Hope of Hertfordshire 90" x 90" 12" Finished Block 9" Finished Border See the free quilt pattern below. Here's a star block with many possibilities published as "Hope of Hartford" by the Farm Journal in 1945. I assume the name recalls the Huys de Hoop (House of Hope), the first settlement that Dutch colonists built in what the English later named Hartford, Connecticut. Charles Voysey designed his own house The Orchard in Chorley Wood, Hertsfordshire in 1899 Because I have planned the block in my very British Morris Modernized fabrics, originally designed by Charles Voysey, I changed the pattern name to Hope of Hertfordshire, the English county with the original spelling. I Photoshopped it onto a bed at The Orchard. Voysey designed everything, the door latches, the fireplace, the rug, the furniture. Like many of the Arts & Crafts designer he thought the best bedspread was plain white. But What Fun is That??? So I've added a quilt. And here is a vintage quilt made in the pattern from about 1950, made from that Farm Journal pattern, I bet. The block is constructed sort of like a log cabin with pieced rectangles rotating around a center square. I shaded it differently from the original, making the background triangles a little darker so some secondary patterning appears. The lighter rectangles create another pinwheel between the blocks. You could do it scrappy as long as you had mediums and darks to shade the center, and lights and mediums for the backgrounds.Here's the yardage for a controlled color scheme with five fabrics. I drew the quilt up in EQ and under the Print Menu hit Fabric Yardage, which told me the yardage for the whole quilt. The darkest print - 1 3/8 yards. I used the darkest print in the line: #8260-14, Oleander in the red. The medium print - 2-3/4 yards. I used the largest print 8266-15 in the lighter green and tan, Oswin or or #8265-16, Saladin in tan The light background - 1-3/4 yards. I was thinking a Moda Bella Solid (#9900-67) Fig Tree Cream The medium background - 1-1/8 yards of Bella Solid (#9900-179) Together Tan The Border EQ's calculations on the border assumes the strips are pieced but I am not going to piece mine, rather cut them as one strip parallel to the selvage but I come up with the same yardage, which is 2-3/4 yards. You can get four 9-1/2" strips out of a width of fabric. I plan to use the #8264.13, the lighter colorway of the Bird & Tulip print. The print is not to scale in my mock-up at the top. A 9-1/2" strip would give you four repeats of the tulip. So cut 2 strips 9-1/2" x 72-1/2" for the sides and 2 strips 9-1/2" x 90-1/2" for the top and bottom borders. If you want to miter it, cut 4 strips 9-1/2" x 90-1/2" Cutting a 12" Block You need 49 blocks for a 7x7 grid. A - Cut 4 light rectangles of background fabric 5-1/4" x 2-7/8" B - Cut 1 square of medium background fabric and 1 square of dark print 6". Cut each into 4 triangles with 2 diagonal cuts. You need 4 dark print triangles and 4 medium background triangles. C - Cut 1 dark print square 2-7/8" D - Cut 2 squares 5-5/8" of medium print. Cut each into 2 triangles with 1 diagonal cut. Piecing the Block UPDATE Zipjezopje says in the Comments: Hi Barbara, you don't need to pivot to add the last part. When you add the centre square to unit one, you start sewing halfway of the square seen from the middle and sew to the end. Now you add rectangle two and three the way you show. Part four is added to the side of part three and to the centre square, because of the loose end you can sew till the end. Part four is now easily sewn to part one, and by doing so you also sew the part of the centre square. Thanks Z Here's the Farm Journal version from BlockBase--- #2586 but the old quilt I am copying had the triangles arranged in a different way---flipped--- which made more of a pinwheel, I thought. They are both cut to the same measurements, so you can see which one you like best on your design wall.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Great quilt top from an online auction, maybe 1930-1960 It's a version of what they call Half-A-Log in Gees Bend, Alabama. A Half a Log about 1900 But this one has an extra square in the intersections and that square is always red. There's a four patch in the corner. Not a published pattern I drew it up in EQ8 using my new repro fabrics Ladies Legacy from Moda. The collection has lights and darks and several bright reds. For a 12" finished block you need to cut 2-1/2 Inch strips. Perfect for a Jelly Roll. 36 Blocks will make a 72" quilt Half the blocks have the four patch in the top right; half in the bottom left. That's the Log-a-Rhythm I have no idea how many blocks you could get out of one Jelly Roll. But you probably have a few more 2-1/2" strips in the stash that would work out fine.

Several years ago this quilt in all-over pattern appeared in an online auction. BlockBase & my Encyclopedia of Pieced Quilt Patterns show a lot of 5-pointed star designs but not this one, which doesn't fit in a block. So I drew it up in Electric Quilt 8. Might be best pieced over papers??? Print this out on an 8-1/2" x 11" sheet. I found it in a 1941 issue of Women's Day's pamphlet This is Patchwork as Star & Ring: I am adding it to my Encyclopedia as a new number 424.9 Star & Ring. Women's Day, 1949 1941. Here's another auction quilt that's not in BlockBase. I'm not drawing this one up. At least not today.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Susan Vachino inked her ancestors' names on her Antebellum Album quilt C&T Publishing has a page full of class plans coordinated with books. Here's one for my Divided Hearts book---using the inked inscriptions in the book in a drawing class for making labels or signing friendship blocks. I added a few pictures to the plan for this post. You could use it to teach others or experiment yourself with inking. Lisa's ambitious copy of an anti-slavery image INKING A CIVIL WAR-ERA FRIENDSHIP QUILT Class Description Gain confidence in your reproduction quiltmaking techniques in a drawing class where you'll ink traditional flourishes, names and sentiments on fabric perfect to stitch into your album blocks. Learn the basics and then some about how to get the look and how to make it permanent. We'll use the trace-able patterns in Divided Hearts for inspiration. You'll leave class with a few inked squares you can use to wow your friends with signatures for group quilts and you'll improve your label-making design and skills for your own quilt backs (and fronts.) Barbara Schaffer also used her quilt as a family ancestor record. Class Length For the drawing class 2 hours; if you want to add piecing make it 3. Susan Vachino Add a class section on teaching this challenging block #3 Class Supply List Required text: Divided Hearts: A Civil War Friendship Quilt An 8-1/2 x 11 sheet of washed white fabric backed with freezer paper. (Make these yourself to hand out or sell or have them bring one or two---we can get at least 4 vignettes on each sheet. A sheet of tracing paper (again have them bring it or supply it.) A permanent pen (Use what you sell or see options below*.) Give them black and brown options and colored choices of different widths to buy. Sara Farley's inked quilt on the cover Classroom Preparation This is a drawing class, not a sewing class (although you could link it to pieced blocks in Divided Hearts. Blocks 1, 5, 11 & 12 are good for inking.) A light table to share would be nice to have but not necessary. Several irons as you want to heat set the inking. Dorry Emmer Class Agenda 1) Introduce the traditional idea of inking, popular about 1840 to 1880. People love accurate historical information so you might want to read up on what kinds of inks people used before the Civil War and why they sometimes deteriorate. Link: http://barbarabrackman.blogspot.com/2014/06/ladies-album-inked-signatures.html 2) Show some examples (plenty in the book Divided Hearts) Barbara Schaffer 3) Students also love accurate comparison shopping information so you might want to read up on the different kinds of permanent pens available today. Here's a link: http://quiltingdigest.com/which-permanent-marker-is-best-for-quilts/ Basics: Don't use a Laundry Marker, they fade. Heat set the finished inking. Barbara Schaffer 4) Have each student choose and trace four of the inked drawings in the book. For beginners: Pages 17 & 36. For more confident inkers: Pages 80 & 86. Kay Gentry 5) It's hard to trace fabric from a book, so trace the flourish from book onto tracing paper and then place fabric on the tracing paper. This gives a chance to practice drawing and they can take the paper home to trace again. 6) Space the flourishes out on the fabric. Tell them to remove the freezer paper, heat set and trim as necessary for block centers or labels. Treadle Stitches *Suggested Markers Most shops carry Pigma Micron pens and these work great. But do have students heat set the inked flourishes in class or at home (Some recommend waiting 24 hours to apply a hot iron for a minute or so.) Width: 05 is fine, but do notice that some of the flourishes use two line widths and some a thicker point. Another option: Pentel Arts Gel Roller for Fabric. Heat setting never hurts. Dorry Emmer

