarging to the point that meeting in each others’ homes was no longer feasible.  As they searched for larger meeting spaces, it became apparent that the area around 124th Street, the dividing line between Milwaukee and Waukesha counties, was the geographic center of the far flung homes of the members.  Suzanne Riggio asked her daughter, Teresa Jennings, if the group could meet in the conference room at Plank Road Publishing.  Yes, the group could.

In gratitude for the generosity of the Jennings for the past 10 years, the Milwaukee Art Quilters decided to make them a “slice quilt” of their home.

The Story of the Quilt

Judy Zoelzer Levine was the only member of the Milwaukee Art Quilters (MArQ) who had had experience with making a slice quilt and was a natural to ask to take charge of this project.

A slice quilt is an image, considerably enlarged, that is then cut up into slices.  Individuals execute a single slice. Slices are then sewn together.

The rules were as follows:

1.  The black outline is the seam line.  Please extend your design beyond the black line and leave a generous 1/2” seam allowance to allow us to make alignment adjustments if needed.

2.  The large block is in gray scale with exaggerated lines.  Please use the color photo as your color guide.

3.  Any technique may be used.

4.  If you want to add some color to the landscape, it was decided the season should be “Winter into Spring”.

5.  Blocks are due in June [2011].

Many people worked behind the scenes on parts other than the blocks themselves.  Below are these names.  Finally, there is the chart of slices showing who did which block.

Judy Zoelzer Levine, designer/orchestrator
Bayside, WI

Kathleen Hughes, provider of wide bed printer
Wauwatosa, WI

Terri Kirchner, quilter
Mequon, WI

Linda Benson, maker of facing
Mequon, WI

Deb Kinder, sewer of sleeve
West Bend, WI

Suzanne Riggio, writer of label information
Wauwatosa, WI

Mark Riggio, computer consultant



Marq members on Jennings

First row, left to right:  Sandy Hendricks, Sonja Pavlik. Suzanne Mouton Riggio, Toni Mitt, and Kathleen Hughes

Second row:  Deb Kinder, Chris Sommerfelt, Chris Kirsch, Nancy Linz, Jane Walton, Terri Kirchner, and Casey Puetz

Third row:  Laura Krasinski, Mary Ellen Heus, Judy Zoelzer Levine, Linda Benson, Marianne Kayne, Jane Misslich, Kathleen Sweeney, Kathie Boucher, and Roberta Willliams.

Not available for photography: Chiyoko Bermant, Beth Shulman, Nancy Kimpel (deceased), Kasia, Marla Kennedy, and Cecelia Rotter


Story submitted to Quilting Arts Magazine



By Suzanne Mouton Riggio

The Milwaukee Art Quilters (MArQ) is an unusual guild with no officers and no dues.  The work gets done by volunteers from among the 51 listed members.  Meeting monthly in Wauwatosa, a western Milwaukee suburb, its members drive up to 80 miles roundtrip to meet, with one member making the trek from Illinois, even farther.  I first heard of the group when I moved to the area from West Virginia in 1995.  My friend Caryl Fallert in Chicago recommended the Milwaukee Art Quilters founded by Necia Wallace, who had gathered a small group of artists from the North Shore Quilt Guild in 1992.  The seven or eight members met in each other’s homes all over the Milwaukee area. Word got out; membership grew.  By 2001, with about 25 members, we had trouble fitting in anyone’s house.  My daughter, Teresa Jennings, ran a business, Plank Road Publishing, which had a large meeting room.  I asked if we could meet there; she graciously agreed.  And MArQ had a new home.

Our meetings usually run this way: a short business meeting that includes introductions, old business and new business; and the main event, show-and-tell.  We take turns, alphabetically, in leading the meetings.  We share ideas and techniques, tell stories of successes and near-disasters, ask for critiques, and take part in at least two challenges per year.  We have become good at finding venues to exhibit both the results of our challenges and other work.  And more and more artists have joined us.

