I have just held two major "Lambton" classes at The Cupboard. I have a feast of photos to show you of all the many and varied versions of "...

I have just held two major "Lambton" classes at The Cupboard. I have a feast of photos to show you of all the many and varied versions of "...

Quilt attributed to Lucy Hatch Whitfield (1805-1873) Mississippi Department of Archives & History There are not many one-of-a-kind quilts but this one in the collection of the Mississippi Department of Archives & History in Jackson appears to be in a category all by itself. 2017 Exhibit Stories Unfolded It's unusual because it's a combination of two styles, rather organic cut-out chintz cut for formal conventional applique. The conventional applique design is not uncommon, it's a repeat based on 8 mirror-image design units. It was once in the collection of Susan Price Miller's family linked to her great-great-great grandmother who lived in Mississippi. Five cousins, descendants of Lucy Hatch Whitfield, generously donated it. The basic pattern is one Marie Webster called a Conventional Rose, often termed a Rose of Sharon or a Whig Rose. The design with simple symmetries is usually done in red and green calicoes or solid colors and often seen in the 1840-1870 period either as applique, piecing or a combination of techniques. But the Mississippi quilt, which may be earlier, is appliqued of chintz-scale florals with the centers fussy-cut from this print with a calla lily, auricula (primrose) and other blooms. Victoria & Albert Museum Collection The print was quite popular with applique artists in the U.S. about 1820-1845. This colorway has a printed ground, a fancy machine ground. International Quilt Museum Collection: Gift of Susan Price Miller So does this one but it seems to be the second version: fewer flowers, different repeat. As Susan writes: "There were two versions of this print, not counting possible variations in the ground. I had a length of chintz now at the International Quilt Museum that appears to be a cheaper knock-off. The bouquets are closer together, the former long-stemmed vertical flowers lie horizontally unrelated to the rest of the design, and some of the small details are in different locations or absent." The background print, a lattice Blooms cut from other prints are scattered between the large roses. What you might consider the sashing cornerstones are filled with a repetitive motif. I recognize the arborescent floral with a gnarly tree branch, this version from my collection. (Wish I still had yardage with the brown ground) Years ago Terry Thompson and I did a repro print for our Lewis & Clark collection from Moda. The selvage says 1800-1830, which is probably when the fabric was printed but we see it lagging in quilts here about 10 or 20 years. The fussy-cutting for the formal shapes is interesting. She has confined the chintz into repetitious, unrelated pattern, something we might do today---but you don't see much of that in the 1830-1850 period when this piece was probably stitched. Here's a similar idea... Cut out chinz motifs surrounding a star of diamonds. Barely apparent in the cover quilt on Ladies' Circle Patchwork Quilts' Mississippi issue July, 1989 Lucy Eliza Hatch (1805-1871) Susan Price Miller sent some portraits from a family history book Whitfield, Bryan, Smith & Related Families, source of several stories here. See links at bottom of page. More about Lucy & her family Susan, a talented researcher, found much about her ancestor, recorded in Mary Elizabeth Johnson's book Mississippi Quilts. Lucy Eliza Hatch was born in North Carolina and like many of her generation lived in several Southern states as the U.S. expanded west in the early 19th century. After school in Alabama she married Benjamin Whitfield in August, 1821 when she was 16 years old and he about 21. Her mother had died and she took over the care of her siblings. In 1824 the couple and young sons Benjamin and William moved to Hinds County, Mississippi to the new community that eventually was named Pocohantas. The earliest records of Benjamin and Lucy living there are two 1828 children's graves in the family cemetery on their land. They lost three young children in 1828 and 1829, William, Edmond & Narcissa. Fevers and early childhood illnesses must have run rampant. By 1834 she had given birth to 9 children; three were alive. Of their 12 children only three seem to have survived her. His extended Whitfield family who had intermarried with her Hatch family are also listed as early pioneers of the Mississippi frontier. Hinds County was frontier when Lucy moved there in the 1820s. Mississippi had become a state in 1817. Their land was about 10 miles north of Jackson, which was founded in 1821 as the state's capital. The Mississippi Department of Archives and History has a photo of their home Magnolia, built about 1830. "When finally completed there stood a log house covered with wide clapboards, the main portion reaching up two stories. several rooms extending themselves to the sides, porches stretching across front and rear, and the whole surrounded by magnolia trees and a lawn of twenty acres. The place was appropriately named Magnolia." It may be a "substantial home"but it is not the luxurious plantation of our imaginations. It must have been a substantial farm, however, at one point the Whitfield's listed 140 slaves. Benjamin Whitfield is a difficult person to characterize. He was influential in the development of the Baptist school Mississippi College in Jackson and he also seems to have been involved in many lawsuits over property and slaves. He advertised and sold numbers of slaves (see some ads below listing the people by their names). The family biography tells us he was devoted to the South and an ardent secessionist. His rationale: "He believed slavery to be God’s method of Christianizing the negro." Chapel at Mississippi College built right before the Civil War Their son Theodore (1834-1894) recalled Lucy's daily activities at Magnolia, which sound much like those of the typical plantation mistress who had servants in slavery to comb her hair and set her fires. Yet her days were busy supervising cloth and clothing production, the gardens, the kitchens and marketing for the larder. She---like the typical antebellum plantation wife---did not live a life of leisure. He remembered her as an energetic and domineering woman who "would scold and punish until it seemed a reign of terror." Lucy's free time was filled with her own needlework---which could include this quilt. She netted curtains, made carpets and insisted that slaves make quilts in spare time. Son in Law Richard Griffith (1814-1862) Brigadier General Griffith died in Seven Days Battle of Richmond. (Susan says this photo from an online auction does not do him justice) Her family believes that enslaved seamstresses stitched this quilt in preparation for daughter Sallie Ann Whitfield's (1825-1902) marriage to Richard Griffith in 1848. The date---late for a quilt of these chintzes---may explain the unusual look of the wedding quilt. Conventional applique had replaced the fashion for chintzes; here we have a combination of old and new styles. Lucy's husband Benjamin Whitfield advertised 46 enslaved people for sale in 1837. Three years later he was involved in the sale of 19 men, women and children. Above are their names. In the 1930s a W.P.A. interviewer talked to Louvenia Hatch Huff (1868-? ) whose parents Jacob and Simpson Hatch had been slaves in the extended Whitfield and Hatch families. See the short transcript here on pages 349 & 350: https://memory.loc.gov/mss/mesn/023/023.pdf See more about the calla lily print at these posts: https://barbarabrackman.blogspot.com/2018/08/primrose-path-3-back-to-chintz-stripe.html https://barbarabrackman.blogspot.com/2017/10/calla-lilies-tulips-and-mexican-shell.html And more about the Hatches and Whitfields here: Whitfield, Bryan, Smith & Related Families by Emma Morehead & Dr. Theodore Marshall Whitfield: http://www.bmgen.com/document/pdf/History_Whitfield_Bryan_Smith_Vol_I.pdf http://www.bmgen.com/document/pdf/History_Whitfield_Bryan_Smith_Vol_II.pdf

