Toni Baumgard
Photos
Title
Toni Baumgard
Identifier
2019oh0599_qsosiqf0083
QSOS_094
QSOS_094
Description
Toni Baumgard, a quilter, is interviewed by Renee Jackson for the Quilters’ S.O.S. Oral History Project. Baumgard talks about the quilt she brought in for the interview, an antique redwork quilt created by a German-American woman in 1913 in Pennsylvania. She discusses the pattern of the quilt and what the symbols mean on the quilt. Baumgard then talks about her own interest in historic quilts, particularly redwork quilts, as she does lectures about redwork. She also talks about her work as a textile preservationist, an interest she had from childhood. She also became interested in quilting during her childhood, as her grandmother was a frequent quilter. Baumgard talks about her personal opinions about quilting, including what makes a great quilt, why quilts are important to women’s and American histories, and how quilts are important to her personal life. She discusses the importance of preserving quilts and teaching future generations how to quilt. Baumgard talks about how she uses her quilt collection and how she gives away the quilts she makes, believing quilts have a wide variety of uses beyond only decoration or utilitarian purposes.
Format
audio
Subject
Fabrics
Fabric arts
Quilts--Design.
Quilts
Quilting
Textiles
Textile artists
Decorative arts
Crafts & decorating
Women
Artists
Sewing
Arts & crafts
Families
Women's history
American women, 1600-1900
Textile museums
Interviewee
Toni Baumgard
Interviewer
Renee Jackson
Interview Date
2000-11-04
Interview sponsor
A Friend of the Quilt Alliance
Location
Houston, Texas
Transcription
Renee Jackson (RJ): This interview is with Toni Baumgard. We are very pleased to have her here to participate in the International [Quilt Festival.] Quilters' S.O.S. [ -Save Our Stories.] project. The date is November 4, 2000. And the interview will begin at 2:05. Could you tell us about the quilt that you brought in with you today?
Toni Baumgard (TB): This is a quilt made in 1913, by Eva Mae Hoffman Bowman. She was a second generation German immigrant. She was born in Boyertown, Pennsylvania in 1890. She only went to school for a few years. This is a very classic example of Redwork embroidery quilt, made with ten squares. It has some unusual qualities. It has a beautiful wreath around the center but in addition to that it has a whimsical little dog, perhaps a family pet, within the circle of the grape leaves. It also has about Redwork, about quilting, and about women's history, which kind of goes hand in hand.
RJ: Do you have some thoughts you'd like to share on quilting and it's impact on women's lives?
TB: I think it's made a tremendous impact on women's lives. It's certainly a method of expression, for instance I'll give you an example. I have a quilt that has a block that has a donkey and down beneath, written in very faint letters and not embroidered, says, 'A temperance drink.' Now, a woman obviously was not allowed to talk about that or even get involved, but this particular quilter found this way of expressing herself. I think that a lot of times people realize that we can express ourselves in our quilts, even though we have a lot of latitude now, as women, we can say a lot in what we do with our quilts.
RJ: Could you share your opinions of quilts and American life?
TB: That's a very hard question. I can't imagine not having quilts in some form or fashion in my own life. I think there are a lot of forms of art, so it wouldn't be necessary for everyone to have a quilt, or be a quilter, but I do think it has made the quality of our lives a lot better.
RJ: Could you share your thoughts on how you think quilts can be used?
TB: They certainly can be used as a form of art. They can be used as wonderful wall hangings. I have a very dear friend who paints on fabric, and makes beautiful quilts, which is another way to use quilts. Obviously, they can be very joyful on beds and as bed warmers. They can give a message, and inform people. There are certainly political quilts that can make you stop and think. I've seen a lot of those in more recent years. There's just a few I can think of right off the top.
RJ: What are your thoughts on how quilts can be preserved for the future?
TB: I certainly think they need to not be stuck in a plastic bag and thrown under the bed, or in the attic. I think that we are making great advances on how to preserve textiles and learning, even in the museum business, what was proper a couple of years ago is not proper now. I like to think that people are being educated on using acid free paper and museum quality mountings, and so forth like that. But what is going to come in the far off future, something even better I hope. But I don't know what it is.