In 2010 we thought ahead to 2011, when we would have been meeting at Teresa’s company for 10 years.  We decided it was time to thank her and her husband Paul for their generosity.  Teresa and Paul had not only been growing their company, which specialized in music for elementary students, but they had been busy restoring their home, an 1884 Victorian farmhouse.  A collective light bulb went off–how about a slice quilt of their pride and joy, the old Victorian?

The only person in MArQ who had made a slice quilt before was Judy Zoelzer Levine.  She agreed to be our designer/orchestrator.  We had to consult with Teresa because we needed her help with the photographic view she would prefer.  Since she did not want trees and shrubbery to obscure her 1884 gem, she provided us with a late winter picture, complete with a Wisconsin gray sky.  Judy photo-shopped a blue sky with fluffy white clouds to set off the house more attractively.

She then sliced the image into 24 blocks and turned each photographic image into a cartoon to clarify and simplify the elements.  With the help of Kathleen Hughes and her wide bed printer, she was able to fashion a full-sized, gray-scaled cartoon paper pattern of each block.  A heavy black line around each block would be the seam line.  Judy asked artists to continue the design beyond the black line and to allow a one-half inch seam allowance to facilitate alignment adjustments.  As Judy and Kathleen have recalled these wide-bed sessions, both of them say there was considerable laughter seasoned with untoward remarks aimed at the balky machine.

Each block maker received the full-sized, location coded, paper block pattern, a gray-scale location map, and a large color photo of the house with block locations.  Any technique would be allowed.  And how!  We ended up with raw batting as clouds, hand and machine embroidery, meticulous piecing, use of markers, appliqué, fusing, discharging, 3-D leaves, and painting.

We soon had 23 volunteers who enthusiastically attacked their individual blocks.  But block number 24 was unclaimed.  Judy finally declared that the quilt would go forward with a hole in it.   Someone stepped up, thank goodness.

What a great day it was when Judy brought in the quilt top, 69.5 inches wide by 45 inches high, all pieced and aligned so beautifully.  Now it was the turn of Terri Kirchner and her long arm, quilting machine.  Terri was masterful—following each clapboard, architectural detail, and tree branch, making the connections between blocks quite cohesive.

I had volunteered to do the finishing–facing, sleeve, and label.  However, I suffered a shattered femur, which precluded any machine work for about six months.  Deb Kinder and Linda Benson stepped in to help, doing the sleeve and facing.  I was finally able to do an extensive label with “before” and “after” pictures of the house, its history, and the history of the quilt, along with acknowledgements of who did what.

We held a small ceremony to present the quilt to Teresa and Paul Jennings.  It was rather emotional but so rewarding to be able to thank these two benefactors.

Since I knew Teresa would not be hanging the quilt just yet as she continued to do more restoration, I volunteered to send the quilt to shows, hoping to win enough prize money to cover the entry fees and shipping costs.  So far so good.  It has won prizes at each of the shows it has been in.  To wit: Honorable Mention at the MidAlantic Quilt Festival in Hampton, VA; First Place and Viewers’ Choice at the Crazy Quilters Show in Mukwonago, WI; First Place, Viewers’ Choice, and Judge’s Choice at the It’s A Stitch Show in Jackson, WI; Best of Show and First Place at the West Virginia Quilt Festival in Summersville, WV; Second Place at Quilt Odyssey in Hershey, PA; Honorable Mention at the International Quilt Association Show in Houston, TX; and Best Group Quilt in Road to California in Ontario, CA.

Members of MArQ who worked on The Jennings Homestead were Judy Zoelzer Levine, Terri Kirchner, Suzanne Mouton Riggio, Kathleen Hughes, Deb Kinder, Chiyoko Bermant, Jane Misslich, Beth Shulman, Laura Krasinski, Sonja Pavlik, Jane Walton, Chris Kirsch, Cecilia Rotter, Nancy Kimpel (deceased), Toni Mitt, Kasia, Casey Puetz, Linda Benson, Marla Kennedy, Sandy Hendricks, Kathie Boucher, Chris Sommerfelt, Marianne Kayne, Kathleen Sweeney, Nancy Linz, Roberta Williams, and Mary Ellen Heus.