A blog about two modern cousins who quilt, sew, knit, stitch and craft everyday.

Wendy's Quilts and More

This first quilt caught my eye today, and so we're off on a tour of Pickle Dish Quilts. They are also known by the name "Indian Wedding Ring." They seem to be related in looks to New York Beauty patterns, as well. Pickle Dish 1880's This one is fun to look at closely. There are so many different prints in the "teeth" of the pattern. And I always like a red, white and blue quilt. * * * * * * * Indian Wedding Ring West Texas 1860 - 1880 67" x 72" This one shows the fading of fugitive green to tan. It always amazes me how some pieces fade and some don't. The other colors are antimony orange and rust. * * * * * * * Light Blue Pickle Dish Looks to be 1930's from the fabric 86" x 73" I just love blue. What can I say?? * * * * * * * Red, White & Blue Pickle Dish 1890's There's no more information than the date on this one, but I liked the patriotic flavor of it and the sawtooth borders. * * * * * * * Faded Green Pickle Dish 70" x 84" I'm ending with this one because I love it. I've shared it before, but every time I see it, it stops me. The variation in the green is actually fading, but I really like the feel it gives the overall piece. The borders are over-the-top and inspire me to try something like it someday. Thanks for joining us for our tour of Pickle Dish Quilts! Happy Quilting!! PLEASE NOTE: - I am not a quilt historian. I simply enjoy finding interesting quilts and sharing them with you! - The quilt images on this post were sourced from Pinterest, unless otherwise noted, and are linked to their origin whenever possible.

Cleopatra's Fan Quilt The Cleopatra's Fan Quilt designed by Robert Kaufman & Ramona Rose, The Pattern is available for free. Full Post: Cleopatra's Fan Quilt Pattern

* This page last updated January 2015 * This blog has morphed into a blog for my longarm business Dedicated to my customer's quilts and longarm design To see my quilt projects... visit Ramblin' Rows Moonbear's blog History My blog began in 2011 with a Civil War block of the week quilt. Barbara Brackman graciously set up a blog beginning January 2011 commemorating the sesquicentennial of the Civil War. Each week Barbara provided a story from the history of the war as it happened 150 years ago accompanied with a quilt block made by Becky Brown that follows the story. Here is a link to Barbara Brackman's Civil War blog. Click here for the link to a Flickr site set up with photos of CW blocks and finished quilt tops made by quilters from all over the world. Australia, Belgium, Canada, England, France, Germany, Holland, Japan, Malaysia, New Zealand, Portugal, Spain, Sweden and the USA. Barbara published a book about this project. Title: Civil War Sampler Included in the book are blocks made by participants of the BOW. Grapes of Wrath, Barbara Frietchie Star and Louisiana are three of my blocks that Barbara selected to be in her book! Exciting! I was honored to be asked and thankful to receive an autographed copy from Barbara Brackman. A CW quilt made by Rosemary Youngs is also included in the book. Cover quilt is made by Becki Brown A quilt was made for Barbara Brackman, of Civil War blocks made by The Circle of Friends, quilters participating in her BOW, myself included. Becky Brown pieced the top. Barbara was presented the quilt for Christmas 2011. This quilt is also in her book. Following are pix of blocks I made... 1 ~ Catch Me if You Can 2 ~ North Star 4 ~ Texas Tears 5 ~ Kansas Troubles 6 ~ Richmond 8 ~ Cotton Boll 9 ~ Birds in the Air 10 ~ Lincoln's Platform 11 ~ London Square 12 ~ Louisiana ~ in the Civil War Sampler book 13 ~ Little Blue Basket 14 ~ Fox and Geese 15 ~ Fort Sumter 25 ~ Calico Puzzle 26 ~ Barbara Frietchie Star ~ in the Civil War Sampler book 27 ~ Irish Chain 28 ~ Next Door Neighbor 29 ~ Railroad Crossing 34 ~ Rosebud 35 ~ Star of the West 36 ~ Kentucky Crossroads 37 ~ Confederate Rose 38 ~ Ohio Star 39 ~ Hovering Hawks 42 ~ H is for Hospital 44 ~ Union 45 ~ Port and Starboard 46 ~ Apple Tree 47 ~ Dixie Tea 48 ~ West Virginia 49 ~ Yankee Puzzle 50 ~ Grapes of Wrath ~ in the Civil War Sampler book Visit my personal quilting blog at Ramblin' Rows Thank you :0) Enjoy your day stitching away

