This is a sampling of customer quilts: Ann's quilt for her son Ann's Birds of a Feather quilt Ruth's Thimbleberries Sampler Karen's Appliqued log cabin Pam's Double Wedding Ring Mary's Queen and her Court quilt LaVerna's Christmas quilt Renee's Silk Tie quilt Another of LaVerna's quilts Ann's scrappy quilt Ethel's appliqued baskets Mary's Hop to It quilt Mary's Mariner's Compass Ann's Basket quilt Barb's Heirloom Applique quilt Eddie's geometric quilt Patty's Stars in the Garden quilt Ann's Eventide quilt Lori's indigo quilt June's Civil War quilt Susan's Scotties quilt Sylvia's Vintage Tea Towel quilt Merilyn's Shop Sample Another of Ann's scrappy quilts Evelyn's wedding quilt for her Grandaughter Karen's Ezekiel's Wheel Mary's Joy of Life Opportunity Quilt for Emma Creek Quilt Guild - 2011 Opportunity Quilt for Prairie Quilt Guild - 2010
Becky Brown's reproduction star Nancy Near Philadelphia's reproduction star Both blocks reflect a significant style revolution in quilts at the end of the 19th century: New shades of brown became the look. By the 1890s, reddish browns obtained from madder looked dated. Fashion demanded greener, golder browns--- bronze-shaded prints that combined a khaki brown with olive, rose, ivory and a new blue. A bronze shade of brown in the lower left, a madder red at top right, set with a faded California gold. The greener brown indicates a date of after 1880. The earliest piece of bronze-style print I found when I went through swatch books at the American Textile History Museum was dated March, 1881. In his 1887 dye manual Antonio Sansone described “Manganese Bronze Styles” with various colors on a "bronze ground" . (In my Making History book Sansone is mispelled as Sansome.) A selection of vintage bronze-style, brown prints from the end of the 19th century. A crib quilt top from my collection with a few madder reds and many bronze-shaded browns. I'd guess it's about 1880-1900. The new browns are a good clue to a date after 1880. Ocean Wave quilt set with a golden brown print, again probably end of the 19th century. It wasn't only the new shade of brown, it was a new color combination in the prints. Light blues, rosy pinks and olive greens were apparently easy for printers to combine. Vintage block: 3 Bronze-style prints and a white shirting Two of Bettina Havig's repro stars with the late -19th century olive green as a ground. Quilters loved these new prints. Remember: If you dawdle taste will change. The front of this quilt has many madder browns and reds, perhaps from the 1870s; the back is a combination light blue and tan with pink, red and olive figures--- A decade or two later. The fashion continued into the 20th century. Here new grays, blacks and reds with a bronze stripe in the upper right corner or this vintage block. Reproductions This vintage doll seems to be dressed in the same print I reproduced in Metropolitan Fair a few years ago. Sharon Keightley, Pinwheel from Pine Valley Quilts using Union Blues prints from a JellyRoll. http://www.quilterblogs.com/tag/union%20blues%20jelly%20roll/ The browns in Union Blues definitely lean towards the green rather than the madder reds. Alice's Scrapbag, my newest reproduction line from Moda, also has some manganese bronze shades, combining pinks, reds and olive greens with brown. Heart's Content for Laundry Basket Quilts by Edyta Sitar We love the color combination at Moda. Edyta uses it often and well. Milky Way quilt pattern from Laundry Basket Quilts Peace on Earth by Three Sisters By Lane at That Man Quilts Look for golden browns Quilt by Quilted Pineapple Fabric: Moda's Collection for a Cause: Faith Pattern: Sweet Spot from Miss Rosie's Quilts Terry Thompson and I did Calico Craze maybe 12 years ago. Becky's star of a bronzey green print with brown and pink figures is from that line. It's certainly a romantic look. My Richmond Reds. Florals focus on olives, pinks and reds on an ivory ground. Vin du Jour by Three Sisters Free Pattern from Moda What to Do With Your Stack of Stars Make a Double Irish Chain Quilt date-inscribed 1845 by Mrs. Frank Miles, Somerset County, New Jersey Photo from New Jersey Quilts 1777 to 1950 This beautiful scrappy quilt is corralled by a Turkey red double swag border. A close interpretation of the vintage quilt was patterned in Quilters Newsletter in 2009, called "Remembering Rebecca Jill Reed" The pattern is a Double Irish Chain Double Irish Chain 90" x 90" You need 41 framed star blocks and 40 checkerboard blocks. The traditional Double Irish Chain is based on two blocks, one a checkerboard of 25 squares: 5 x 5. For our 6" stars those squares would finish to 2". 