Yankee Diary by Barbara Brackman 42" x 54" Quilted by Lori Kukuk Yankee Diary by Denniele Bohannon Here's how Denniele and I set ours Here are the setting instructions for the Yankee Diary quilt. As we've sewn along you've received setting instructions for the blocks but here's a summary. Do refer back to each block pattern for more information. The basic set is two sections, top and bottom. The top section is made of of 3 strips. Top left Top Center Top Right The bottom section is two rectangles Refer to Block 11 for instructions for placing the flag in the dog's mouth. Bottom left Bottom Right The only extra piece you need for my set is a strip cut 12=1/2" x 3-1/2" that goes below the flag Becky Brown's set is a little bit different using all the parts. She has a checkerboard in the lower left corner which I forgot to put in. Next Wednesday: Borders. Nope. Next Wednesday fabric requirements and setting for next year's Antebellum Album Block of the Month. Borders for this one and the rest of Carrie's story on January 10.

Appliqued medallion inscribed in cross stitch "Mary Somerville May 26, 1818". Mary also recorded her age: 17 years old. Collection of the Spencer Museum of Art, University of Kansas, Gift of Dorothy Jewell Sanders. Early quilts in conventional applique often combined designs cut by the maker with florals and other images cut from chintz as in Mary Somerville's quilt. Her central design is what we would call a Princess Feather (or Prince's Feather---we have no idea what Mary called it) The design is actually cut from a chintz but Mary ignored the print in cutting the whirling pinwheel and simple flowers. In the borders she focused on the florals from the chintz, doing what we call Broderie Perse until she ran out of one design and then took up another. The final border is conventional applique, again a feathery frond. Mary's foresight in dating her quilt is evidence this rather complicated pattern was in use in the teens. A fact that helps us date other early examples of the pattern as in this picture from the Pioneer Museum in Troy, Alabama. We don't see any furnishing scale chintz in this quilt. It seems to be smaller scale prints in indigo and madder. Jerry Peak, the Museum's Director described this quilt in an interview. “The oldest quilt that we have in the exhibit is a ‘feather’ quilt that belongs to the museum and dates back to 1775. It belonged to the Passmore family of the Monticello community and was made by Mrs. Sam Passmore’s grandmother in South Carolina and brought to Pike County around 1820." Dating a quilt from a tiny photo is folly---but the family story could be accurate. There is no fabric evident later than 1800. The fan quilting looks very "Southern, late 19th-early 20th century," but it could have been quilted later. Here's another indigo version by Elizabeth Alexander, now in the Minneapolis Institute of the Arts, estimated date ca. 1830. See more of their quilt collection here http://americanartmn.wordpress.com/2011/04/30/bonus-exploring-19th-century-quilts/ Another blue feather in a field of stars, this one from the Kentucky Quilt Project. See the Quilt Index file here: http://www.quiltindex.org/fulldisplay.php?kid=1A-39-276 Here's an indigo feather thought to be made between 1820 and 1840 by Mary Hicks Stovall, born in Virginia in 1751, died south of Jackson, Mississippi in 1845. It's on display at the Old Mississippi State Capitol and Museum behind the silver. It has the same fan quilting as the Alabama quilt---it's probably after 1830 and not really an early quilt. After 1840 we find hundreds of similar quilts. See the pictures here: http://travelphotobase.com/v/USMS/MSJE031.HTM A medallion thought to be about 1820 from the Museum of Early Southern Decorative Arts. The fabrics look to be a madder orange with a chintz border. http://mesda.org/collections/mesda_textiles_sprite.html A similar quilt that Woman's Day showed fifty years ago at the Washington family house Kenmore. They also showed this one that became known as Washington's Plume from the collection of the Mount Vernon Ladies' Association. The design sources aren't hard to find. Feathers are so abundant in fancy quilting. Here's a wholecloth quilt from the collection of the Museum of American Folk Art dated 1796. http://www.folkartmuseum.org/ And an embroidered bedcover from my files---the source or date quite mysterious to me, but you get my point. For more about Princess Feathers see Karen Alexander's post here. http://karenquilt.blogspot.com/2012/08/princessprincess-feather-hats-or-trees.html

Sixty Degrees of Tessellation IV by Carol Gilham Jones Carol's been exploring tessellated shapes and color. The shape has 4 sides---it will tessellate or tile. A different angle but one piece covers the surface Carol Gilham Jones, Ginko Leaf Pieced and Appliqued It's roughly the same shape as this: A square divided equally with a line. The new shape has four sides: Right angle in two corners. A vintage quilt from about 1950? with a different take on the shape. It's half a rectangle. And half are flipped over. Two make a tumbler, so a tumbler might be an easier shape to work with. And like a tumbler it can be any proportion as long it has four sides. But if you had a good sense of direction and were working on a design wall you could do many things.... Most of which would involve a lot of thinking. With 4-way mirror-image rotation it's a quilt block. But it doesn't have a BlockBase file under four-patches where it belongs. Here's an odd-shaped quadrilateral that was actually published. Broken Rainbows BlockBase #1416 from the Nancy Cabot column in the Chicago Tribune in 1937 Broken Rainbows by Dianne Anderson, Tomball, Texas http://ftp.thequiltshow.com/see-quilts/quilt-gallery/item/11066-broken-rainbows Rotation in the block. Rotation in the repeat.