RJ: I'd like to ask you if you could tell us what has happened to the quilts you have made.
TB: All of the quilts that I have made have been given away. I always have made them for someone.
RJ: And do you make a particular type of quilt?
TB: Whatever the person wants. I'll give you an example. My granddaughter was 9 and we went down and picked the material that she wanted, and she picked out that pattern which was the hardest, most complicated appliqué that you could ever imagine. We color keyed it in, and she still has that hanging in her room and she still loves that quilt. It meant a great deal to her to help me pick it out.
RJ: Do you have a number of quilts in your family, from family members?
TB: I don't know of anyone else in the family, who is alive today, who is making quilts.
RJ: Have you shared your talents, and your knowledge, have you trained quilters within your own family?
TB: Yes, I taught all my granddaughters. I'm teaching them. They're not really ready to make a full quilt yet.
RJ: You've indicated that you belong to a quilting bee, or group.
TB: Yes.
RJ: Could you tell us about the group you belong to?
TB: I actually belong to several of them. I belong to a group that meets once a month, and we do roundrobins mostly, which is a really marvelous thing because it stretches your abilities. We're very close as friends. I also belong to a group that makes community outreach quilts, to be given to charitable organizations. I belong to one other small group that goes off on a retreat every year to a [inaudible.], which is in the Monterey Bay in California, where empty schools [inaudible.], and we kind of short cut it, because we just take 12 of us. We stay for a week, and just quilt to our hearts content.
RJ: You had mentioned that you participate in a roundrobin. Could you explain that for us?
TB: The way a roundrobin works is that you do the center medallion and you pass it on to the next person and they put a border on and then on again. We have eight, so eight people start out with the center medallion. When they get it back, seven of their friends have added seven borders. It's usually a wall hanging. It's a lot of fun and it usually has a theme. My particular theme last time was a 1930's Christmas.
RJ: Do you have a favorite theme?
TB: I have accused of being Mrs. Uncle Sam because I always seem to end up doing red, white, and blue quilts. [laughs.] Even above and beyond Redwork. Occasionally, I do the 30's pinks, yellows, and greens, but mostly red, white, and blue.
RJ: I'd like to ask you, is there anything you'd like to share with us that you feel I haven't asked?
TB: No, I think you've done a very, very good job of asking me questions. I can't think of anything.
RJ: I think you've done a wonderful job of answering our questions.
TB: I'm glad to share.
RJ: I do have one other question I'd like to ask you. It's about the reverse side of this quilt.
TB: By all means. About the barking?
RJ: Yes and if you could provide us with a verbal description.
TB: This is a stamp that was on the material before the quilt first was made. And I have two or three examples of this. I can really only tell you that it was on a bolt and they stamped their advertisement right onto the fabric, which in this case is a light muslin. I suspect that they thought people would just cut it off but I find where it has not been cut off. It says, 'Finished soft for the needle.' Meaning that it would be easy to put the needle through, which is kind of fun. It doesn't tell us what company.
RJ: May I ask you a few questions about the quilts that you have in your personal collection?
Are most of them hand worked, or do they contain some machine work?
TB: I have a few recent acquisitions that contain machine work, as far as the quilting is concerned, that were done by my friends as gifts. But the biggest portion of my collection, which goes from 1860 to present time, is all hand done, all hand quilted, mostly hand pieced on the very old pieces. I have hundreds of quilts. There's quite a variety, not just Redwork quilts.
RJ: Do you use your collection in a specific or special manner?
TB: I do put them on the bed from time to time. I bring them out especially when I'm having guests. I display them for people. I hand them but on a rotating basis. They're never out for more than three weeks. They're never hung in the sun. I like people to enjoy them. I occasionally lend them for viewing, for specific shows or things like that. Once in a while when I just feel like it, I go in the spare bedroom and lay down on the bed and cover up with one of them, to see what it feels like to be under an 1880 quilt or something like that. That's what quilts are for.