5 x 2" = 10" The other block has the same size square in the corners. UPDATE: Thanks to a commenter who corrected my math. These blocks should both finish to 10 x 10" Add a frame to each of your stars. Cut strips 6-1/2" x 2-1/2" and cornerstone squares 2-1/2" square. This gives you a 10" block For this shading you need 13 light and 12 dark squares cut 2-1/2" Another 10" block Or you could switch the shading 13 dark and 12 light for each checkerboard block, and the reverse coloring for the star frames. Or refer to Mrs. Miles's 1845 quilt above for a more scrappy look. One More Thing About Manganese Bronze Bronze variations from the end of the 19th century Dye historians credit the discovery of a mineral dye for manganese bronze to the early nineteenth century when it was temporarily popular but impractical. Like madder browns the early manganese bronze tended to rot fabric. That original dye process used manganese chloride but had nothing to do with bronze, an alloy of tin. The word bronze in the name probably refers to the greenish-brown shade, somewhat like a bronze patina. Late-19th century bronze-style The brown could be dark too. It's the light blue, pink and olive greens that are the signature here of a bronze-style print. My guess is that cloth was dyed in the true manganese-bronze process early in the century, but after 1880 the term "Manganese Bronze Style" was used for cotton color schemes obtained by other methods. Look for this print in my next line Old Cambridge Pike, which should be available in late fall. Becky used it in the star at the top of the post.
Ok. So my blog post title today sounds like the name of a still life painting or something but I just couldn't resist taking a photo of my Churn Dash Quilt with a photo of my dusty old churn. Side note: I haven't ever used the butter churn but I have made butter several times with the grandkids. We shake up cream in a jar with marbles - no churn dash - and love to eat it on homemade muffins or homemade biscuits. 60 x 72 120- 6 inch churn dash blocks in Civil War reproduction fabrics. I swapped some of the blocks last year with members of Block_Swappers. And also last year I swapped CW Repro 2.5 inch fabric strips with members of Quiltville Swap. I did some straight line vertical and horizontal quilting on my plain Jane Janome. I quilted each side of the center squares and then also quilted in the ditch between blocks. I don't really like to quilt in the ditch. It's kind of hard to neatly stay in the ditch when you can't really see the ditch all too well. But, it's a UFO and it's done. It's washed. It's crinkly soft. It's mine. And it will keep me warm this winter while I'm sitting on the couch in this old farm house (heated by wood) eating those homemade biscuits with homemade butter. (Side note: I don't sit on the couch covered in a quilt to eat those same homemade biscuits if they are covered with homemade jam instead of butter. I end up covered in quilt and jam.)
The More Fabrics the Merrier for This Wonderful Quilt! Dig into your scrap bag for this eye-catching quilt and have fun selecting bits of this and that to add variety to the quilt. Fat quarters and fat eighths can be used to round out the scraps you have on hand. Select a fabric for the …
Last Monday I shared with you the beginnings of my current leader/ended project. I always have questions about this. Bonnie Hunter has a great explanation of leaders/enders here. Anyway, I dec…
Uneven Nine Patch Quilt Pattern Antique Style susies-scraps.com
Yay!!! all good enough to eat. Still more photos to follow. Sue
Reproduction block by Bettina Havig. Star of cadet blue in a background of conversation print--- spinning tops. Vintage block in cadet blue and silver grays Cadet blue is a name for a distinctive light-gray-blue introduced about 1890. The color probably came from new experiments with the chemistry of indigo printing. Reproduction block by Becky Brown The blue was a new shade that added to the distinctive 1890-1925 look, so it's a great clue for dating antique quilts. Figures were often minimal. Dots are about as basic as it gets. Farm and Home suggesting a red, white and blue color scheme in 1903. "Any house where there are many children would be apt to furnish easily the blues and whites, and even if the red had to be bought for the purpose the cost would be very slight." Class picture, 1901 "Tub-fast" blues were the staple for children's clothing at the time. Above and below Cadet blues This starry quilt with its cadet blue borders has 600 stars in a grid of 25 x 24. If they were 6" like ours are just the field of stars alone would measure 144 inches across. They must be 3" stars. During the 1890-1925 period there was also a fad for celestial prints---stars and moons. The woman above could not be more fashionable: A celestial print of widely spaced crescents, the good book (Bible, temperance, album?) and a crazy quilt drapery. Becky Brown repro: Navy blue stars and a crescent moon shirting, both celestials. Vintage block in navy indigo Similar print in bronzey browns That crescent moon image was quite the fashion. Vintage hexagon quilt Reproductions This week you can make cadet blue stars and/or stars of star prints. Two shades of indigo in a reproduction block by Bettina I made this star of 8" blocks years ago, copying the shading and contrast in an old top... Very much like this example from about 1900. Becky Brown's been capturing the look by setting her Time Warp stars in quilts for her grandchildren. Two boys share a room. One likes blue and one likes green. Jeanne Horton in her Settlement Collection Look for medium to light blues with a touch of gray. The prints should be monochromes of white figures on cadet blue grounds. Jan Patek, Lilies of the Field Vintage Sampler by Barb Eikmeier using her Vintage Shirtings & Dress Prints, Donna K.'s been using up her repro scraps in stars. She set them in a strip zig-zag set with lots of cadet blue reproductions, mixing blues and making low-contrast stars as well as high-contrast. What to Do With Your Stack of Star Blocks? Frame the starry field two or three times. Quilt date inscribed 1892 Towards the end of the 19th-century a fashion for contrasting strip borders developed. We have seen many photos of wonderful Pennsylvania quilts framed with bright strips. Amish Quilt Friendship quilt date-inscribed 1889 ...so much so that this idea of a spacer border---a double or triple frame--- became the design standard in the last quarter of the 20th century and into the 21st. Reproduction quilt, Spicy Popovers by Kaye England The frames provide an orderly look and frame a wall quilt neatly. Jelly Stars by Kaye England captures the pinks and bronzey browns from the 1880s. Contrasting binding makes a third frame. Note the celestial print in the center. If you want to copy that distinctive 1880-1910 look consider a double or triple frame border in contrasting colors. But that idea might be too orderly for you. If you're a rebel you might want to do something else with your strips. There's a subcategory of improvised strip borders. Quilt date-inscribed 1896 Forget those mitered corners. Quilt date-inscribed 1898-1899 Who's counting? See more about spacer borders in this post: http://barbarabrackman.blogspot.com/2013/03/spacer-borders.html And the more improvisational borders here: http://barbarabrackman.blogspot.com/2013/06/run-on-borders.html One More Thing About Cadet Blue Vintage quilt top about 1900 The distinctive blue cotton had several names. Different mills and retailers had different names. Cadet blue refers to the traditional blue-gray wool coats of military cadets. The 1895 Montgomery Ward catalog seems to be describing it as Washington Blue in this listing: "Washington Oil Blue Frock Prints are not so dark as indigo; they are printed in a small floral design of a little lighter shade than the ground work and are neat and pretty for children." Elsewhere they describe their spring and summer novelty prints, offering "Goblin Blue Dress Prints; only one color in this line, but it is a favorite, more popular every year. The color is neither dark nor light, the printing in in white, small figures or stripes." That's a typo. They meant Gobelin Blue not Goblin Blue. The Gobelin factory made luxury textiles in Paris beginning in 1602. Gobelin blue was a common name for a medium shade. It seems to be the color of the window trim in the building today.
I finished a couple of quilts last week and took some photos of them and others today. Thought I’d share them here. I love being surrounded by books, quilts and good friends.
Bookings have been coming in at a steady pace, and a super fun weekend with Jo Morton is planned. There are still vacancies, so don't hesitate to contact me if you would love to join us. This is the only venue that Jo will be teaching this trip, and may well be the final chance to take a class with this well known and respected International teacher. I personally am looking forward to taking both classes. Jo will take you through how easy it is to use stamp sets when piecing Lemoyne Stars. She will also share tips on making accurate templates from Template plastic. The quilt below is just one of the quilts she will share with you in class. Applique is one technique that l am in serious need of improvement. And Jo's backbasting method is sure to help me improve. Jo will share tips and tricks on her back basting technique for needle turn applique. The block showing in the quilt below will be what you will work on during the day. So come along and join us in what is shaping up to be a few fun days. Thanks for visiting. Linda.