A pretty block in an album dated 1843 in the collection of Conner Prairie Museum in Indiana. I noticed it because of the brown & white excentric print. It's signed by Ella Maria Deacon. Quaker Album or Friendship Quilt Burlington County, New Jersey, 1843 Collection of Conner Prairie Museum 108 x 110 inches 72 patchwork blocks Ella's block is on the top row right of center in this overall view. Wait a minute! I know Ella Maria Deacon. Not personally. But she has a quilt in Chicago. Quilt Made for Ella Maria Deacon (American, 1811–1894) 104 1/8 x 107 3/8 inches Collection of the Art Institute of Chicago 85 patchwork blocks from New Jersey: Rancocas, Eversham, Springfield and Mt. Holly. It's actually dated 1841 and 1842. See more in an article in the Journal of the American Medical Association http://jama.jamanetwork.com/article.aspx?articleid=191159 NJ Project For a while I thought there were two Quaker quilts with alternate chintz squares, but now I realize that the Conner Prairie quilt is also pictured in the Quilt Index, New Jersey project. These two are the same quilt with different lighting. Conner Prairie's Do look at this Indiana web site and notice the details listed on the right. http://indiamond6.ulib.iupui.edu/cdm/compoundobject/collection/CPQuilts/id/229 But then there are many similar quilts. Here's one quilt from the New Jersey project & the Quilt Index. The names on this quilt: Budd, Coles and Deacon families. Two dates: 1844 & 1855. New Jersey Project http://www.quiltindex.org/fulldisplay.php?kid=4A-7F-123E 1842-1843 Quaker quilt from Swedesboro, Gloucester County, NJ The quilts share a lot of design characteristics. As the authors of the New Jersey project book describe the style: The familiar New Jersey sampler with blocks set on the diagonal and use of strip sashing. Other characteristics: Variety of block techniques, some pieced, some appliqued in conventional applique, some in cut-out-chintz. Blocks contain some classic applique patterns but many are unusual one-time designs. Use of primary colored calicoes: Turkey red, chrome yellow, greens in blocks (if not in setting) Block from the Conner Prairie quilt. Many of the blocks whether pieced or appliqued are based on a circular format, with a focus on the center of the block, like a wheel or a wreath.. In other words: the designs don't really fill a square block the way classic red & green applique blocks do. Detail of Charlotte Gillingham's quilt, 1842-1843, Philadelphia Museum of Art. One of the few familiar classics from the Gillingham quilt. Oak leaf and Reel variation. Sarah Pidgeon's Album. Collection of Colonial Williamsburg. I wonder how many more of these Quaker Album quilt from the early 1840s have duplicate signers and duplicate odd blocks. A question the researchers at the Quaker Quilt History blog are working on. http://www.quakerquilthistory.com/2012_07_01_archive.html Burtis Family Quilt at the Burlington NJ Historical Society Quilt for Charlotte Gillingham, Philadelphia Museum of Art. http://www.quakerquilthistory.com/2012/09/quaker-aesthetics-and-album-quilt-made.html There are many fascinating things about these early Quaker quilts. One is the early emphasis on red, yellow and green. Two is the originality and variety of the blocks. Three: Can we thank Quakers for the American sampler album? I noticed two blocks like Ella M Deacon's in the Conner Prairie Quilt. And here's the same block in the Ella Maria Deacon quilt at the Art Institute.

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

Threads of Memory #1 Portsmouth Star by Jo http://civilwarquilts.blogspot.com/2014/01/threads-of-memory-1-portsmouth-star-for.html Over on my Civil War Quilts blog I did a free Block of the Month pattern in 2014 for a series of original stars called Threads of Memory.We're on to a new project over there but I thought I would post this page with the addresses for the 12 monthly patterns. UPDATE 2017: I've taken the patterns down but left the stories up there. You can buy a PDF or paper pattern here:https://www.etsy.com/listing/484994362/threads-of-memory-civil-war-quilt?ref=shop_home_active_3 Threads of Memory #2 Mercer County Star http://civilwarquilts.blogspot.com/2014/02/threads-of-memory-2-mercer-county-star.html For my models I chose these red, black and white stars by Jo who did such a great job of interpreting my designs in graphic fashion. Threads of Memory #3 New Garden Star http://civilwarquilts.blogspot.com/2014/03/threads-of-memory-3-new-garden-star-for.html Each block symbolizes a true story about slavery, escape, emancipation and freedom---an accurate form of "Underground Railroad" quilt. The blocks are named after locations important in the history of American slavery. The stories celebrate courageous individuals. Threads of Memory #4 Canada Star http://civilwarquilts.blogspot.com/2014/04/threads-of-memory-4-canada-star-for.html Threads of Memory #5 Madison Star http://civilwarquilts.blogspot.com/2014/05/threads-of-memory-5-madison-star-for.html Threads of Memory #6 Salem Star http://civilwarquilts.blogspot.com/2014/06/threads-of-memory-6-salem-star-for.html Threads of Memory #7 Oberlin Star http://civilwarquilts.blogspot.com/2014/07/threads-of-memory-7-oberlin-star-for.html Threads of Memory #8 Jacksonville Star http://civilwarquilts.blogspot.com/2014/08/threads-of-memory-8-jacksonville-star.html Threads of Memory #9 Lancaster Star http://civilwarquilts.blogspot.com/2014/09/threads-of-memory-9-lancaster-star-for.html Threads of Memory #10 Britain's Star http://civilwarquilts.blogspot.com/2014/10/threads-of-memory-10-britains-star-for.html Threads of Memory #11 St. Charles Star http://civilwarquilts.blogspot.com/2014/11/threads-of-memory-11-st-charles-star.html Threads of Memory #12 Rochester Star http://civilwarquilts.blogspot.com/2014/12/threads-of-memory-12-rochester-star-for.html See Jo's Flickr page with photos of this set of blocks. She made other sets and has lots of her work to view here: https://www.flickr.com/photos/jotokla/with/10104216125/ And read the post with yardage for the "official set" here: http://civilwarquilts.blogspot.com/2014/02/three-fancy-sets-for-threads-of-memory.html Thanks to Jo for doing such a fabulous set of blocks! Our Flickr page for this series is here: https://www.flickr.com/groups/threadsofmemory/

