With locations in St. Albans and Isle la Motte, the Elizabeth Fisk Looms began to turn out a wide variety of products. They produced bedspreads, table cloths, wall hangings, pictures to be framed, work bags, pillows, and numerous other items such as napkins, runners, between cloths, and curtains. Betty Attwood described the work in the Summer 1968 issue of Handweaver and Craftsman:

Luncheon cloths, tablecloths, bedspreads, wall hangings and smaller pieces came from the Fisk looms. Many of them were of museum quality. One long beautifully executed cloth now belongs to the Fleming Museum at the University of Vermont. Patterns were always original and would be made to order for specific color preferences. Designs were often taken from nature and were perhaps from outside the door of the stone cottage where the weavers worked. Among some of the more interesting pieces produced by the Fisk looms are the Vermont coat of Arms which was presented to the General Federation of Women’s Clubs in Washington. The effect in this hanging is like that of an old tapestry... an extremely detailed one of calla lilies testifies to the quality of the weavers technical ability.

As the work continued, the word of these unique weavings began to spread far and wide. Among the customers was the wife of the Director of the Metropolitan Museum of Art. Orders came in from England, and the Elizabeth Fisk Looms were invited to show their work abroad, but never accepted. The Chicago Art Institute bestowed an award, as did the national Federation of Women’s Clubs. They were invited twice by the Women’s Educational and Industrial Union to join them during their “Craftsmen at Work” exhibitions, and they exhibited at the convention in Boston in 1930.

The work of the Elizabeth Fisk Looms was also much noted in the press. The Burlington Free Press noted,

Linen production and use was a long-standing tradition and necessity of early American culture. However, by about 1820, large quantities of machine-woven cotton became readily and economically available throughout much of the country.
By 1870, linen production as an occupation was virtually non-existent. This is perhaps one of the many reasons Elizabeth Fisk Looms and their handsome products were so popular. By the early 20th century, they were unique.


The Grand Isle Star wrote, Mrs Fisk was, “the only woman in the world so far as known to do such unique work.” The Vermonter devoted a cover story to Fisk Looms in their May 1930 issue, declaring, “It is safe to say that this work is unique.” Other stories appeared in Vermont Life and other periodicals. The Ladies Home Journal wrote,

Now in the big attic chamber, with its dormer windows looking down all summer on rows and rows of hollyhocks, old-fashioned looms are busy weaving household linens of a kind never before seen, a kind that only the vision of an artist could conceive.

As praise came in from customers and critics alike, the word that kept coming up to describe the work was “unique.” The technique that Elizabeth Fisk devised for producing tapestry woven linens for household use, resulted in a product that looked almost identical from the front or the back. When this is considered along with her sense of design, work in dye chemistry, and ability to inspire, organize and train teams of weavers it is clear that Elizabeth Fisk made a significant contribution to the arts.

The Elizabeth Fisk Looms represent a high point in the history of weaving. Perhaps the article in the Ladies Home Journal from November of 1923 puts it best,

To the weavers, watching their craft develop into the realm of an art, it has all been a labor of love. Vermont, indeed, has reason to feel proud of these women who are producing work of such exquisite character as that which is known to the world as linen from The Elizabeth Fisk Looms.