RJ: This concludes our interview with Toni Baumgard. We would like to thank her immensely for her time and the effort that was used to bring in the quilt and to explain all of her different thoughts on quilting and how it affects her life. The time is 2:31. The date is November 4, 2000. This is the Houston International Quilt Festival, the Quilt S.O.S. [Quilters' S.O.S. - Save Our Stories.] project. Thank you.
Toni Baumgard (TB): This is a quilt made in 1913, by Eva Mae Hoffman Bowman. She was a second generation German immigrant. She was born in Boyertown, Pennsylvania in 1890. She only went to school for a few years. This is a very classic example of Redwork embroidery quilt, made with ten squares. It has some unusual qualities. It has a beautiful wreath around the center but in addition to that it has a whimsical little dog, perhaps a family pet, within the circle of the grape leaves. It also has about Redwork, about quilting, and about women's history, which kind of goes hand in hand.
RJ: Do you have some thoughts you'd like to share on quilting and it's impact on women's lives?
TB: I think it's made a tremendous impact on women's lives. It's certainly a method of expression, for instance I'll give you an example. I have a quilt that has a block that has a donkey and down beneath, written in very faint letters and not embroidered, says, 'A temperance drink.' Now, a woman obviously was not allowed to talk about that or even get involved, but this particular quilter found this way of expressing herself. I think that a lot of times people realize that we can express ourselves in our quilts, even though we have a lot of latitude now, as women, we can say a lot in what we do with our quilts.
RJ: Could you share your opinions of quilts and American life?
TB: That's a very hard question. I can't imagine not having quilts in some form or fashion in my own life. I think there are a lot of forms of art, so it wouldn't be necessary for everyone to have a quilt, or be a quilter, but I do think it has made the quality of our lives a lot better.
RJ: Could you share your thoughts on how you think quilts can be used?
TB: They certainly can be used as a form of art. They can be used as wonderful wall hangings. I have a very dear friend who paints on fabric, and makes beautiful quilts, which is another way to use quilts. Obviously, they can be very joyful on beds and as bed warmers. They can give a message, and inform people. There are certainly political quilts that can make you stop and think. I've seen a lot of those in more recent years. There's just a few I can think of right off the top.
RJ: What are your thoughts on how quilts can be preserved for the future?
TB: I certainly think they need to not be stuck in a plastic bag and thrown under the bed, or in the attic. I think that we are making great advances on how to preserve textiles and learning, even in the museum business, what was proper a couple of years ago is not proper now. I like to think that people are being educated on using acid free paper and museum quality mountings, and so forth like that. But what is going to come in the far off future, something even better I hope. But I don't know what it is.
RJ: I'd like to ask you if you could tell us what has happened to the quilts you have made.
TB: All of the quilts that I have made have been given away. I always have made them for someone.
RJ: And do you make a particular type of quilt?
TB: Whatever the person wants. I'll give you an example. My granddaughter was 9 and we went down and picked the material that she wanted, and she picked out that pattern which was the hardest, most complicated appliqué that you could ever imagine. We color keyed it in, and she still has that hanging in her room and she still loves that quilt. It meant a great deal to her to help me pick it out.
RJ: Do you have a number of quilts in your family, from family members?
TB: I don't know of anyone else in the family, who is alive today, who is making quilts.
RJ: Have you shared your talents, and your knowledge, have you trained quilters within your own family?
TB: Yes, I taught all my granddaughters. I'm teaching them. They're not really ready to make a full quilt yet.
RJ: You've indicated that you belong to a quilting bee, or group.
TB: Yes.
RJ: Could you tell us about the group you belong to?
TB: I actually belong to several of them. I belong to a group that meets once a month, and we do roundrobins mostly, which is a really marvelous thing because it stretches your abilities. We're very close as friends. I also belong to a group that makes community outreach quilts, to be given to charitable organizations. I belong to one other small group that goes off on a retreat every year to a [inaudible.], which is in the Monterey Bay in California, where empty schools [inaudible.], and we kind of short cut it, because we just take 12 of us. We stay for a week, and just quilt to our hearts content.