Do you need new inspiration for your charm squares, or new inspiration for your scraps? Say hooray—the new book Sew Charming has you covered both ways! From Country Threads—the best-selling authors of the “Charm School” and Civil War quilts series—comes a fresh approach to making quilts with 5″ squares. You’ll find the freedom to sew …
Another UFO is done! I’m quite pleased with how this turned out. It all began with a jelly roll of Le Marais by French General that I got on sale. Of course, that jelly roll wasn’t enou…
Reproduction block by Bettina Havig. Star of cadet blue in a background of conversation print--- spinning tops. Vintage block in cadet blue and silver grays Cadet blue is a name for a distinctive light-gray-blue introduced about 1890. The color probably came from new experiments with the chemistry of indigo printing. Reproduction block by Becky Brown The blue was a new shade that added to the distinctive 1890-1925 look, so it's a great clue for dating antique quilts. Figures were often minimal. Dots are about as basic as it gets. Farm and Home suggesting a red, white and blue color scheme in 1903. "Any house where there are many children would be apt to furnish easily the blues and whites, and even if the red had to be bought for the purpose the cost would be very slight." Class picture, 1901 "Tub-fast" blues were the staple for children's clothing at the time. Above and below Cadet blues This starry quilt with its cadet blue borders has 600 stars in a grid of 25 x 24. If they were 6" like ours are just the field of stars alone would measure 144 inches across. They must be 3" stars. During the 1890-1925 period there was also a fad for celestial prints---stars and moons. The woman above could not be more fashionable: A celestial print of widely spaced crescents, the good book (Bible, temperance, album?) and a crazy quilt drapery. Becky Brown repro: Navy blue stars and a crescent moon shirting, both celestials. Vintage block in navy indigo Similar print in bronzey browns That crescent moon image was quite the fashion. Vintage hexagon quilt Reproductions This week you can make cadet blue stars and/or stars of star prints. Two shades of indigo in a reproduction block by Bettina I made this star of 8" blocks years ago, copying the shading and contrast in an old top... Very much like this example from about 1900. Becky Brown's been capturing the look by setting her Time Warp stars in quilts for her grandchildren. Two boys share a room. One likes blue and one likes green. Jeanne Horton in her Settlement Collection Look for medium to light blues with a touch of gray. The prints should be monochromes of white figures on cadet blue grounds. Jan Patek, Lilies of the Field Vintage Sampler by Barb Eikmeier using her Vintage Shirtings & Dress Prints, Donna K.'s been using up her repro scraps in stars. She set them in a strip zig-zag set with lots of cadet blue reproductions, mixing blues and making low-contrast stars as well as high-contrast. What to Do With Your Stack of Star Blocks? Frame the starry field two or three times. Quilt date inscribed 1892 Towards the end of the 19th-century a fashion for contrasting strip borders developed. We have seen many photos of wonderful Pennsylvania quilts framed with bright strips. Amish Quilt Friendship quilt date-inscribed 1889 ...so much so that this idea of a spacer border---a double or triple frame--- became the design standard in the last quarter of the 20th century and into the 21st. Reproduction quilt, Spicy Popovers by Kaye England The frames provide an orderly look and frame a wall quilt neatly. Jelly Stars by Kaye England captures the pinks and bronzey browns from the 1880s. Contrasting binding makes a third frame. Note the celestial print in the center. If you want to copy that distinctive 1880-1910 look consider a double or triple frame border in contrasting colors. But that idea might be too orderly for you. If you're a rebel you might want to do something else with your strips. There's a subcategory of improvised strip borders. Quilt date-inscribed 1896 Forget those mitered corners. Quilt date-inscribed 1898-1899 Who's counting? See more about spacer borders in this post: http://barbarabrackman.blogspot.com/2013/03/spacer-borders.html And the more improvisational borders here: http://barbarabrackman.blogspot.com/2013/06/run-on-borders.html One More Thing About Cadet Blue Vintage quilt top about 1900 The distinctive blue cotton had several names. Different mills and retailers had different names. Cadet blue refers to the traditional blue-gray wool coats of military cadets. The 1895 Montgomery Ward catalog seems to be describing it as Washington Blue in this listing: "Washington Oil Blue Frock Prints are not so dark as indigo; they are printed in a small floral design of a little lighter shade than the ground work and are neat and pretty for children." Elsewhere they describe their spring and summer novelty prints, offering "Goblin Blue Dress Prints; only one color in this line, but it is a favorite, more popular every year. The color is neither dark nor light, the printing in in white, small figures or stripes." That's a typo. They meant Gobelin Blue not Goblin Blue. The Gobelin factory made luxury textiles in Paris beginning in 1602. Gobelin blue was a common name for a medium shade. It seems to be the color of the window trim in the building today.
