Archive for the ‘Quilt Design’ Category

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Quilt Identification – A Reader Queries

Friday, October 9th, 2009

This morning’s e-mail brought a photo of a quilt. The writer, Scott McKee of Santa Ana, CA, says that the quilt is hand-pieced and asks what “pattern” it is.

quilt to identify

A finished quilt with various quilt pattern designs, some partial blocks. The overall design is “Sampler Quilt.”

I can tell you a few things about this quilt, but not having seen it, in person, will not vouch for total accuracy.

1) There is a relatively-wide outer border with a binding of a matching fabric print. Whether this is a “separate binding” or just the back turned forward to the front and tacked down, I do not know, and cannot tell for certain, from a photo. Separate bindings are more desirable, especially in a bed quilt, as they wear better, and can be replaced, if need be. The writer did not share the overall size of this quilt.

2) The second border in looks like “Log Cabin” blocks, set on point. Why do I say that? They have a square center and strips, half light and half dark, on either side.

3) That is followed by a thin print strip, and then an additional pieced border of “Flying Geese,” in light and dark hues, around the perimeter of the quilt.

4) Then, there is another print fabric strip.

5) The interior area features various quilt blocks, and portions of quilt blocks within rectangles or squares, delineated by sashing strips.

6) Right off the bat, I recognized the (round) Mariner’s Compass (with a green center). This block is repeated in other rectangle settings in the quilt.

There are star blocks and others, all geometric.

This appears to be a 20th century quilt, due to its color palette that includes lighter blue and pink colors.

The other quilt blocks probably have names (sometimes more than one). I do not have the time to look up each one of them, but I do suggest Barbara Brackman’s Encyclopedia of Pieced Patterns which shows more than 4,000 block configurations and lists of their names. This is the standard reference book used by most appraisers and quilt historians and has become a classic book already.

There are thousands of published names for quilt blocks.

I am happy to share whatever information that has readily come to mind about this quilt. A certified appraiser could verify my statements and take the time to look up the pattern name of each and every block. The sashings may be appliquéd down. Again, this is not something I can determine from a photo, alone.

Patricia Cummings, quilt historian
Quilter’s Muse Publications

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Old Oak Leaf Block – “What is the Design’s Name?”

Wednesday, October 7th, 2009

Someone from the Cleveland, Ohio area wrote a brief note to me on October 3, 2009 to ask if the block shown here might have been slave-made, or made by an African-American. Let me make some general comments about this quilt block.

Cleveland, OH - old quilt block

This old quilt block, from an unidentified maker, has an unusual pattern. This was not found in either Brackman’s or Khin’s standard reference books on appliqué designs.

Additional references that are helpful in identifying published quilt block names are listed in our website file about Pattern Identification.

This block looks like a good example of a 19th century quilt with brown fabrics that have disintegrated due to the iron content of the dye. Iron and cloth do not go well together, but it was not a lesson easily or quickly learned during that century.

The largest motifs appear to be in the shape of Oak leaves. The center circle in yellow and the blue “cross” within the circle could be symbolic, but do not have to be. Not all designs carry symbolism, and if we do not know the quilter’s intent, then it is dangerous to read too much into an interpretation. My next step is to investigate similar symbols in several books that I own to see if the center is known to carry any particular symbolism.

As you can see, three diamond shapes were added, between the “leaves.” These may have represented flower petals as if often the case of abstract-looking designs of this kind that are pieced and then appliquéd.

From a photo, it is difficult to tell, but this block seems to have a lot of quilting on it. If that is the case, one would think of a “lady of leisure” as having made this, as stitches do not add to a quilt’s warmth and only serve as surface decoration (and to hold the quilt together).

It is dangerous to take guesses as to whether or not a quilt was made by a slave or an African-American based solely on visual clues. Scholars have been embarrassed, in the past, by their quick leaps to judgment. Anyone could have made this quilt block!

So many times, quilt historians have exclaimed: “If only the quilt could talk! The stories it would tell!”

Of course, quilts were not always given a certain name. It is not until the late 19th century (1800s), when more quilt patterns were published, that many quilt block designs acquired names, perhaps some assigned by publishers.

We enjoy hearing from readers of our website.

If anyone has further information about this block, I’d love to hear from you. Write to: pat@quiltersmuse.com

Thanks to the reader who sent in this question.