RJ: You had mentioned that you participate in a roundrobin. Could you explain that for us?
TB: The way a roundrobin works is that you do the center medallion and you pass it on to the next person and they put a border on and then on again. We have eight, so eight people start out with the center medallion. When they get it back, seven of their friends have added seven borders. It's usually a wall hanging. It's a lot of fun and it usually has a theme. My particular theme last time was a 1930's Christmas.
RJ: Do you have a favorite theme?
TB: I have accused of being Mrs. Uncle Sam because I always seem to end up doing red, white, and blue quilts. [laughs.] Even above and beyond Redwork. Occasionally, I do the 30's pinks, yellows, and greens, but mostly red, white, and blue.
RJ: I'd like to ask you, is there anything you'd like to share with us that you feel I haven't asked?
TB: No, I think you've done a very, very good job of asking me questions. I can't think of anything.
RJ: I think you've done a wonderful job of answering our questions.
TB: I'm glad to share.
RJ: I do have one other question I'd like to ask you. It's about the reverse side of this quilt.
TB: By all means. About the barking?
RJ: Yes and if you could provide us with a verbal description.
TB: This is a stamp that was on the material before the quilt first was made. And I have two or three examples of this. I can really only tell you that it was on a bolt and they stamped their advertisement right onto the fabric, which in this case is a light muslin. I suspect that they thought people would just cut it off but I find where it has not been cut off. It says, 'Finished soft for the needle.' Meaning that it would be easy to put the needle through, which is kind of fun. It doesn't tell us what company.
RJ: May I ask you a few questions about the quilts that you have in your personal collection?
Are most of them hand worked, or do they contain some machine work?
TB: I have a few recent acquisitions that contain machine work, as far as the quilting is concerned, that were done by my friends as gifts. But the biggest portion of my collection, which goes from 1860 to present time, is all hand done, all hand quilted, mostly hand pieced on the very old pieces. I have hundreds of quilts. There's quite a variety, not just Redwork quilts.
RJ: Do you use your collection in a specific or special manner?
TB: I do put them on the bed from time to time. I bring them out especially when I'm having guests. I display them for people. I hand them but on a rotating basis. They're never out for more than three weeks. They're never hung in the sun. I like people to enjoy them. I occasionally lend them for viewing, for specific shows or things like that. Once in a while when I just feel like it, I go in the spare bedroom and lay down on the bed and cover up with one of them, to see what it feels like to be under an 1880 quilt or something like that. That's what quilts are for.
RJ: This concludes our interview with Toni Baumgard. We would like to thank her immensely for her time and the effort that was used to bring in the quilt and to explain all of her different thoughts on quilting and how it affects her life. The time is 2:31. The date is November 4, 2000. This is the Houston International Quilt Festival, the Quilt S.O.S. [Quilters' S.O.S. - Save Our Stories.] project. Thank you.