Qui dit jour férié, dit escapade, et qui dit escapade en mai, dit Brouage ! L'édition 2015, vous allez le voir, est merveilleuse... J'ai fait quelques gros plans pour garder le souvenir des détails. Vous me suivez ? I went to Brouage quilting exhibition...
Kathy W sent a photo of her fantastic finish for Stars in a Time Warp.I count 52 8" stars. "I loved following the time warp blog and each week went thru my stash to make stars. I didn't have to buy a
This quilt is from our out of print book All Things Primitive. We have been asked to print a pattern for it because it can be made from the new "Jelly Rolls" 2 1/2" strips. It is a perfect quilt to make out of a fabric line. It is 60" x 70" when finished.
Isn't this beautiful? Betsy Chutchian. Of course. Betsy's quilts have a distinctive Reproduction style that transcends a single era or region. As a fan and student of history, Betsy loves delving into the lives of women with varied backgrounds, from different parts of the country and from different centuries. There is always a story. So when we saw that Quiltmania was publishing Quilts For All Seasons featuring Betsy's work... we were all over it!
My mom loves the reproduction fabrics. The colors just speak to her. She sees some of the my usual quilts, with bright and bold fabri...
Thank You Thank You so much for all your wonderful comments and emails. I think from the sound of it everyone had a great time. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I found this great little doll quilt on Kathleen Tracy's blog. The pattern is free so check it out and make one for yourself.
Good Monday to you all!! Here's my Spring Market recap. My disclaimer: Quilt market is for quilt pattern/fabric etc retailers. I am not a retailer so this is an ordinary quilters recap. A quilt shop owner was sweet enough to let me register with her. (Thanks Pat!) We arrived early Thursday to choose our Schoolhouse workshops. These went from 10:20- 6:00 and varied in length from 15-30 minutes. My blog today: Photo heavy; words light This quilt was pretty appealing although I did NOT take the workshop... New info concerning this quilt. It is made my Joyce Lawrence Cambron. Isn't is fascinating?! Her schoolhouse was titled "Rethinking Curved Piecing" and if you click on that title you'll be brought to a you tube video with the same title! (see you don't even have to be at Quilt Market to take a class from her) If you like what you see Joyce can also be found on Facebook. Thank you Joyce for letting me know. Australian Helen Stubbings from Hugs N Kisses. She was super charming and touts the use of 50% soluble paper that can be washed and left in applique or hexagons. A wonderful product, imho!! Go to her website if you want more information. Helen Stubbings Next up was Jo Morton and Andover fabrics. The guys holding the quilts didn't do a great job so I had to snap fast! Love the striped sashing and the basket setting. I had no idea Jo was doing batiks! Look for this BOM with fabrics by Jo only available with this BOM. I was a mile away from Edyta Sitar, Laundry Basket Quilts, but I liked her so much. She is not only a wonderful designer and talented quilter but quite a business woman! I talked to her later at her booth and she knew all about Sven the Gnome! I guess you never know who might be reading your blog! lol Betsy Chuchian, Betsy's Best was promoting her latest book, Lizzie's Legacy. Out of all the schoolhouse quilts, I loved hers the best. Back in Andover again with Renee Nanneman of Need'l Love. Next up, Joanna with Fig Tree & Co. She says she isn't a public speaker but I thought she was pretty funny.....talented too! How did I end up in Tula Pink's schoolhouse? I'd heard the name and the description said tell a story with a 100 block sampler quilt. If you've read my blog for any length of time you know I'm a sucker for sampler quilts. This isn't what I expected, but I was pleasantly entertained by Tula! It was standing room only and it's obvious she's got a following. After this full day we still had sample spree that night, which I had only heard about! I'm so glad we had a bottle of wine while waiting in line......lol