P.S. I did look at one of my books about Symbols. The equilateral cross is an ancient symbol used to form the basis for the architecture of Greek churches. The group of four directions of an equilateral cross can depict the four seasons or the four winds. The shape is the symbol of the Red Cross.

A circle can represent eternity – as it has no beginning and no end. For any symbol, its meaning is known only to the person who creates it.

As people who enjoy art, we can try to interpret a meaning, but it is pure conjecture. To make this quilt-related, please see my many (Underground Railroad and Quilts) files … about quilt blocks and their interpreted meanings as described in the book, Hidden in Plain View and in other books.

Patricia Cummings
Quilter’s Muse Publications

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Civil War “Sanitary Commission” Quilts Reproduced by Donald Beld

Monday, October 5th, 2009

The seven photos of Civil War reproduction quilts that are shared in this blog entry today represent quilts made by Donald Beld of California. They simulate actual “Sanitary Commission” quilts that were made in the North and sent to Union soldiers in the field.

By the way, Don founded the “Home of the Brave” program that re-creates and distributes reproduction Civil War quilts to families of U.S. fallen military in Iraq and Afghanistan. The quilts are made by volunteer quilters from across the country.

In support of the program when it first started, I supplied information to The Quilter magazine, (May 2005 issue). At the time of publication, only four original Sanitary Commission quilts were known to be extant. Since then, several more quilts of this type have been discovered. Most of the approximately 250,000 that were sent off to war from the North are lost to history.

Don is a retired hospital administrator who makes quilts with connections to history. He enjoys hand piecing but acknowledges the limitations of his mortal stay on this planet. In order to finish more quilts, he now seeks the help of a machine quilter, 50% of the time, to do the actual quilting stitches that hold the layers of a quilt together.

He loves to quilt by hand and has hand-quilted all of these Sanitary Commission quilts. As Civil War quilters would have done, he applies bindings to each quilt, in the same manner. Whenever he can, he uses authentic period fabrics, but finds the fibers so weak that he has to “tie’ the quilt in lieu of “needling” it.

The quilts shown are from Massachusetts, Connecticut, Vermont and New Hampshire. As you will see, Don Beld’s work is a total inspiration!

Florence, MA quilt

This quilt made by Don Beld simulates one that was made in Florence, Massachusetts.

close-up

Close-up of the Florence, Massachusetts Sanitary Commission quilt reproduction made by Donald Beld

Vernon, CT

Sanitary Commission quilt first made in Vernon, Connecticut; reproduced by Donald Beld

Close-up of Vernon, CT quilt

Close-up view of reproduction quilt; this quilt was first made in Vernon, CT.

quilt from Brandon, VT

Civil War quilt reproduction of a quilt first created in Brandon, Vermont

close-up of Brandon, VT quilt

The last of four quilts shown in this file originated in Dublin, New Hampshire:

New Hampshire quilt

All photos seen in this file were taken by, and provided by Don Beld, to whom they are copyrighted. We have his permission to publish them.

Photo-edits were done by Patricia Cummings.

Please do not copy any of these photos to any other site for the purpose of publication, but please do tell others to enjoy them here at: http://quiltersmuse.com/blog/. Of course, you may print a copy of this page for your own personal study. Thanks!

To learn how to make a quilt in the same pattern as the Sanitary Commission Quilt located at the A.K. Smiley Public Library, Lincoln Memorial Shrine, Redlands, California, please see this file: Civil War Reproduction Quilt The original was 48″ x 84″ to fit a soldier’s cot.

Patricia Cummings
Quilter’s Muse Publications

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Intriguing Photos of Egyptian Textiles Sent by Reader

Monday, September 21st, 2009

After reading my online file about Egyptian appliqué, a woman named “Margot” sent me 10 photos of her Egyptian textile collection, yesterday. She calls herself “an inadvertent collector of Egyptian appliqué” and found her pieces to collect, in Maine and online beginning in the 1980s.

Although she apologized for the “amateurish” look of her photos, I was able to work with them a bit, with a photo editing program, and I believe you will enjoy seeing the images. There is only one that is cropped off at the end, due to a streak of light. They are wonderful!