This year, for the quilt guild I am apart of, I am providing instructions for how to make a different quilt block each month. For the month of October, we learned about the Louisiana Quilt Block.

Here are some of the quilts I have made over the past twelve years of teaching workshops. Also, please refer to my page on the Jane Austen Quilt Collection for extensive photographs of those quilts. "Ashbourne Mill" Detail: "Aura" "Bloomin' Logs" "Cherry Ripe" Detail: "Canobalas" (Bargello) "Florentine" "Flowers from Chelsea" "Fragrant Flowers" "Heartstrings" "Henrietta" "Mansfield Park" "Marrakesh" (Whack and Stack Dresden Fans) "Millefiori" (Whack and Stack Triangles) Detail: "Navaho Star" "Ode to the Rose" "Pennsylvania" Detail: "Rose Rhapsody" Detail: "Sakura" (Reversible Quilt-as-you-go Log Cabin) Floral Side: Indigo Side: "Spikes and Specks" Details: "The Way Ahead" (Foundation Piecing) Detail: "Yuletime Stars"

People around the world have gotten right on this project. Barbara in Kuala Lumpur has finished the first block. And so has Tazzie in Australia. Susanne in Germany And Karen Rosemary Mary

I have just held two major "Lambton" classes at The Cupboard. I have a feast of photos to show you of all the many and varied versions of "...

After a couple of hectic weeks, it was time to get caught up with the Grandmother's Choice BOWs. BOW 12 was Little Boy's Breeches and symbolizes dress reform. I was reminded of Amelia Peabody, Elizabeth Peters' intrepid Egyptologist and sleuth. Amelia was an avid advocate of rational dress, but until now I really wasn't sure what it looked like. Now I know thanks to Barbara Brackman.

'Caswell Quilt' made by Lynda Johnson, designed by Corliss Searcy, quilted by Frances Meredith Sometimes a quilt walks in the door and you don't want it to leave. This was the case with Lynda's amazing version of the Caswell quilt. Lynda has a great eye for colour and uses fussy cutting to its best advantage. She has put her own spin on it with a lovely applique border and by just doing a selection of the blocks. It's a great size. 'Caswell Quilt' made by Lynda Johnson, designed by Corliss Searcy, quilted by Frances Meredith This beautiful quilt required custom quilting which involved lots of stitching in the ditch around the applique and ruler work to add some structure to the overall quilt - but worth every stitch! 'Caswell Quilt' made by Lynda Johnson, designed by Corliss Searcy, quilted by Frances Meredith Lynda's quilt will be on display at the 2017 Festival of Quilts in the Two Person Category No 395.

Last Saturday Susan and I went to NYC to the Empire Quilt Show. Here is what I bought: Here is what I won (lucky me)! Here is what I saw (my favorite at the show): Congratulations Betsy, great modern twist on a traditional pattern! Before going back to CT, we had a cocktail under the Starry Sky at Grand Central Station. I've had a couple of inquiries about how I'm making my 4 inch Stars for the Stars in a Time Warp sew along. Judy sent me a smilebox video of how she makes her flying geese units for her stars. You can see it by clicking here. Angie did a great post on her method with a link to a flying geese tutorial. I've decided to make little 4 inch stars. I am making only 1 a week, so I'm doing it this way. It is only taking me about 15 minutes a week (after I pick fabrics). From the background I cut 4 pieces 1-1/2" x 2-1/2" and 4 squares 1-1/2". For the stars I cut: 8 1-1/2" squares and 1 2-1/2" square. I'm "eye balling" the short seam from corner to corner. Of course you can mark it with a pencil. If it varies a little on my stars all the better for me. After pressing I can see if I'm a little off. I trim that away. Then I trim the back two layers (sorry forgot to photo). Then I stitch the block together. Here you can see where I've cut away the extra layers and how I press it. I like using a hot DRY iron and starch. The starch really helps keep these little blocks straight. I also use the pressing stick. You can see how to use it here. I press the last 2 seams open to keep the block nice and flat. and there you have it! And here are my little stars so far. Speaking of stars I'm listen to this book, Under the Wide and Starry Sky. It is the story of Robert Louis Stevenson and his wife. I recommend it highly. Well that's all the time have for stars today - See you next time!