OHMS Object
OHMS Object Text
5.3 2019oh0599_qsosiqf0083 Interview with Toni Baumgard, November 4, 2000 2019oh0599_qsosiqf0083 0:23:35 qsosiqf Quilt Alliance’s Quilters' S.O.S.- Save Our Stories Oral History Project: International Quilt Festival Louie B. Nunn Center for Oral History, University of Kentucky Libraries Fabrics Fabric arts Quilts--Design. Quilts Quilting Textiles Textile artists Decorative arts Crafts & ; decorating Women Artists Sewing Arts & ; crafts Families Women's history American women, 1600-1900 Textile museums Vintage quilts Quilt preservation Wall quilts Hanging quilts Quilt patterns Antique quilts Traditional quilts Art quilts Redwork quilts Quilt collections Quilt descriptions Hand quilting Machine quilting Women and quilting Round robins Group quilting Quilting bees Custom quilts Utilitarian quilts Toni Baumgard Renee Jackson 2019oh0599_qsosiqf0083_baumgard_acc001.mp3 0 https://oralhistory.uky.edu/spokedbaudio/2019oh0599_qsosiqf0083_baumgard_acc001.mp3 Other NULL audio 3 Quilt brought for interview This interview is with Toni Baumgard. Baumgard describes the quilt that she has brought to the interview, an antique quilt from 1913. She discusses the woman who made the quilt, including describing her educational and cultural background. She details the design of the quilt for the interviewer and what the designs mean in the context of a quilt, such as cows, the words “good morning”, and the legend of George Washington and the cherry tree. Baumgard tells the interviewer about the patterns used in the quilt and their approximate date of creation, many of them before the quilter was born. Baumgard then discusses why the quilt is important to her, because she knows the story behind the quilt and its meaning for the family. She uses the quilt in her “redwork quilt” lectures. Antique quilts ; Family pets ; German Americans ; German quilts ; Quilt patterns ; Redwork quilts ; Talking blocks ; Vintage quilts Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; German American families ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 373 Beginnings in quilting Can you tell us about your interest in quilting? Baumgard tells the interviewer about her interest in the historical aspect of quilting, as she is a historian first, then a quilter. She talks about watching her grandmother quilting, and enjoyed being around quilts and quilting. She discusses her background in textiles and her job as a volunteer restorationist at a quilt museum. Quilt collections ; Quilt museums ; Textile preservation ; Textile restoration ; Volunteer museum workers Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 527 Favorite and least favorite aspects of quilting What do you find pleasing about quilting? Baumgard likes the historic and comforting aspects of quilting. She discusses her enjoyment of creating traditional quilts and reflecting on the women in the past who created quilts as well. She tells the interviewer about her dislike of cutting fabric. Art quilts ; Cutting fabric ; Historic quilts ; Traditional quilts ; Women and quilting Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 572 Qualities of a great quilt Can you tell, tell us what, in your opinion, makes a great quilt? Baumgard believes a quilt should be well-constructed and pleasing to the eye. She discusses why these qualities make a great quilt. Craftsmanship ; Qualities of a great quilt Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 601 Qualities of a museum appropriate quilt What, in your opinion, makes a quilt appropriate for a museum or a special collection? Baumgard talks about how quilts with a history or a story belong in museums. Historic quilts ; Quilt collections ; Quilt museums ; Quilt special collections Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textile museums ; Textiles ; Women 635 Other quilting opinions Do you have any opinions on what makes a great quilter? Baumgard tells the interviewer she has no opinion on what makes a person a great quilter. She then discusses the important parts of learning the art of quilting, including the importance of having a mentor and learning the correct information. Learning to quilt ; Qualities of a great quilter ; Quilt mentors ; Quilters ; Quilting skills Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 692 Importance of quilting in women’s lives and personal life Can you tell us why quilting is important to your life? Baumgard talks about her enjoyment of teaching women’s history and redwork. She then discusses why quilting is important to women’s history, particularly in the United States. She talks about how quilting was a means of self-expression for women in past centuries and self-expression is important in quilting. Baumgard also discusses the importance of quilts in American life. American quilts ; Quilting in American culture ; Quilting in daily life ; Redwork quilts ; Women and quilting Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women ; Women's history 827 Uses for quilts Would you share your thoughts on how you think quilts can be used? Baumgard believes quilts have many uses. She believes they can be used as art, wall decor, bed warmers, and many other varieties of uses. Art quilts ; Bed quilts ; Political