A lot of symbolic imagery appears in the following designs. At the end of this photo essay, I will list some books in my personal collection that are helpful in identifying the meaning of the symbols. Identification of the symbols would be a good project for home-schooled children and others who are interested in learning more about Egyptian art, always a fascinating subject!

long Egyptian textile

archer

donkey kneeling

man on horseback carrying flag

another panel

beige colors

orange camel

8th piece

9th piece

final piece

In addition, Dover Publications sells a CD-ROM & Book called Egyptian Designs for MacIntosh and Windows. No affiliation.

I hope you have enjoyed this file. Many thanks to Margot for sharing her collection with us.

Patricia Cummings
Quilter’s Muse Publications

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Article Traces Root Ideas About African-American Quilt Scholarship

Sunday, September 20th, 2009

Within the last 20 years, I have run across a number of people who have tried to formulate a list of characteristics of African-American quilts. In one instant, a (white) woman with a quilt shop, instituted classes to teach others how to make an African-American quilt. The quilt would be brightly colored and asymmetrical. She’d made a large quilt that hung on the shop’s wall to use as an example. Just for the record, more recently, I ran across a speaker who attempted to describe the qualities of African-American quilts as if they are homogeneous.

For some time now, folklorists, scholars, and dreamers have been trying to define and describe exactly what an African-American quilt is, and what meaning(s) the quilt had, for its maker. The trouble with that kind of study is that not all African-American quilts are created equal, any more than are English quilts, or Amish quilts, or Dutch quilts. Women, who have made the majority of old quilts, have enjoyed being just a little different than their neighbor. For pieced quilts, this may be the reason so many thousands of different quilt block configurations exist.

More theories are in place than fleas on a dog. Most of them are not backed up by fact. Rather, they are just hunches, opinions, or broad, unsubstantiated conclusions.

“Myth and Methodology: Shelly Zegart Unpicks African-American Quilt Scholarship,” is an article that was first published in Selvedge, an international textile magazine, (London England: Issue 21, Jan/Feb 2008). The author provides an historical account of the names and thoughts of various people who have studied this subject and published their train of thought. This file is free to read/ and to download, on Shelly’s website.

Without further adieu, I will leave you to access this important file, one worth your time.

Patricia Cummings
Quilter’s Muse Publications

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The Beauty of One Soul Can Make A Difference

Sunday, September 13th, 2009

This morning, I wanted to show you two quilt blocks that were constructed, on paper, by a beautiful person. First, I will show you this person who was outwardly beautiful.

Ellen Webster as a young person

Ellen Webster, as a young person

Ellen Webster was someone who loved history and that included the history of her town and of her family. The following quilt block that she pasted up with fabrics on a paper background is certainly artistically-rendered, and very beautiful.

spray of roses block

Original design by Ellen Emeline Hardy Webster

I wondered why the leaf on the left edge was lopped off, and I found the answer to that in her diary!

Hardy family genealogy block by Ellen Hardy Webster

Hardy family genealogy block constructed by Ellen Emeline Hardy Webster

During my research, I discovered a quilt block from New Hampshire that is very similar to Ellen’s, as if made by the same person. That is discussed in my 355 page e-book with 340 photos that plays on any computer, using Adobe Reader. (Hint: Don’t try to open the file with any other kind of reader). Adobe Reader is FREE to download.

In just these two quilt blocks I have shown you, it is easy to see the care and precision that Ellen brought to her creative work. She was very artistic, as is readily apparent, but moreover, she wanted to preserve the work of other New England women (and beyond) whose antique quilts she had seen at various meetings and quilt shows that she judged. Ellen was highly respected, in her time, as a teacher of Bible studies, a writer, lecturer, pianist/organist, bird lover, and other roles she took, in life.

Her story is a classic one of a farm born girl of the mid-nineteenth century, who married a dentist and traveled the world. The 162 quilt charts were given to a museum. The spirit of her work lives on in the colorful and detailed CD produced by James and Patricia Cummings and exclusively available for $24.95 plus $3.95 shipping, ($28.90). The detailed information included in this work will amaze you!

This would make a wonderful holiday gift or Christmas present! The CD even shows a photo of the Hardy family all gathered together for Christmas in 1892.

Viewing the details of the life of Ellen Emeline Hardy Webster and considering the many good works of her hands and mind is a thrill. I only wish I’d met her.