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Het middenstukje van de Love Entwined by Esther is af..... The centre of the Love Entwined by Esther is finished.... Dit waren de eerste vier ster-bloemen... Ik laat ze even apart zien, omdat er zoveel stofjes in zitten, en vanaf een afstand is dat nooit zo goed te zien. These were the first four star-flowers.. I am showing them separately, because there are so many fabrics, and it is always more difficult to see them from a distance. en dit de volgende... Ik vind het heerlijk om alle verschillende stofjes in antieke quilts te bekijken, dat geeft me altijd weer inspiratie. Hoewel de foto van de originele quilt alleen maar in zwart wit is, kun je toch wel zien dat er veel stofjes in verwerkt zijn. ..and these the next four.... I love looking at fabrics in antique quilts, it always inspires me. Although the photo of the original Love Entwined coverlet is in black and white, you can see that many fabrics were used. Ze zijn allemaal geappliceerd met needleturn, zonder stijfsel of Floriani er in. En nu moet ik er nog vier, bij de zig zag rand. They have all been done with needleturn applique, without starch or Floriani inside. Now I have to do four more, near the zig zag border. Daarna nog even de rand afmaken, en dan is het al bijna weer tijd voor het volgende deel. Misschien krijg ik ook nog even tijd om verder te quilten aan Catalina's quilt....? After that I will finish the border, and then it is almost time for the next part of the pattern. perhaps I will get a little bit of time for quilting Catalina's quilt...? Vanmorgen vroeg was het zo mistig, ik kon bijna de buren niet zien.... This morning it was so misty, I could hardly see the neighbours.... Fijne dag Have a nice day Jane

I'm always a bit sad when the last block is done on any quilt, especially when it has been an easily portable project. Irish Circles is far from complete, but the portable phase is just about over. The blocks have to be trimmed and joined, the borders and appliqué added. I really should be doing housework, but took a moment to lay out the blocks and see how they all look together this morning. I don't know why, but I do hand piece the blocks together on this kind of quilt. A crazy waste of time really, but I get a kick out of it being entirely hand sewn. Am I the only person who does this? Please let me know if you notice anything odd in this layout! In the meantime, I have gone Dear Jane crazy. I am completely absorbed in my little red blocks which are very easy to prepare, and so easy to choose the fabrics for......and of course very portable. I'm off to get some cleaning done so I can get back to some sewing. Have a lovely weekend. Susan x

I joined in this quilt along as I just love this pattern and being able to get some wonderful tips from the designer along the way - bonus. Lynn of Sew'nWildOaks is the gracious designer who is posting hints and tips twice a week to help us out. This venture was collaborated with Lesley of The Cuddle Quilter and Sue of Quilt Times. There are 53 pieces in each 8.5" unfinished block - but I love how Lynn has this wonderful layout sheet in the pattern. You just lay out your cuts, so handy to see if your fabrics and colors work. And just concentrate on one section at a time. I found that if I stay to working each section in a clockwise direction I stay on track. I have to admit, I had trouble in the beginning, something that never bothers me as a scrap quilter - pulling fabrics and putting them all together to work in harmony. But for some reason I just couldn't get it to work!! Scrappy was looking crappy!! I actually STRESSED - I never stress when quilting - what was wrong? Now I would have taken a long walk to sort my brain out, but we had a horrible wind storm (trees down, but the roof and all the windows are intact). And TA DA, Lynn post some tips on how to chose colors here on post #3. After that it was like a lightbulb moment. Although I have lots of scraps, I felt I needed a 'base' fabric line to help with this - so I pulled a layer cake - Harvest Moon. Now my scraps are starting to click into place. I, also, decided to stay with one constant background fabric for the blocks. Gosh, why didn't this sink in earlier? Even my SIL got into the act of matching up some fabrics. This block was what she pulled together for me. I love paisley! I had to swat her away - she is suppose to be working on her own quilt! And I have a thing for plaids, too. So I pulled another block together around this center. Thank you Lynn for tip #3 or I would still be lost in a pile of pulled fabrics and scraps - although my furries thought it was fun. So three blocks were made in a day after being lost for almost 3 weeks! This is a low pressure quilt along - work at your own speed - take advantage of getting a free class from a well known designer and quilting teacher - don't be afraid to ask for help (note to self). And at the end of each month, Lesley will have a linky party for us to show off our progress - and there is a flicker group HERE. And Lynn says there are plenty of patterns back in stock at Inbetween Stitches Shop - hope you join us. Sewingly Yours, Sharon  

The quilt top is now too big to fit on the design wall so I clipped on some curtain rings for a photo. There's no doubting it, seeing two borders on is a joyful sight for me. I will admit to sewing on that bottom border upside down which required a little fix me up with the seam ripper. A few photos just in case you wanted to see the fabrics better.

BACKGROUND Block of the Month through Quilts in the Attic Beginning October 2013 – September 2014 Finished top at 92″ x 92 on 2/27/2016 Batting – Winline 100% Bamboo…

Patchwork of the crosses from Lucy Boston. I used Inkllingo and completely hand pieced. Fussy cutting in every block. Elongated hexagons Juried into Paducah quilt show. Made by Kathy Timmons 2012

The centre of the Pickled Ladies top is completed, that is. There’s still more to come for this top. But now all the half pickled clams have been added and so the centre of the quilt top is …

Yay! Slowly slowly I'm catching up on these wonderful Civil War Quilt blocks. But I still haven't finished Block 3. Yes, it's THAT block. ...