quilts ; Utilitarian quilts ; Wall quilts Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 876 Preservation of quilts What are your thoughts on how quilts can be preserved for the future? Baumgard talks about how quilts and other textiles should be properly preserved. She discusses the strides which have been made in the preservation of textiles, including the use of acid-free paper and museum quality mounts. Museum preservation ; Preservation techniques ; Quilt museums ; Quilt preservation ; Textile preservation Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 924 Uses of quilts she has made I’d like to ask you if you could tell us what has happened to the quilts that you have made? Baumgard tells the interviewer she gives away all the quilts she has made, as each quilt she has made has been for one specific person in mind. She discusses making a quilt for her granddaughter, which the granddaughter picked out the fabrics for herself. Custom quilts ; Family quilts ; Quilts as gifts Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 983 Other family quilters Do you have a number of quilts in your family from family members? Baumgard talks about how she is the only quilter currently in her family, though she teaches quilting to her granddaughters. Family quilters ; Future generations ; Quilters Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Families ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 1015 Quilting bees and groups You’ve indicated that, um, you belong to a quilting bee or group? Baumgard tells the interviewer about the various quilting bees and groups she belongs to, including their purpose and the kinds of quilts they create. Baumgard describes a “round robin” to the interviewer, a group quilting method. Group quilting ; Quilting bees ; Quilting communities ; Quilting techniques ; Round robins Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 1198 Continuation of discussion of quilt for interview And if you could provide us with a verbal description. Baumgard provides a verbal description about the back of the quilt she brought for the interview. Antique quilts ; Quilt collections ; Quilt descriptions ; Quilt patterns ; Redwork quilts ; Vintage quilts Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women 1280 Personal quilt collection Are most of them handworked, or do they contain some machine work? Baumgard talks about the construction of the quilts in her collection. Some quilts contain machine work, which Baumgard says are quilts created by her friends. The vast majority of her quilts are hand quilted due to their age. She talks about how she displays her quilt collection in her home. Hanging quilts ; Quilt preservation ; Vintage quilts ; Wall quilts Artists ; Arts & ; crafts ; Crafts & ; decorating ; Decorative arts ; Fabric arts ; Fabrics ; Quilting ; Quilts ; Quilts--Design. ; Sewing ; Textile artists ; Textiles ; Women interview Toni Baumgard, a quilter, is interviewed by Renee Jackson for the Quilters’ S.O.S. Oral History Project. Baumgard talks about the quilt she brought in for the interview, an antique redwork quilt created by a German-American woman in 1913 in Pennsylvania. She discusses the pattern of the quilt and what the symbols mean on the quilt. Baumgard then talks about her own interest in historic quilts, particularly redwork quilts, as she does lectures about redwork. She also talks about her work as a textile preservationist, an interest she had from childhood. She also became interested in quilting during her childhood, as her grandmother was a frequent quilter. Baumgard talks about her personal opinions about quilting, including what makes a great quilt, why quilts are important to women’s and American histories, and how quilts are important to her personal life. She discusses the importance of preserving quilts and teaching future generations how to quilt. Baumgard talks about how she uses her quilt collection and how she gives away the quilts she makes, believing quilts have a wide variety of uses beyond only decoration or utilitarian purposes. No transcript. All rights to the Quilters' S.O.S. -- Save Our Stories (QSOS) oral history project, including but not restricted to legal title, copyrights and literary property rights, have been transferred from the Quilt Alliance to the University of Kentucky Libraries. Please contact the Louie B. Nunn Center for Oral History regarding rights pertaining to individual interviews. audio Interviews may only be reproduced with permission from Louie B. Nunn Center for Oral History, University of Kentucky Libraries. 0 https://nunncenter.net/ohms-spokedb/render.php?cachefile=2019oh0599_qsosiqf0083_baumgard_ohm.xml 2019oh0599_qsosiqf0083_baumgard_ohm.xml https://kentuckyoralhistory.org/ark:/16417/xt7qz8d1bd0z2
Interview Keyword
Vintage quilts
Quilt preservation
Wall quilts
Hanging quilts
Quilt patterns
Antique quilts
Traditional quilts
Art quilts
Redwork quilts
Quilt collections
Quilt descriptions
Hand quilting
Machine quilting
Women and quilting
Round robins
Group quilting
Quilting bees
Custom quilts
Utilitarian quilts
Collection
Citation
“Toni Baumgard,” Quilters' S.O.S. -- Save Our Stories, accessed October 15, 2026, https://qsos.quiltalliance.org/items/show/2488.