Detail from an embroidered quilt, ca 1900, in the collection of the Jewish Museum My cousin sent an April 12, 2014 article from the Jewish Daily Forward called "Why Jews Suffer from a Quilt Complex?" Author Jenna Weissman Joselit discussed why her Jewish "home and ... parents’ home and ... grandparents’ homes were entirely quilt-free." "East European Jews and their descendants, as I've just discovered, had little truck with quilting. Feather bedding was one thing; patchwork quilts quite another." The article: http://forward.com/articles/196183/why-jews-suffer-from-a-quilt-complex/#ixzz2ymyvYwz4 This is true in my personal experience too. My Jewish grandmother's house (and my Irish-Catholic grandmother's house---both in New York City) were entirely quilt-free. My Jewish grandmother loved handwork, knitting full outfits (skirt, cardigan and shell) and crocheting doilies similar to this by the dozens. It's a question I have considered for awhile. To discuss it we first need to divide the quilts and quilters into two categories. One: Contemporary quilters working after 1960 Two: Historical quilts made before 1960. Then we have to define "quilt." A layered patchwork textile with layers held together by quilting or tying. Contemporary quilters working after 1960 Rosh Hashana by Linda Frost, 2010 This quilt traveled in a 2012-13 Smith-Kramer exhibit America Celebrates! Quilts of Joy and Remembrance. Linda can represent the thousands of Jewish quiltmakers working after 1960 during the current revival of interest in the form. There is no lack of contemporary Jewish quilt artists making bed coverings and art quilts, so we shall move on to the second category. Historical quilts made before 1960 The Reiter/Freidman family Baltimore Album quilt 1848-1850, Baltimore Collection of the American Folk Art Museum One of three similar Baltimore album quilts attributed to Baltimore's Jewish community about 1850. Read more here: http://www.folkartmuseum.org/?p=folk&t=images&id=4268 Quilt photographed during the Kansas Quilt Project In 1986 I participated in the Kansas Quilt Project, which documented about 13,000 quilts made in Kansas or brought to Kansas up to that date. The majority were vintage quilts made before 1950. We looked at the quiltmaker's religion. About 59 percent of the quilts were identified as being made by a quiltmaker with a known religious affiliation. The number: about 7,700 quilts. The highest percentage (22.5%) was made by Methodists followed by people identified as generic Christians, then Roman Catholics, Baptists, Presbyterians and Lutherans---not surprising as these specific denominations ranked highest among Kansans in general in the 1980s. Fundraising quilt made by members of the Sunday School, First Methodist Episcopal Church, Topeka, Kansas, 1883. Collection of the Kansas State Historical Society. Church members paid a dime to have their names included. The contrast between Roman Catholics and Methodists was interesting, however. Catholics made up the highest percentage of Kansans (34.6%) at the time, with Methodists at 26.9%. Yet Catholics did not make quilts in proportion to their numbers either in 1886 or 1986. Catholics made 7% of our total; Methodists over three times as many. I did the accounting and was surprised to find that of all those quilts only six were made by Jews: Six quilts made by 1-1/2 quilt makers identifying themselves as Jewish. I know it was 1-1/2 because I was the half and a friend was the whole. We both began after 1960. The Kansas Quilt Project also asked about quiltmakers' ethnic origins and found over 8,000 identifications. British heritage was first with 41% reporting that background, German ethnicity was a close second at 38% and then the numbers dropped to 13% for Scandinavian, 5% for French and 1% for Czech. Ethnicity such as Italian, Mexican, Amish and Jewish were insignificant at less than 1% each. Fundraising quilt made by women of the First Baptist Church, Jamestown, Tennessee 1937-1939. From the Quilt Index. Community members paid a dime for each embroidered name raising $22.10. The quilt then sold for $10.00. The $32.10 bought chairs for Sunday School. My theory at the time of writing the book on the findings of the Kansas Quilt Project: "Protestant church activities, such as Sunday School quilts and Ladies' Aid Society quilting groups traditionally were a strong influence on quilting." Lititz, Pennsylvania, 1942 Photo by Marjory Collins. Courtesy of the Library of Congress The caption: "The Moravian sewing circle quilts for anyone at one cent a yard of thread and donates the money to the church." The Moravians in the photo, like many Protestant women's church groups, raised money for church improvements and maintenance by taking in quilting, an activity still carried out in church basements. Women also raised money by charging for signatures, and by raffling (if such gambling was allowed) and auctioning quilts. Quilt auctions raise significant funds for the Mennonite Relief Services. Based on data from the Kansas Quilt Project and personal observation I would have to agree with Jenna Weissman Joselit that quiltmaking was not a popular activity among Jewish women in the past. There are, of course, exceptions to the rule. Bertha Stenge was one of the most prominent quiltmakers of the 1940's and '50s, winning national prizes with her work. Bertha Sheramsky Stenge (1891-1957) Bertha Stenge, The Quilt Show Collection of the Art Institute of Chicago See more of Stenge's quilts here at the Art Institute http://www.artic.edu/aic/collections/artwork/artist/Stenge,+Bertha And read a biography here: http://www.museum.state.il.us/ismdepts/art/collections/daisy/biography.html Berger/Miller quilt Another of the 1850 Jewish Baltimore Albums from the collection of Jane Katcher http://www.janekatchercollection.com/html/albumquilt.html Bertha Neiden 1914 Bayla Schuchman, born in Gorodish, Russia, emigrated to the U.S. in 1909. By 1914 when this photo was taken her name was Bertha and she was Americanized enough to enter her quilt in the Nebraska State Fair. Her wool patchwork seems to have more in common with the European tradition of tailor's patchwork or intarsia patchwork than the American quilts of her era. Read more about Bertha Neiden and her quilt: http://www.quiltstudy.org/exhibitions/online_exhibitions/pwp/pwp_identity.html And read more about wool intarsia quilts here at this post I did a few year ago: http://barbarabrackman.blogspot.com/2010/04/more-on-intarsia-and-inlaid-applique.html As far as reasons for the general lack of traditional Jewish quilts in America: Jenna Weissman Joselit discusses European bedding, immigrant culture, access to cotton versus goose down, etc. Quilt dated 1880 by an unknown maker in classic American applique style. One does not find this style of bedding in traditional European cultures. Quilt historians have looked at quilts and immigrants from many angles. The consensus is that the typical American patchwork quilt derived from a few sources, particularly the tradition of patchwork in India and its trading partners Holland and Britain, combined with a widespread European/Asian tradition of quilted bedding. "Armenians make quilts Alexandropol," probably early 20th century, photo from the Library of Congress Japanese quilted bedding about 1930 from the Library of Congress. People all over the world have slept under and on quilted and tied bedding. American quilts are distinctive in their combination of the two techniques, so distinctive that we can view the acquisition of the techniques and designs as a sign of American acculturation. European immigrants from the Pennsylvania Germans of the 1600s to the Ashkenazi Jews at the turn of the last century did not bring the patchwork quilt tradition with them. In the early-19th century the Pennsylvania Germans adapted the bedding of their "English" neighbors to their traditional design sense. It is probably this combination of German folk arts and British bedding format that had the most significant impact on the traditional American quilt. Unfinished top by Mary Jane Lewis Scruggs Collection of the Kansas Museum of History We can see much Germanic design influence in the flat, stylized flowers, red and green colors and mirror-image symmetries in Scrugg's top, evidence of the Pennsylvania-German impact in the American quilt. It is also evidence of this particular African-American quiltmaker's American culture. She was born right after the Civil War to former slaves. Read more about her quilt top here: http://www.kansasmemory.org/item/220469 Embroidered quilt, ca 1900, in the collection of the Jewish Museum The Museum's caption: Quilt. Russia and United States, c. 1899 Velvet: embroidered with wool, silk, and metallic thread; glass beads 81 1/2 x 65 in. (207 x 165.1 cm) The Jewish Museum, New York Purchase: Judaica Acquisitions Fund See more at: http://www.thejewishmuseum.org/1986119#sthash.v9VM6XOn.dpuf Cross-stitched embroidery detail showing European dress and dance My first thought in seeing this quilt was that it was a crazy quilt, a very popular style from 1880-1920. Detail showing cross-stitched rooster and seam-covered patchwork on the patchwork triangles. Looking closer at the embroidery I realized that much of it is cross-stitched pictorial work, not typical of the American crazy quilt, which usually features irregular pieces, outlined pictures,satin stitches and seam-covering, linear stitches. An American crazy quilt Perhaps the cross-stitch embroidery was done in Russia and the pieces assembled into patchwork in the U.S., a rather unusual example of Americanization in a single quilt. See another quilt in the Jewish Museum's collection here: http://www.thejewishmuseum.org/onlinecollection/object_collection.php?objectid=2772&lefttxt=quilt