Last Thursday my quilting friends and I went to the Pennsylvania National Quilt Extravaganza XX Show in Phoenixville, PA. It took us exactly 2 hours to drive there and 5 hours to walk the show where there were over 600 quilts and 200 vendors. There was so much to see we were all in overload by the end of the day. I'm definitely attracted to quilts that look "old" or have that "folk art" appeal and photographed my favorites. But there's one contemporary quilt that also caught my eye plus my pick for Viewer's Choice. Away From Home was hand appliqued and machine pieced by Sandra Davis of Lexington, VA, and machine quilted by Carolyn Campbell of Walkers Creek Quilts. Sandra's inspiration came from Nancy Rink's book Away From Home: Quilts Inspired by the Story of the Mill Girls about women working in the textile mills in Lowell, MA. The fabric is from The Mill Girls 1830-1850 collection by Judie Rothermel of Marcus Fabrics.This quilt measures 101" x 101"! Grandmother's Farmhouse Garden was made by Sandra Griffith of Reading, PA, and won a blue ribbon for Best Hand Workmanship in the Wall Quilt category. Sandra's inspiration came from an 1880s antique quilt that was reproduced by Gail Kessler in 2011. It is 31" x 31" and has over 1,000 fussy-cut 1/4" hexagons. Wow! Marlene Shea's original design, Homecoming, is absolutely charming. The people in the windows are photo transfers representing the original families who lived in the houses. And check out the clever use of toile fabric under the willow trees. Great Aunt Minnie's Garden by Nancy Losee of Williamsburg, VA, was inspired by her reminiscence of her great aunt's garden surrounded by giant sunflowers and bean vines. Feathered Star blocks are set with small Ohio Stars in the corners.The quilt was machine quilted by Sylvia Thompson. Pennsylvania Hearts and Hands by Kelly Cunningham of Stevensville, MD, is a reproduction of a quilt owned by the York County Heritage Trust in York, PA. Kelly is a "longarmer" who created the patterns and stitched them on her longarm machine both freehand and using patterns she digitized herself. And here is Eloise Joins the Circus by Janet Fogg of Milwaukie, OR. Eloise is an imaginary elephant who "joins the Circus of Paris and parades the streets wearing an organza ruffle and the Eiffel Tower atop her head bringing excitement to all she meets." The hand-dyed fabrics are by Jeanette Viviano. BEST IN SHOW and my pick for Viewer's Choice was Creation Springs Forth by Betty Ekern Suiter of Racine, WI. This original-design quilt has it all--hand applique, hand quilting, and hand-dyed fabrics by the quilter in 35 colors. It measures 80" x 80" and "took 3,000 yards of thread for the quilting and a total of 3,630 hours to complete. . ." I thought the checkerboard quilting design along the outer edges was really interesting. __________ Copyright 2013, Barbara Schaffer

24. Wheel of Change for Jean-François Capot de Feuillide by Georgann Eglinski A French Officer Jean-François Capot de Feuillide (ca. 1750-1794) was an officer in the Queen’s Guards, the Queen being Marie-Antoinette. At the French court he met and married Eliza Hancock, Jane Austen’s first cousin, who was living in France with her mother. Aunt Philadelphia Hancock probably arranged the 1781 union of 19-year-old Eliza and the 30-year-old Count. French court style under Louis XVI and Marie Antoinette The arrangement traded Eliza’s money for Jean-Francois’s title, a common reason for marriage in France as well as in Jane Austen’s England. But both parties were duped. Eliza hadn’t the fortune she was rumored to have and the Count was not an aristocrat. He needed her inheritance to invest in improving land he was granted near Nérac in southern France northwest of Toulouse. The 5,000 acres were swampland, but if drained and developed could be profitable agricultural fields. He leased an impressive estate to add to the aristocratic illusion and he and Eliza retired from the court of Versailles. Wheel of Change by Bettina Havig Eliza returned to England to give birth to her only child, a son born in 1786. Although she visited Jean-François in France and he visited her and his son in England, they seemed to live quite contentedly with the English Channel between them. Attacking the Bastille in 1789 Contentedness became a memory when the French Revolution began in 1789. For the next five years the Count changed locations and political opinions, hoping to keep his marshland and his head. During the Reign of Terror under Robespierre, Eliza’s Count was accused of conspiracy and executed by guillotine in 1794. BlockBase #1876b Wheel of Change represents the horrible ups and downs of the French Revolution. It was given the name in 1935 in the Nancy Cabot column of the Chicago Tribune. The name may be a typo. Nancy Cabot might have meant to name it Wheel of Chance, which can also represent Jean-François Capot de Feuillide well. He seems to have been quite a gambler, betting badly on Eliza’s fortunes, clearing swamps and his odds of surviving the Terror. Cutting a 12” Block A – Cut 16 squares 3-1/4”. Cut each in half with a diagonal cut to make 2 triangles. You need 32 triangles. B – Cut 4 rectangles 2-7/8” x 5-1/4”. C – Cut 1 square 2-7/8”. Sewing: Wheel of Change by Becky Brown A Revolutionary Waistcoat Read more about Eliza’s first husband here in Deirdre LeFaye’s Jane Austen: A Family Record http://books.google.com/books?id=iIjEPWg29PMC&pg=PA40&lpg=PA40&dq=N%C3%A9rac+feuillide&source=bl&ots=gShvzWb-ql&sig=W5k1iidqfICPKATp1VDCsjRDF74&hl=en&sa=X&ei=z8kpU-TwG8T4yQHQ-4HYDA&ved=0CE8Q6AEwBA#v=onepage&q=N%C3%A9rac%20feuillide&f=false Wheel of Change by Becky Brown