Good Monday to you all!! Here's my Spring Market recap. My disclaimer: Quilt market is for quilt pattern/fabric etc retailers. I am not a retailer so this is an ordinary quilters recap. A quilt shop owner was sweet enough to let me register with her. (Thanks Pat!) We arrived early Thursday to choose our Schoolhouse workshops. These went from 10:20- 6:00 and varied in length from 15-30 minutes. My blog today: Photo heavy; words light This quilt was pretty appealing although I did NOT take the workshop... New info concerning this quilt. It is made my Joyce Lawrence Cambron. Isn't is fascinating?! Her schoolhouse was titled "Rethinking Curved Piecing" and if you click on that title you'll be brought to a you tube video with the same title! (see you don't even have to be at Quilt Market to take a class from her) If you like what you see Joyce can also be found on Facebook. Thank you Joyce for letting me know. Australian Helen Stubbings from Hugs N Kisses. She was super charming and touts the use of 50% soluble paper that can be washed and left in applique or hexagons. A wonderful product, imho!! Go to her website if you want more information. Helen Stubbings Next up was Jo Morton and Andover fabrics. The guys holding the quilts didn't do a great job so I had to snap fast! Love the striped sashing and the basket setting. I had no idea Jo was doing batiks! Look for this BOM with fabrics by Jo only available with this BOM. I was a mile away from Edyta Sitar, Laundry Basket Quilts, but I liked her so much. She is not only a wonderful designer and talented quilter but quite a business woman! I talked to her later at her booth and she knew all about Sven the Gnome! I guess you never know who might be reading your blog! lol Betsy Chuchian, Betsy's Best was promoting her latest book, Lizzie's Legacy. Out of all the schoolhouse quilts, I loved hers the best. Back in Andover again with Renee Nanneman of Need'l Love. Next up, Joanna with Fig Tree & Co. She says she isn't a public speaker but I thought she was pretty funny.....talented too! How did I end up in Tula Pink's schoolhouse? I'd heard the name and the description said tell a story with a 100 block sampler quilt. If you've read my blog for any length of time you know I'm a sucker for sampler quilts. This isn't what I expected, but I was pleasantly entertained by Tula! It was standing room only and it's obvious she's got a following. After this full day we still had sample spree that night, which I had only heard about! I'm so glad we had a bottle of wine while waiting in line......lol
Making Nine Patches from squares: easy. Making Nine Patches from long strips: easier. Making Nine Patches from long and short strips: easiest! Fun fact: The term “Nine Patch” refers to the tried-and-true quilt-block pattern, but did you know it also refers to an entire category of blocks? Any block that has seams that divide units …
Like a work of modern art, this colourful quilt will always draw attention with its clean lines and graphic look. Nearly all our Solid fabrics are represented in this design of simple squares and rectangles, creating an excitingly lively mixture. A pieced backing for the quilt is in a similarly contemporary style and instructions are given for making this if you choose this option. This is a kit complete with all the fabrics needed for the front and the binding as given in the pattern provided by Tilda. Backing and binding fabrics are NOT included. If you wish to purchase eithrer fabric, please contact me for a custom order to add the cost and discuss options. Each piece of fabric has a tag on it, helping you further with the completion of the pattern. This is really helpful for Tilda Solids as they could get confusing. To avoid unnecessary waste, some of the fabrics will be further cut to ready-to-sew pieces according to the pattern instructions. It does not include threads, cushion pad and any other accessories needed (rulers, cutters etc.). There is an option to buy batting from us if you want. We have the "Matilda's Own" brand which is top quality batting. You have the options of: 100% cotton, 80% cotton- 20% polyester and 100% polyester. If you require batting please contact me for a custom order. Finished size: 70½in x 96½in (179cm x 245cm). The pattern can be viewed and downloaded here: https://www.tildasworld.com/wp-content/uploads/2022/02/Colour-Dance-Quilt.pdf Please note all fabrics are cut in inches. Fabric information: 100% Cotton Oeko-Tex Standart 100, Class 1 Maximum Shrinkage 3% Machine washable up to 60 degrees C. SHIPPING INFORMATION: • Orders are shipped via registered mail within 2-4 working days of payment confirmation, unless otherwise stated. • For more details, please check the shipping costs and estimated time of delivery according to your location as shown below. • If your country is not listed, please contact me and I will let you know the options available. • Please provide your phone number once you place your order. This is needed for the shipping voucher. • Posting upgrade (express delivery 1 day) is available for most countries. Contact me for further information should you require this service. • Please note that we are not responsible for any customs charges should they occur. Customs charges are not included in the postage prices.