Selvage quilt by Chicken Julie http://chickenjulie.blogspot.com/ Selvages (or selvedges in English English) are the finished edges of the yardage. In screened fabric the selvage usually has information about the print, such as name, company and colors used in the various screens to get the multi-colored print. In the selvage above eight colors are indicated by the dots. Sometimes there is a number too. The dot is the traditional shape for color indication. At Moda we use that familiar strips of dots as a logo. ..... Riel Nason Making Every Scrap Count Riel at The Q and The U blog showed this quilt pieced of just the dots and the numbers cut from selvages. http://quispamsisquilter.blogspot.com/2012/03/making-every-scrap-count-selvage-wall.html riel Spider Webs from Squares and Triangles http://www.squaresandtriangles.com/selvages-spider-webs-and-dresdens-oh-my-100 Selvage quilters make the most of everything. Elena sells selvage quilts on Etsy They become selvage collectors A dress pieced of selvages by Jodi at Ricrac in 2008 http://vintagericrac.blogspot.com/2008/10/big-selvedge-project.html You collectors have probably noticed that Moda has done some innovating in their color indicators. In my Morris Modernized line we used a Voysey bird instead of a dot. We pull out an image from a print in the collection. The more colors, the more birds. Karen Griska at THE Selvage Blog calls the selvage quilt phenomenon "Extreme Scrap Quilting." Karen Griska, Thin Sticks http://selvageblog.blogspot.com

Lots of classic neighborhoods out there. Most of these from online auctions Totally modern house---minimal. Row houses

Hope of Hertfordshire 90" x 90" 12" Finished Block 9" Finished Border See the free quilt pattern below. Here's a st...

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

I've been saving photos of quilts with dates on them for years and have been entertaining myself recently by organizing the pictures by...

Center from an English quilt advertised in the Clarion magazine by Woodard & Greenstein in 1987. 104" square This was also pictured in the 1989 Quilt Engagement Calendar Although this quilt made an impression on me I didn't associate it with the free-form/unconfined applique style until yesterday when I posted a photo of a British quilt with similar center. Durham Frame Quilt dated 1844 from the British Quilters Guild Collection http://www.quiltmuseum.org.uk/collections/heritage/durham-frame-quilt.html I realized I had drawn the pattern, first in ink and then digitally. Primitive Paradise by Karla Menaugh Karla Menaugh and I published our interpretation for our Sunflower Pattern Co-operative some time ago. I have spent many pleasant hours this past year digitizing the pattern from the large paper sheets (some more pleasant than others---arithmetic.) The appliqued border is my favorite part, but then again the animals are so cute and the botany is so clever. These fit on background about 6" square in the published pattern. I've been digitizing because Karla and I volunteered to do a variation as a block of the month for our quilt guild. Not the whole thing, just the border blocks. Mock-up which we figured would make a terrific small quilt--- A Little Bit of Paradise by Karla Menaugh. Actual quilt top Karla's blocks here are 8" square with triangles. Georgann Eglinski is making the guild model, hand appliqued, in 10" blocks. It did not occur to me until yesterday that the original might be appliqued with a herringbone stitch over raw edges... Karla's deer which would explain the tiny pieces. Karla who can machine applique anything did this small deer with antlers by turning under the edges and machine appliqueing with a blind hemstitch. Now I see an alternative. We are not, however, including the deer in the guild's BOM---as we try to keep unhappiness to a minimum. We have digitized the pattern for the large quilt and the smaller and I just posted it for sale at our Sunflower Pattern Cooperative Etsy shop: https://www.etsy.com/listing/641053887/primitive-paradise-full-size-appliqued?ref=listing It's 18 pages of 8-1/2" x 11 sheets---$20. If you'd rather have us print the pattern in black and white and mail it to you see this listing: https://www.etsy.com/listing/627226120/primitive-paradise-full-size-appliqued?ref=listing And I see Carolyn Konig has a pattern for the center of the Durham Frame Quilt. http://www.carolynkonigdesigns.com/home/shop/product/view/55/791 Mary's version of the V&A quilt And there is the Kaffe Fassett pattern for the quilt known as the Greek Slave quilt from the book he and Liza Pryor Lucy did Museum Quilts. Supercalifragilisticexpialidocious Barb Vedder's version from 2007 Barb Vedder and Mary M were inspired to make their own version using some of their templates and some of their own. The pictures are from the Fun With Barb blog. https://funwithbarbandmary.blogspot.com/ Inspired by them Lin McQuiston is working on one with the date 2018 optimistically basted. And that is all on British free form applique for now.

Phoebe's Favorite #1: Sunflower by Becky Brown The first of an appliqued Block of the Month series here on my Material Culture blog. Look for a free pattern on the first day of each month through March, 2024 here. Becky used the dogtooth applique method to make her floral. It's called Phoebe's Favorite after my dog. The blocks finish to 18-1/2" (or you can make them larger.) You'll learn how to use the traditional dogtooth method to applique points. But you also get a pattern for conventional applique: templates with seam allowances added. Print the pattern sheets on an 8-1/2" x 11" sheet of paper. Check the inch square for accuracy and adjust size if necessary. Cut the background 19" or larger. Above the dogtooth technique pattern for the inner star and the leaf---cropped a bit to fit on a sheet of paper. The star should be cut as a circle 6-3/4" in diameter. Becky's yellow petals above (16 of them) were cut as a circle, slashed and turned under. She's stitching by hand, the traditional way to do dogtooth applique. Now you may want to use conventional applique methods so you will get two patterns each month. Patterns for conventional applique. You need to add seam allowances to these templates. The leaves and center star Jeanne Arnieri used the dogtooth technique and added a dot. She says: "Dogtooth applique is quite quick and easy -- fun!!!" A variation. Drawn from a quilt in the collection of Bev & Jeffrey Evans Mark French's inventory 20th-century version The dogtooth method allows you a lot of freedom. This 1921 reference to a dog-tooth border is the earliest I've found to that name for applique style but they are showing a pieced sawtooth border, not what I'd call an appliqued dogtooth border. Sunflower by Denniele Bohannon See the introduction post a few weeks ago: https://barbarabrackman.blogspot.com/2023/06/applique-block-of-month-phoebes.html