Patricia Cummings – pat@quiltersmuse.com
Quilter’s Muse Publications

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N.E. Quilt Museum Opens New Exhibit: “MASTER PIECES: Haberdashery Textiles in Antique Quilts”

Tuesday, August 18th, 2009

NEW ENGLAND QUILT MUSEUM
Lowell, Massachusetts

For Immediate Release

The museum calls this quilt the “Grandpa Quilt.” This mid-20th century necktie/portrait quilt was created by an unknown maker. photo by Fletcher Boland

The New England Quilt Museum is pleased to announce their first exhibition of the Fall season, “MASTER PIECES: Haberdashery Textiles in Antique Quilts.” Featuring quilts made from menswear, some of it recycled clothing, this remarkable exhibition brings together over 40 intriguing graphic works made from simple utilitarian fabrics long overlooked in the study of antique quilts. The guest curator for the exhibit is noted antiques dealer and author, Laura Fisher, of FISHER HERITAGE in New York City.

The antique quilts on exhibit are made of menswear fabrics recycled from suits and shirts, neckties, pajamas, military uniforms, work clothes—even woolen underwear and socks. Some also resulted from the artful salvage of menswear swatch sample books and fabric mill remnants.

Popular for about a century, these quilts are compelling and often whimsical. Simple squares arranged in a diagonal pattern prove on close inspection to be made from scraps of patterned jersey socks. A shimmering kaleidoscope of diamonds in rust reds and yellows is pieced from 1950s rayon neckties. Thin lines going in every direction look like a contemporary drawing but are actually random scraps in a crazy quilt pieced of circa 1915 striped silk shirting. The narrow serpentine strips in the blocks of a 1905 Amish quilt are cuttings from woolen long johns. Bright, dimensional pinwheels are embroidered on an unlikely foundation of tailor’s wool suiting swatches, as are a flock of vividly colored birds on branches.

Visually stunning and strikingly modern, these antique textiles make distinct graphic statements out of the most everyday materials.

In addition to the quilts themselves, the exhibit will feature historic advertisements, swatch books, and catalogs from menswear businesses, dating from the 1900s through the 1950s, including several items from the vaults of Brooks Brothers, the chief sponsor of the exhibition.

The tradition of making unique, often very personal quilts from re-purposed menswear textiles gained popularity around 1850, and lasted through the 1950s. Today, the tradition revives in memory quilts made from old T-shirts and clothing that has personal sentiment. Recycling these materials is now considered environmentally aware, adding further appeal to their inherent design potential.

Laura Fisher will be speaking about the exhibition’s content at the opening reception on September 26. In addition, historic textiles expert, Pam Weeks, will deliver a lecture about textile production in New England mills on October 17.

Support for this exhibition is provided in part by Brooks Brothers and by P&B Textiles.

Fabrics inspired by one of the quilts in the exhibition, in the style of the early 1900s, have been produced by Marcus Fabrics and are currently available in the Museum shop, with proceeds to benefit the museum.

The opening reception is sponsored by School House Quilters.

About the New England Quilt Museum

The New England Quilt Museum, 18 Shattuck Street in Lowell, MA, preserves, interprets, and celebrates America’s quilting past and present.

Museum hours are 10 AM – 4 PM, Tuesday- Saturday; and Sundays 12 – 4 PM, May through December. Admission is $7 for adults, $5 for students/senior citizens; Museum members are admitted free.

Visit http://www.nequiltmuseum.org or call 978-452-4207 for more information.

This announcement is brought to you, courtesy of Quilter’s Muse Publications.

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Reader Enjoys Mile-a-Minute Scrap Quilts

Saturday, August 8th, 2009

Charlotte Croft of Vermont wrote the following note after viewing some recent blog posts:

Hi Pat, I was just browsing in your blog, seeing the scrap quilt question. I decided to send this photo of the quilt I made for my niece Linda Rose who was married June 27th. I think I’m addicted to this method of using up scraps. They’re not the prettiest quilts ever made but such a satisfying feeling to know all those tiny bits were put to use. I have two twin tops ready to tie and about 40 more blocks in various sizes waiting to be completed. I enjoyed seeing “Yum Yum,” but couldn’t help thinking of the cat in the Cat Who series. I read two or three of those this summer. All for now. Charlotte

Mile a minute quilt

This is a scrap quilt in the style designed by Carol Coski of Westminster, Vermont. Carol owns a quilt shop there.

We had heard of “Mile-a-Minute” quilts but this is the first time we had seen one. Thanks, Charlotte. We always appreciate the photos you send.