Softest snd lightest cathedral window quilt ever! Most CW quilts are much heavier, since they are made using heavy muslin fabric folded a lot. The original maker of this gorgeous quilt probably wanted one that was not so heavy, and softer! So, they created a quilt with a thinner backing that has some polyester content. This modification makes the quilt more suitable for upcycling, snd makes it much easier to machine wash right at home. This medium can fit up to a woman’s size 12, with pockets. Machine washable. Last pics show buttons and toggles available as closure, your choice!
I am so relieved to be able to relax and enjoy the Christmas season now. I have finished the last custom quilt for the year. It is the one below. A PineBurr quilt pieced by Ginger. Did you know that the PineBurr quilt is the 'state quilt' of Alabama? Who knew? Does every state have a 'state quilt'? I have to say that the piecing is really well done and the fabrics are beautiful. It is always a breath of fresh air to quilt one like this!! Tomorrow I will go to the airport and pick up the Doodle part of 'DoodleMoochie'. I am so excited to be finished with 'work' for the year and be able to now concentrate on family and Christmas. Thanks to all of my clients for a great year! And now, enjoy the pics. Front and back.
Star quilt with madder-style setting blocks and border 1840-1860 In the quilt above, the quilter combined indigos, Prussian blues and other fashionable fabrics with madder-style prints in the blocks. Madder browns have an unfortunate tendency to deteriorate or "tender" fabrics. The darkest brown in the quilt above, mordanted with iron, has oxidized, leaving large holes where the dark stripes were. The batting is showing through. A detail of the star quilt. It's an interesting quilt because of all the mismatched strips added to the triangles to make them fit. And doesn't that madder-style print at right look like tiny rotary cutters??? Madder-style prints were popular for clothing and quilts--- the fabric of everyday mid-19th-century life. These young women photographed with their books in the 1860s are wearing prints that might have been dyed with madder. Cottons dyed with madder are among the most common fabrics in nineteenth-century quilts. Madder pleased both mills and customers because it was colorfast and inexpensive, yet versatile. Dye from madder root could produce the bright orange, the paler and duller oranges and the chocolate browns in these prints. The calico printer treated the yardage with different mordants (metal salt solutions such as iron or aluminum) and dipped the cloth in a single dye bath made from madder root. Each mordant reacted differently with the dye, producing colors ranging from red-orange through purple, brown, and almost black. The madder coloring agent would not bind to areas that were not mordanted. Madder is a vegetable dye derived most efficiently from a perennial plant with the Latin name of Rubia tinctorum. Like many dye plants, it is an Asian native. Pliny the Elder, a Roman naturalist who traveled to Asia in the first century AD, described the amazing transformation of a piece of cloth treated with colorless mordants emerging from the dyebath in a rainbow of shades. The plant and its secrets traveled to Europe where madder thrived in Italy, France, Holland, and Spain. Other names for the dye are al izarin in Arabic and garance in French. Madder produced a plum colored purple known as puce. Madder was particularly popular with quilters between 1840 and 1890. Madder dyeing produced a brick red or orangey-red, not the bright red that the Turkey red process did. The browns tend toward reddish. Photograph from the late 1850s(?) A print skirt and a big dog. Reproduction Quilt Sorghum Taffy Strip Quilt made from my Civil War Homefront collection from 2009. Blues and honey-colored yellows accent the madder-style prints. Prints from two Moda collections: Civil War Homefront and Civil War Reunion In my latest Moda reproduction collection Civil War Reunion I've colored several prints in a Dusty Rose colorway with an authentic madder orange. It's a shade to buy when you see it as the color so popular in 1860 might not be available in the future.