I have finished my New Year's goal of 100 Susan McCord inspired leaves. I string pieced them by hand over freezer paper shapes. I intend to do a quilt inspired by McCord's Vine Quilt. In the collection of the Henry Ford Museum. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/3437#slide=gs-238772 I did some calculating as to how many leaves I'd need. Surely 100 was enough. I drafted a curved vine with a dinner platter. So. McCord made maybe 25 leaves to a curve. 7 curves to a strip = 175 Per strip! There are 13 strips. That's 2,275 leaves I'd need. This curve has 32 leaves. How did Susan McCord make 2,275+ leaves in one lifetime? And she used the vine border on other quilts too. Ocean Wave Irish Chain quilt by Susan McCord in the Henry Ford Museum's collection "Re-Calculating" as my GPS often says. There are lots of things you could do with 100 leaves. Sort of a Laurel Wreath 25 leaves per block. Some kind of a wreath? I'd better get busy. Well, first I sorted them into 3 sizes. Small, medium & large. The small ones are not always string pieced. Stripes are good. I am going to need a lot more small leaves. I did make some decisions, obviously influenced by Australia's quiltmakers. Sarah Fielke From Little Things Kim McLean Kathy Doughty's Gypsy Kisses Marg Sampson George Irene Blanck's Tribute to Lucy Jen Kingwell's Midnight at the Oasis I did this design one once, but it might be good twice with a different aesthetic. For the background: Black & white and polka dots and other foulard style sets. (half drop, diagonal repeats) So I know Susan McCord's going to Australia. But how I haven't figured out yet. See more of my posts on McCord here: https://www.thehenryford.org/collections-and-research/digital-collections/artifact/3437#slide=gs-238772 http://barbarabrackman.blogspot.com/2016/12/oh-susannah.html http://barbarabrackman.blogspot.com/2016/12/bragging-mccord-in-mexico.html

A string quilt pieced of odd shaped strips of fabric, about 1910 String star about 1900 Six-Point String Quilt, Kansas City Star, 1940 String quilts aren't often found in the quilt pattern literature, although the folklore literature contains information, such as the pattern sketch below from a 1920 issue of the Journal of American Folk-Lore. Family with a similar quilt Ruby Short McKim published a pattern for a String Quilt in her 1931 book 101 Patchwork Patterns, but she drew templates---not the traditional way to make a string quilt. And that is probably why so little was published about the topic. You don't need a pattern; therefore there was nothing to buy. String quilt by an Illinois Amish quiltmaker We can look at string quilts as the Cinderella of quilt history, with little published about them until they began to be appreciated at the end of the 20th century. But several quiltmakers recorded memories of string quilts, giving us some insight into the process and their status in the hierarchy of fancy versus plain quilts. Pecolia Warner (1901-1983) in 1975 with one of her "P Quilts" Folklorist William Ferris interviewed Pecolia Warner of Mississippi for his book Afro-American Folk Art and Crafts. She told him the difference between a "fancy quilt" and a string quilt. "You can sit down and make them string quilts real quick. For a string quilt, I just commence to piecing up blocks out of strings — they're scraps, you know, I have from sewing, and some that other people save for me. Like that Six Strips quilt I made, that ain't nothing but a lot of string sewn together. That way you won't throw away any pieces. See, when you get a box full of strings, you got about five or six quilts. With string quilts you ain't got nothing to throw." Set of blocks pieced over magazine and newspaper pages Cyrilla Miller Bencaz from the Louisiana project & the Quilt Index Mary Washington Clarke talked to many Kentucky quiltmakers in the 1970s for her book Kentucky Quilts. "No quilter interviewed considered a String quilt one of her show pieces, yet some are quite beautiful. 'It's just an old String quilt,' said one quilter, giving a typical response to an inquiry about a quilt using irregular shapes and sizes of brightly colored prints and solids. They had been sewed onto a square newspaper pattern with ends protruding around the edges at random. The squares were trimmed..." Most people removed the paper although shreds sometimes cling to the back. String blocks pieced over triangular foundations Lest you think string quilts are limited to the South, I'll cite an interview with Wisconsin's Ivory Pitchford of Milwaukee in Passed to the Present: Folk Arts Along Wisconsin's Ethnic Settlement Trail: "Ivory Pitchford's first quilt was a string quilt that her mother taught her to make. She started it at about the age of 16, constructing blocks about the size of a napkin from 'strings' of fabric. She quilted it herself, in 'shares' or sections, just as her mother did. Over the years, Pitchford has made quite a few string quilts, including one for each of her five boys." Quilting in shares or sections might refer to quilting by the block rather than using an all over pattern. From 1910-1940 perhaps, quite a mixture of fabrics In a 1988 Threads magazine story Willia Ette Graham of Oakland, California explained "You don't have to cut for a string quilt," using the scraps as she found them. In 1891 Annie Martin won a prize with her collection of Ladies' Work, including a string quilt. at a Clarksville, Tennessee fair. Mrs. Buckingham entered a calico quilt, a different item, apparently. From Shelly Zegart's inventory Strings are pieced over the paper and the paper trimmed to the correct shape. Popular string quilt design sometimes called Snowball... or Fireball if the quarter circle is red. Those names were published in Quilt World magazine in 1979.

My letter is.... Y As Moda's historian I've been given the philosophical letter Y. At the risk of sounding like a 3-year-old, I'll answer each question with another: Why, Y, Y? Click on this link. Y? Because you'll find the Y pattern here. http://www.modafabrics.com/y_spellitwithfabric.pdf Y Spell with Fabric? Each day on the blog hop you've been collecting a letter, number or shape for a quilt you can make from a Moda Jelly roll of 2-1/2" strips. Because it's a quilting tradition. I'll show you some of my favorite pictures of antique quilts with something to say. Tomorrow February 28 Click here at the Cutting Table blog:http://modafabrics.blogspot.com/ Y? Because the setting directions will be posted.And all the winners will be announced on ALL Designer Blogs. Here are some answers to more questions: My initials? BB My favorite quilt block.......... Log Cabin. Y? because there are so many variations. My favorite book, movie or television show... His Gal Friday with Cary Grant & Rosalind Russell Y - the snappy dialogue never fails to make me laugh out loud. Ann Horn's initial quilt from the Wisconsin Quilt Search Something I like...... Quilts with words Y. Because people have something to say. This one says things like "Yes We Have No Bananas" "Say it with Music" This top commemorates events in 1937 "Eunice Johnson got first place on crochet rug at the county fair October 1937" Sentiment Advertising The year of the Chicago World's Fair A list of the presidents up to 1933 My friends and I have been working on a wool quilt with embroidered words since 2010 We have a lot to say. Leave a comment and tell me Y you make quilts. We'll send one of you some fabric...... The give-away is over. Y? Because that's the rules. Scroll up to the post of February 28th to see the winners.