Patricia Cummings
Quilter’s Muse Publications

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Canadian Reader Sends Photos and Information About Her Quilt

Tuesday, July 7th, 2009

Hmong Hearts bed quilt

Hmong Hearts bed quilt made by Pat Amundrud of Canada, with squares purchased in N. Thailand

7/7/09 – Today, we received the following note:

Dear Pat,

I was particularly interested in The Quilter article about Hmong needlework.

My husband and I traveled throughout Laos and Thailand in 2004 and found the street markets with the bed-toppers of needlework, and the very young children doing embroidery work in a village. I purchased 10 squares in northern Thailand. What a challenge to set them into a quilt! I’ve attached three different views of my quilt.

I’ve been to the Vermont Quilt Show twice and found a vendor selling Hmong needlework.

Thanks,

Pat Amundrud
Ottawa, Ontario
Canada

Here are the other photos of Pat’s wonderful quilt that she calls, “Hmong Hearts.”

Quilt with Hmong blocks

Vertical view of the quilt

detail of quilting

Details of hand quilting in alternate blocks

Thanks so much for sharing your work with our readers!

Best wishes for continued joy in quilting!

Patricia Cummings
Quilter’s Muse Publications – link to our main website

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Sisters in Stitches

Saturday, June 13th, 2009

Last night, I stumbled across the “Sisters In Stitches” website. This is the web presence for the only African-American Quilting Guild in New England. We attended several of their shows, in the past, and were not disappointed.

They have another one coming up this year, in Roxbury. The details are available on their website. I wish I could attend, but we find it too confusing and upsetting to try to drive through Boston, a maze of one way streets, and where one has to be the correct lane for turns, etc. It’s easy to get lost. For “old people,” like us, we just can’t handle it. If you don’t already know, Roxbury is more or less a suburb of Boston.

African Women

A great quilt, taken at a lousy angle, at one of the “Sister in Stitches” shows. To learn more about this quilt, visit our show reviews, linked below.

I wondered if there was a stated list of attributes of African-American quilts online. The Sisters in Stitches’ site provides a nice overview of typical design elements as well as the parts of Africa from where African-American people came. One has only to look at one of the books that feature photos of Gee’s Bends quilts to understand some of the qualities of quilts that are listed.

Design elements can include, but are not limited to, the use of African hand-woven, or African commercially-produced fabrics, asymmetry, large shapes and strong colors, appliqué (as in former slave, Harriet Powers’ famous Bible quilts), inclusion of religious symbols and protective charms. The great tradition of storytelling by town griots (wise keepers of oral history in African towns) may be reflected in some quilts. Certainly, the storytelling tradition is present in Harriet Powers’ Bible quilts. Lists are fine for brief explanations but not if they lead to a superimposed aesthetic.

Can someone who is not African-American make an African-American quilt? No, but that quilter can make an “African-American style quilt.”

Vest design by Patricia Cummings

Vest designed by Patricia Cummings that includes fabric with African Masks

In my opinion, it is a cop-out when someone makes a sloppy quilt in garish colors and calls it an “African-American” quilt. That person has just not bothered to learn the rudimentary steps of quiltmaking. I have seen this happen. Like Dave Barry, “I am not making this up.”

It is equally strange, when a quilt shop run by a Caucasian women offers classes in “How to Make an African-American Quilt.” Again, I am not making this up, although this situation did happen quite a while ago.

Being informed about another culture, cultivates a better appreciation of their needlework and quilt traditions. You know something? When we attended the shows mounted by this very creative group, “Sisters in Stitches,” the quilt patterns were innovative, but also strongly-grounded in traditional quilt designs. I remember a quilt based on “Tumbling Blocks,” but with a humorous twist!

You might like to visit the two show reviews we have on our website – 2001 Bridgewater, MA Show; and the 2005 Holbrook, MA Show.

I have a problem with others trying to pigeonhole groups of people and make them seem as homogenized as milk. We cannot make sweeping generalizations. I would hate to think that my quilts are what they are because I am an aging, Caucasian, female. Stereotypes just don’t work. We don’t all fit into any given mold, whether we are White or Black or Green. Quilters are always innovative, no matter what color their skin. We can find more that is alike, rather than more that is different. In the end, we are all “Sisters” – “Joined by the Cloth.”

Patricia Cummings
Quilter’s Muse Publications and Virtual Museum

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