Hemeltje, het is al weer vrijdagavond, wat vliegt zo'n week toch voorbij..... Voor en na ons 'atelierdagje' heb ik gordijnen genaaid voor onze dochter. heb ik op 2 kleine woelwatertjes gepast en ook nog een beetje geborduurd! Dat laatste laat ik nog wel eens zien, want vanochtend liep ik langs mijn hexaconetjes en de vonk sprong gelijk weer over.... Ik wilde iets uitproberen, maar laat ik eerst even showen hoe ver ik ben gevorderd! Op de hoeken na, zit alles aan elkaar en nu ben ik met lichte stof (met kleine bloemetjes) een rand aan het maken. Van die stof had ik nog ongeveer een halve meter en het past perfect bij de grote bloemen. Maar zoals je al snapt, dat is niet voldoende voor de hele rand. Weet iemand misschien of deze stof: van Moda, 3 Sisters en ontwerp Avery nog ergens te koop is?? Het is de stof die je onder deze bloem ziet liggen! Ja, en als het niet lukt, zal ik toch iets anders moeten zoeken......

Kathy is making these Feathered Stars using the 15" Feathered Star collection. Take a moment and click on the pictures to enlarge them to get the full effect of the fussy cutting Kathy is doing.

Order Number Eleven By Becky Brown Order Number Eleven was named for a Union order forcing Southern sympathizers to leave their homes. ...

We love offering Blocks of the Months at the Fat Quarter Shop! We recently decided to offer Jerry Stube’s new Generals’ Wives Block of the Month in our

I tried to upload more of the 100 pics i took of the Poos collection, but Blogger refused to do so, better do it in smaller parts..... ...

Embroidery patterns, before and after projects, give-aways, chalkboard doodles, a bit of this and a lot of that!

Evening Star by Sheila William Meets the Farmer's Wife By Sheila Oaten Sheila (The Quilting Gammy) made blocks from the Farmer's Wife sampler in William Morris reproduction prints. The patterns are from a book by Laurie Aaron Hird See Sheila's Flickr page here with lots more pictures http://www.flickr.com/photos/55642760@N07/6802228808/in/photostream Barbara Brackman, Craftsman Values, 2011 I found this quilt I made last year in the stack of unphotographed miniquilts. I used a package of 1-1/2" precuts, sorted them out by value into lights and darks and made a strip quilt by piecing strips along the diagonal. The ever creative women at Common Threads in Waxahachie, Texas have kitted up the Southern Gentleman pattern by Sindy Rodenmayer in Morris & Company prints. See more at the shop by clicking here: http://www.commonthreadsquilting.com/index.php/component/content/article/396 Penny Pierce is teaching a class in embroidery. For her sampler she used 1 metre of the Daffodil print from my Morris Tapestry collection. She said it's a good thing she's Canadian so she got a metre instead of a yard, because she couldn't have gotten all the sashing and the border out of a yard. I don't think I ever posted a picture of Roseanne Smith's "square in a square" quilt finished. Here it is hanging down at Sarah's Fabrics. She framed square in a square blocks with strips and cornerstones and then added wider strips and cornerstones. Her inspiration was this quilt from about 1900 she saw on an online auction. Send me pictures of stuff you make from these Morris prints and I'll post them here and on my Pinterest board. http://pinterest.com/materialculture/quilt-william-morris/ Update on March 25th---See Shasha's quilt here http://kidderdragon.blogspot.com/2012/02/quilt-top-done.html

I did this quilt several years ago. I first saw a picture of it in.......................... the above book and was so intrigued by it. A...