A Simple Basket I have been looking for simple patterns for my Old Cambridge Pike collection, which has a lot of pinks and browns in it. The theme is the generation called Young America, particularly the people in Massachusetts, where the Old Cambridge Pike ran, so I looked through some of the mid-19th-century quilts documented by the Massachusetts quilt project Mass Quilts. Basket quilt top made by Anna Swain Coffin (1849-1915) Nantucket, Massachusetts And here's the perfect 19th-century quilt, a simple basket. It looks like the baskets are a variety of sizes---smaller ones on the left, larger on the bottom. This is one of three tops Anna's family brought in for documentation. I found the picture in the Quilt Index. The record: http://www.quiltindex.org/fulldisplay.php?kid=1D-FC-141F Then I looked around for more simple baskets and found these two discovered by the Connecticut project. Old Cambridge Pike is primarily reproductions of fabrics from the mid-19th century. I was glad to see basket quilts dated before the Civil War, the same time as the prints in the line. Here's one date-inscribed 1858 from my file of dated quilts It differs in the way the base is constructed but it's a simple, empty basket. Same construction: Perhaps 1860-1890 from the Quilt Index. Four baskets in a sampler made in Rahway, New Jersey, date-inscribed 1864, from Laura Fisher's online shop. Another date-inscribed example from 1890. Three from the early 20th century perhaps. The pattern was popular before it was published and given a name. It's in BlockBase, my computerized quilt ID and drawing program. There were three basic variations published, differing in proportions, how the base is pieced and the shape of the handles. Some names and dates of publication: Fruit Basket - Hearth & Home, about 1915 Little Basket - Hearth & Home, about 1915 Basket - Dakota Farmer, 1927 Baby Basket - Mary McElwain, 1930s Tiny Basket, Carrie Hall, 1935 The May Basket, Kansas City Star, 1941 1880-1900 A square handle from the 1930s. Terrific color from the 1960s (?) From Buckboard Antiques Below is a free pattern for an 8" baby basket. I'd alternate the light/dark shading in the blocks and do a half-drop strip repeat to echo Anna Swain Coffin's. She made 99 baskets. The Handle Templates How to print: Create a word file or a new empty JPG file that is 8-1/2" x 11". Click on the image above. Right click on it and save it to your file. Print that file out 8-1/2" x 11". The top side of the block should measure about 8". Adjust the printed page size if necessary. Rotary Cutting Cutting an 8" Basket A - Cut a light and a dark square 6-7/8". Cut into 2 triangles. You need 1 triangle of each color for each basket. B - Cut 2 rectangles 2-1/2" x 4-1/2". C - Cut a square 4-7/8". Cut into 2 triangles. You need 1 triangle. D - Cut a square 2-7/8". Cut into 2 triangles. You need 2 triangles. E - The basket handle is appliqued to A before you piece the block together. There are two choices on the pattern. Cut 12" of 7/8" bias strip (3/8" finished) How to piece it.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Donna Pyle had a pattern question. She's been restoring this quilt from Alabama. "I've just been given several quilts from a famil...

Center from an English quilt advertised in the Clarion magazine by Woodard & Greenstein in 1987. 104" square This was a...

Me and the people at Electric Quilt have been working on re-issuing my Encyclopedia of Pieced Quilt Patterns and the digital version BlockBase in new editions later this year so I've recently been adding patterns I missed in the first indexes. I wrote a bit about the Laura Wheeler/Alice Brooks designs of the 1930s in the Kansas City Star Quilts Sampler book that came out last year and I thought I'd seen them all. Link to a preview: https://books.google.com/books?id=hmx8DwAAQBAJ&printsec=frontcover&dq=kansas+city+star+quilts+sampler&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjXh6Hj3Y3nAhXJQc0KHUugDmMQ6AEwAHoECAYQAg#v=snippet&q=wheeler&f=false Colonial contradiction so prevalent in the 1930s: Inaccurate period dress, colonial kitchen green and modern patterns. Merikay Waldvogel conducted a study center on an important newspaper pattern group for the AQSG meeting last October. She has been telling me I missed a lot of Alice Brooks/Laura Wheeler designs. I was aghast to find she is right. Like the one in the lower center in her graphic for the study center. I spent hours on that Friendship Chain and a post here: https://encyclopediaquiltpatterns.blogspot.com/2018/08/pincushion-variation.html The patterns I missed were mostly under the Alice Brooks byline. Darn that Alice Brooks. The problem is that patterns under the Alice Brooks byline were syndicated to fewer papers than the Laura Wheeler designs. I didn't see them in indexing nearby newspapers; I didn't find any in scrapbooks I came across; they were probably printed in fewer numbers and thus fewer survive. I missed some Laura Wheeler designs like this one too. Leota sent a scrappy version, telling me she couldn't find it in the Encyclopedia. It will be in the next edition. Setting Sun, Leota Alice Brooks was just one name used by a New York needlework syndicate from King Features known by many names: Reader Mail Needlecraft Service Household Arts Old Chelsea Station (this is what the pattern collectors of the 1960s & '70s called it because their office was across the street from this post office branch in Manhattan) By Lines: Alice Brooks Laura Wheeler Anne Adams Carol Curtis Marian Martin (more clothing than quilts) Mary Cullen Lily Album 1933 Merikay told me to subscribe to Newspapers.com to find more Brooks designs so I did and have spent too many leisure hours scrolling through papers looking at "Alice Brooks Quilt Pattern" hits. I have come up with many that were not indexed. Fortune's Fancy 1933 Pine Cone 1934 Sally's Favorite 1933 It may have been Sally's Favorite, but I haven't ever seen a quilt in the pattern. Some of the Brooks patterns are a bit quirky. Flower Wreath 1935 Friendship Rings, quirky though it may have been, was relatively popular. I've been looking for the source for all these wedding ring chain quilts for a while. The block Read more about the syndicate here at Wilene Smith's webpage: http://quilthistorytidbits--oldnewlydiscovered.yolasite.com/laura-wheeler-and-alice-brooks.php

Sunbeam And while we are on the topic of sampler blocks... The Denver Post is posting a vintage quilt pattern regularly for a few weeks on their Archive Blog. The blocks are from a sampler from Ruby Short McKim's column, originally published in 1931. Check it here: http://blogs.denverpost.com/library/tag/quilt-patterns/ McKim was a trailblazer in 20th-century quilt pattern design and publishing. She syndicated patterns to newspapers from the teens into the thirties. I'm most familiar with her designs for the Kansas City Star. I got interested in quilt patterns when I found a package of old Star patterns at a thrift store when I was about 20. Skyrocket from a McKim pattern, about 1935 Collection of Carmel Reitman McKim was very influential on the look of mid-20th-century quilts. Her patterns also appeared in the Denver Post and I think that this sampler view is something that was never in the Star. Various block patterns may have been, but the sampler format seems new to me. Here's the Sunbeam block from the Star with no mention of a series. Rising Sun I keep a file on blocks I find in online auctions and I was looking for a few of these designs to add to this story. Here's a set of blocks by a woman who didn't get the project finished but she embroidered the name of the block on each, and they are the same names Ruby McKim gave them. Strawberry So if you bought that set of blocks now you know what you have. Skyrocket A Ruby McKim sampler. UPDATE Susan had a good question in the comments so I am putting it here: This is truly inspiring. I went to the site and saw the vintage sampler but no matter how hard I try I cannot find the actual templates or instructions for these blocks. Are they in your block base software? The clippings don't really give you accurate dimensions for reproducing the blocks and they are just wonderful. It's fun to see the clippings though. So for someone who likes to draft their own.... hmm maybe I should just do that! LOL Answer I have to tell you---that's all you got in 1930. No instructions, just the templates and instructions to "Cut 4 turquoise" etc. Notice they don't even tell you how big the block should be. It was always a surprise. Actually, McKim was an innovator in giving you templates. A lot of early 20th-century pattern sources just gave you a photo or sketch of the block with instructions like, "Any competent seamstress should be able to draw her own pattern from our picture." I do believe every competent seamstress should be able to draft her own---at least to understand the geometric structures of patterns and how to add seam allowances, etc. But once you learn the basics of drafting you don't have to draft them any more. You can always go to BlockBase and look them up by name. Another problem with those old newspaper patterns: Newspapers were printed wet and then dried by heat, which distorted the lines in unpredictable fashion. The templates aren't that accurate. Newsprint isn't printed that way anymore but the old templates are often a little bit off. I'd redraw them or use a computer program. UPDATE TO THE UPDATE Check Lynn's blogpost on this sampler which was in the Kansas City Kansan---not the Star. http://quilts-vintageandantique.blogspot.com/2010/01/ruby-mckim-1930-patchwork-quilt.html And after reading her blogpost I see I have a photo from eBay of one she missed!

A Simple Basket I have been looking for simple patterns for my Old Cambridge Pike collection, which has a lot of pinks and browns in ...

Xenia at Legacy Quilts has this mid-19th-century Maryland quilt in her inventory and we've been discussing the pattern. She says it's a clamshell variation and I didn't see it that way till she mentioned it. I find I have a lot of examples filed away. But she's right---the geometry is ever larger clamshell shapes Pieced or appliqued? This one is so nicely drafted and quilted. Looks pieced to me. It hasn't got a BlockBase number as a pieced quilt or an Encyclopedia of Applique number either. The closest thing would be in applique #14.22 which is "unnamed from a circa 1840 album quilt" Below is a detail of page 80 in the Encyclopedia of Applique. It should go right there between 14.22 and 14.23 There's something similar called Zinnia at 14.23 from Nancy Cabot in the 1930s. It's only similar because of the structure---8 identical radiating petals. So maybe we should be calling this pattern Zinnia with apologies to Xenia. A zinnia Stuffed work Chrome yellow in the center Chrome orange in the center The latest one I found---20th century Most are red and green from the 1840-1870 period. This looks embroidered around each clamshell. You could go on and on. Once I saw this one I realized it is in BlockBase. Hubert Ver Mehren at the pattern company we call Home Art Studios did the design as a Whole Top Pattern. In the 1930s it was published as The Royal Aster. It's BlockBase #3999 The center starts out as the same except it has 12 clamshells rotating around the center circle. I searched for Royal Aster at the Quilt Index and found a few. Royal Aster By Julia Marsh, 1945. Nebraska Project, Quilt Index Royal Aster by Blanche Buhler, 1981 Michigan Project, Quilt Index Because that variation is in BlockBase I can give you a pattern of sorts for the block. It's the center of the Royal Aster with 12 clamshells. I printed a preview of the pattern for #3999 and focused on the center. I added a bigger circle in the center and you could add a larger circle yourself. To Print: Create a word file or a new empty JPG file that is 8-1/2" x 11". Click on the image above. Right click on it and save it to your file. Print that file out 8-1/2" x 11". Adjust the printed page size if necessary. Or enlarge it on a copy machine. Add seams when you cut the fabric. So maybe it's an Aster rather than a Zinnia. They are members of the same family. See the preview of my Encyclopedia of Applique here: https://books.google.com/books?id=1XuDTrxwnEMC&pg=PA80&lpg=PA80&dq=zinnia+quilt+nancy+cabot&source=bl&ots=Q0au8VySuJ&sig=NVlkOcK1FjnDi92jm9WKFeUH0P8&hl=en&sa=X&ved=0ahUKEwjdl5CKm9LLAhXFQyYKHQC5DwUQ6AEIQTAJ#v=onepage&q=zinnia%20quilt%20nancy%20cabot&f=false

Information from a quilt historian About quilt fabric past and present

Autumn Leaves by Kim McLean This month's Past Perfect quiltmaker is Kim McLean, chromatic queen, who's had great influence on the look of 21st-century quilts. Kim drew her pattern from a quilt by Charlotte Jane Whitehill in the collection of the Denver Art Museum. Whitehill was inspired by Mary Hilliker's prize-winning quilt in the 1933 Chicago World's Fair. Hilliker's original inspiration was a pattern by Anne Orr, which she elaborated upon. Orr's pattern for Good Housekeeping A perfect chain of inspiration Kim, a former pharmacist who lives in Australia, began making quilts in 1990 and after a year won Best of Show at the prestigious Sydney Quilt Show. On her webpage she writes: "In the early days I designed and made quite a few quilts based on the antique ones I saw, using the reproduction fabrics available at the time. That all changed when I discovered the Kaffe Fassett Collective fabrics. Although my quilt designs still have the antique feel to it, they are done in these bright, cheery, happy fabrics that I love." Princess Feather Mariner's Compass Medallion New York Beauty (all solids) Pine Trees detail Glorious Hexagon Stars & Sprigs See her patterns and quilts at her webpage. It's a great gallery of her work and you can click to buy the patterns. https://www.kimmcleandesigns.com/project-cat/patterns/ Lollypop Trees Here's Kim's Instagram page: https://www.instagram.com/kimmcleandesigns/ See Mary Hilliker's 1933 Autumn Leaves here at the Quilt Index: http://www.quiltindex.org/fulldisplay.php?kid=5B-9D-23 And the original Princess Feather quilt from Ohio here: https://civilwarquilts.blogspot.com/2018/11/applique-quilt-morgans-ohio-raid.html

To the Core kit and pattern, a scrap quilt using my Ladies' Album reproduction fabric collection from Moda. See the pattern in Fons & Porter's Quilting Quickly, Summer 2014 57" x 70" The quilt uses 3 Layer Cakes of Ladies' Album prints or 99 squares 10" x 10" See more here: https://www.shopfonsandporter.com/product/to-the-core-quilt-kit/new-arrivals And watch a free video on how to cut and piece here: http://video.fonsandporter.com/videos/to-the-core-quilt/ They show you how to cut the apple core shape from a 10" square using their core template and how to stitch those easy curves by machine. If you are looking to improve your piecing skills this would be a good pattern.