Around 2002, I borrowed a book from the Campbelltown Quilters Guild called “Quilt Treasures of Great Britain, The Heritage Search of the Quilters’ Guild” with photographs by David Cripps, published by Rutledge Hill Press in 1995. This book has recently been reissued. It was the first book of antique quilts I had ever seen. In that book on page 42 was a photograph of a quilt top made in the late eighteenth century. I was absolutely stunned! The intricacy of the design (and the amount of work involved in making it) astounded me. That photograph of that quilt haunted my thoughts for a long time! I had to make my own interpretation of it. The book included a small paragraph on how the unknown maker achieved her masterpiece. I could not make head nor tail of the explanation! Only more recently have I worked it out. The maker apparently drew a full scale drawing of her design on paper, including registration marks where pieces fitted together. She then cut around every piece, every petal and leaf, every frame and scroll and hand basted fabric over every pattern piece of paper. She then whip stitched every piece together. Some leaves are completely inset within the background fabric. Now isn’t that the most extraordinary achievement in English paper piecing you have every heard of? This quilt has been the subject of an article in The Journal of the British Quilt Study Group, Issue 10, 2009. The article by Bridget Long called “Sibling, Cousin or Friend?” compares the coverlet that I loved from the British Quilt Heritage Project with another very similar fragmentary coverlet now in a private collection in the United Kingdom. I decided I needed to make a quilt with a similar style to the beautiful coverlet I had seen in the book. This quilt became “Pemberley”, probably my favourite of all the quilts I have made so far and the one which has given me the most enjoyment teaching. All of the quilts I had made up to this time to teach were my own original designs. I was not sure whether my students would want to make a quilt based on an antique but I was making it just for me. I drew up a design to scale on paper and commenced appliquing the centre medallion. The original coverlet included a small rectangular basket on a mat and the major flower in the centre of the quilt was a giant sunflower. I refined the urn and drew my own flowers based on the shapes used elsewhere in the quilt. I appliquéd a row of scallops around the central oval which was outlined by a small “peeper”. I also drew a rambling vine of flowers around the centre. I made these symmetrical for the “asymmetrically challenged” and they form a larger curved shape around the centre. I made the appliquéd “wavy” border and intended to stop there and make the quilt into a wall hanging. My friend, Deborah Louie, always one to encourage me and spur me on to even more work, convinced me to keep going with the outside blocks. She is also responsible for the idea of adding 68 tiny circles in between the curves of the wavy border – thank you Deborah! The original coverlet included three different appliquéd block designs in the outside border, surrounded by a complex arrangement of clam shells. I felt the clam shells were too busy, so I eliminated them and set each block separately with a sash border between each one. The quilt overall took me four years to complete (making other quilts in between of course). When it was finished I was searching for a name for it. I thought I would like to name it after a beautiful English grand estate so I toyed with different ideas like Chatsworth and Blenheim. Then one evening I was rewatching a DVD of the 1995 BBC production of “Pride and Prejudice” and when Elizabeth toured Mr D’Arcy’s Derbyshire ancestral home of “Pemberley”, I knew I had the answer. Who could resist any connection with Colin Firth! Since making "Pemberley", I have discovered other quilters have made their own interpretation of the same beautiful coverlet. Isn’t it amazing that a 200 year old work of art would inspire today’s needlewomen. I entered "Pemberley" in the 2009 Quilters’ Guild of NSW Darling Harbour Show and it won 4th place in the Professional Predominately Applique category. It also won 2nd Viewers Choice award at the Camden Country Quilters’ Guild Show that same year. I have taught "Pemberley" numerous times and have been delighted with the response from my students. The variety of colour interpretations has been amazing. I have quite a few photographs of the different variations posted throughout my blog. Because "Pemberley" proved so popular I decided to make a series of quilts and name each one after a property featured in Jane Austen’s "Pride and Prejudice". I have been an Austen fan from the time I was a little girl, rereading "P and P" many times while tucked up in bed. Here is my quilt: "Pemberley": The next quilt was to be called “Netherfield”, the country estate leased by Mr Bingley at the beginning of the novel. I decided to make this quilt in the style of the typical Engligh frame quilt, a style we more often call a medallion layout. English frame quilts consisted of many pieced borders sewn around a centre square. The square in the centre was usually placed square (unlike the American medallion quilt which turned the centre square on point to become a diamond shape in the middle). Some of the frame quilts presented to the British Quilt Heritage Study Group contained many hundreds of scrap pieces from dress fabrics intricately pieced and appliquéd into many framed borders. These quilts and coverlets were made to be displayed and used only for best. Other quilts of the style were hurriedly made for everyday use, obviously with little planning or reliance on mathematics. In fact a lot of these quilts appear to our eye to be poorly planned. The effective juxtaposition of light and dark fabrics is often jumbled and patchwork designs do not turn the corners neatly. It would appear that such frame quilts were worked in strips of pieced patchwork until such time as a seamstress had enough frames to put together around a central square to make a quilt. There are many beautiful examples of English frame quilts still in existence and even the most humble version offers some inspiration for different shapes and layout ideas. The centre square was often a printed commemorative or floral panel popular at the beginning of the nineteenth century. I combined several of my favourite shapes in the framework of borders on my Netherfield quilt. The quilt originally included a centre square of a toile fabric in deep reds and greens featuring a regal peacock. I began showing the half finished piece to several of my quilting friends who unanimously agreed they liked the idea of the frame quilt but they all hated the bird! The bird had to go! Even though I had pieced several borders around it, I decided to unpick the centre square and replace it with an appliqué design. The inspiration for the design came from a block pictured in Jinny Beyer’s book “The Quilter’s Album of Blocks and Borders”. There it is called Cog Wheels from the Ladies Art Company catalogue of 1898. The pieced borders of half square triangles, sixty degree triangles and flying geese were added to the centre with what I call “fudge factor” borders in between. Having taught for ten years I have realised that not everyone sews the same quarter inch seam. The borders in between the pieced sections can be adjusted in width to accommodate any differences in the pieced borders. Much less stress for my students as well as for myself! Netherfield also included an appliqué vine border of hexagon flowers and buds and a large outside border of hexagon lozenges turned on their sides. T "Netherfield" was magnificently quilted by Veronica Appleyard of Minto Heights. The quilt won us a first place ribbon in the 2010 Darling Harbour Quilt Show. Very exciting! "Netherfield": The third quilt in the series was to be called “Longbourne” after the house where the five Bennett sisters lived with their parents. I wanted this quilt to have a pretty appearance to represent the sisters. The centre appliqué rectangle contains an urn of flowers. This is surrounded by several appliqué borders of my beloved 1 inch hexagons, frames of English paper piecing using the same shapes as the Lucy Boston Patchwork of the Crosses and the clam shells I had seen on the coverlet which inspired Pemberley. I wanted the centre to be reminiscent of Elizabethan crewel wool embroidery. To draw the urn I “googled” on the internet for images of English urns and drew up my design. Those embroideries often included plaited and twisted vines in profusion so I included a central stem like a cable design. The flower at the top is the Tudor rose, representative of the English throne. The pomegranate represents fertility and the tulips represent perfect love in herbal folk lore. The quilt also included my usual mechanism of fudge factor borders in a soft pink stripe. The quilt has a romantic effect in a palette of pink, chocolate, blue and gold. A lot of the reproduction fabrics have been “fussy cut” where one motif is deliberately cut and featured in the appliqué, especially in my ⅜ inch hexagons. This quilt is an extravaganza of hand applique, beautifully quilted by Veronica Appleyard. The quilt won a ribbon for "Best Original Design" at the 2011 Camden Country Quilters' Guild Annual Show. "Longbourne": The fourth quilt was to be named “Rosings” after the magnificent residence in Kent of Lady Catherine de Burgh, the esteemed patroness of the Bennetts’ cousin, Mr Collins. This had to be an even more elaborate quilt than the previous ones. No pressure! I completed the appliqué on Rosings in January 2012 and it has just been quilted by my dear friend Veronica Appleyard. The centre circular block is called “Georgetown Circle”. This block was also named and catalogued in the Ladies Art Company Catalogue of 1897. I thought it reminiscent of the floor tiling of cathedrals and stately homes. This is surrounded by a heavily appliquéd panel of corner urns containing a profusion of flowers. The use of the chocolate brown background with the appliqué in golds and reds give the quilt a rich appearance. The pieced dogtooth border gives the eye a rest and borders the heavy appliqué. I then devised a border of English paper pieced octagons and squares. The final border was a magnificent border print of urns of flowers designed by Judie Rothermel for Marcus Brothers fabrics called “A Journey Through Time”. I was very excited that the first four quilts in the series were featured as part of the Quilt Exhibition associated with the Australasian Quilt Convention held in Melbourne in April 2012. "Rosings": The fifth quilt in the series is "Hunsford", named after Mr Collins' parsonage on the edge of the "Rosings" estate. This quilt is in a colour scheme of black, red and cream with lots of geometric patterns. I wanted it to have a more masculine look than the previous quilts so there are no flowers on it. It was quilted by Veronica Appleyard. Here it is, hanging at Darling Harbour: "Hunsford": The sixth quilt is called "Meryton" after the town the sisters walk to from Longbourne to go ribbon shopping. If you are an Austen fan, this is where they meet Mr Wickham. This quilt is very feminine in a colour scheme of pink and green. "Meryton": The 7th quilt of the series is called "Lambton". Lambton is the town closest to "Pemberley" where Elizabeth Bennet stays at the inn with her aunt and uncle Gardiner. It is here that she receives the latter from Jane advising her that Lydia has run away with Mr Wickham. The quilt features a large circular motif in the centre block inspired by the rose stained glass windows in English cathedrals. The colour scheme is teal, navy blue, orange/red, brown and gold. The quilt was magnificently quilted by Helen Hayes of Melbourne. "Lambton": The next quilt to be added to the collection is called "Hartfield". I completed the quilt in May 2016 and it was again quilted by the very talented Helen Hayes. I found I had exhausted the prettier names of places in "Pride and Prejudice" and therefore "Hartfield" comes from Austen's novel "Emma". "Hartfield" is where Emma Woodhouse lives with her elderly father. The quilt is completely made using English paper piecing techniques in a colour scheme of red, brown, mustard, green and purple. (Yes, I added purple to the repertoire!) This will be my major teaching piece for 2017. "Hartfield": The major teaching piece for 2018 is called "Highbury". This is the village near Hartfield, a place Emma often visits in the novel. My quilt is in a very pretty colour scheme of strong pink, teal, gold, green and purple. The palette is different to the previous quilts which were all the more dull colours of civil war reproduction fabrics. The centre features a bouquet of flowers tied with a ribbon. This is surrounded by other pretty vines of flowers and more ribbons in the four corners. A feature border of lovely Dresden flowers and frames of one inch hexagons complete the quilt. I am working steadily on the next instalment which will be the tenth quilt in the collection, to be called "Donwell Abbey". It is more masculine in bold colours of black, red and gold with lots of fussy cutting. Stay tuned. If you would like to make any of these quilts in class, please consult my teaching schedule or email me at [email protected].

I have just held two major "Lambton" classes at The Cupboard. I have a feast of photos to show you of all the many and varied versions of "...