Star by Becky Brown A foulard print in the center square and red points contrasted with a tossed floral. Rather than focusing on color and dyes for a while we'll look at print style. Foulard-style prints were particularly popular for clothing in the 1860s. Bettina Havig Foulard or offset prints in both star and background. Vintage top about 1840-1860. The two simple madder reds on the left are figures printed in an offset repeat. Classic 1860s fashion These dresses may be printed wools---delaines. The off-the-shoulder look above means she's still considered a girl rather than a woman A similar girl's dress Another way to describe the set style is an isolated figure in a half drop repeat There are many terms for the staggered repeat. When the figure is circles we call them Polka Dots. Vintage quilt, 1850-1870 We see a lot of foulard sets in the printed wools of the mid-19th-century. Vintage cotton quilt, 1850-1880 Vintage quilt, mid-19th century Vintage quilt, mid-19th century, found in Minnesota Project. Picture from the Quilt Index. That diagonal grid can really define a look. If you are interested in mimicking mid-19th-century quilts you need reproduction foulards in the scrapbag. Patatelier on her blog: "I never saw a foulard I didn't like." The exaggerated print scale and pose may mean this is an actress in a stage costume. Reproductions Here's a little repro quilt Jan Schultz did in 2008, bordered with a madder-style foulard. I have a new collection for Moda called Alice's Scrapbag, coming out as yardage in September, 2015. Alice had many foulard-style prints in her 1850s scrapbag, including this paisley cone. The original is on the left; the redder one is the reproduction. See more about the collection and its foulards here: http://www.modafabrics.com/fcc_alices-scrapbag.pdf Two of my older repro prints in madder-style shades. Above and below from Circa 1825 collection by In the Beginning A classic green from Judie Rothermel's New Colonies Foulard from Red Rooster The offset figures can really catch your eye. In Marsha McCloskey's star quilt the blue off-set print should be background but dots demand your attention. The latest Collection for a Cause with two classic foulards. Ann contrasted two foulards with a seaweed or coral repeat in the background for her North Star. Valerie used a foulard for the background and a tossed paisley for the red. A tiny quilt by Kathie Ratcliffe making good use of foulard-style madders. Kathie really understands the way seamstresses used fabric in the 19th century. http://www.ninepatchstudio.com/ What To Do with Your Stack of Stars: Set Them in Half Drop Fashion Quilt dated 1864 by Octavia Lewis Maine State Museum The staggered repeat was so important to mid-century design that it was a favored set for quilt blocks too. Vintage quilt, 1840-1880 Particularly in applique. Set your star blocks on point to create a foulard-style set. I did some sketches in EQ7 using the On-Point Layout for 6" blocks. Dark stars with light backgrounds set on point.... or light stars on dark backgrounds. If you really want to emphasize the diagonal grid add sashing between the stars. Dark stars on light backgrounds with 1-1/2" sashing This is how Octavia Lewis got the look in the field of stars behind her flag above. 1-1/2" sashing (Proportion in the sashing is one quarter the block size here.) The wider the sashing the more isolated the star. 3" sashing Here's a sashing half the size of the blocks. Insanity, pieced by Barb Heetland, quilted by Judy Wehrspant, Milford, Iowa Barb made 4-1/2" stars and set them with alternate plain blocks. It's a different block but when set like this it makes the same old-fashioned, diagonal grid. Judy's machine quilting is terrific. One More Thing About Foulard-style prints Women modeling traditional French clothing. National Geographic. Foulard is a French word that has come to mean not only the print style but clothing traditionally made from the patterned fabric. A foulard-style necktie. In recent decades foulards came to define the "Preppy look." So---are you going to make a box labeled Foulards where you keep these spotty prints sorted by style rather than color? For more about foulards see my book America's Printed Fabric, pages 68-71. And a post about foulards in a Civil-War-era stash. http://barbarabrackman.blogspot.com/2009/12/document-and-reproduction-prints.html More about earlier foulard styles: http://quilt1812warandpiecing.blogspot.com/2012/02/imported-prints-indiennes-mignonettes.html
When ever Julie comes to her family vacation house, she brings quilts to hang to make it feel homey. You can imagine how much happiness it brought me to walk into the house on the first eve., to find these beautiful quilts hanging......all felt just right! You will recognize this as being one of Kim Diehl's beautiful designs. A close up..... This charming Bear Paw design was hanging in the hall when entering the house...love it! This is a design by Katherine Hughes. I love the wonderful cozy plaids that were used. This quilt by Kathy from Cardiff Farms was hanging high on the wall above the stove which kept us warm and cozy, because the evenings and mornings were quite cold. But the air was so fresh and smelled of pine....and a group of deer hung about. In the wee town of Wamic which was near by, was this old country school. I love it when communities save and preserve these things of the past for us to enjoy. And the outhouse......couldn't forget that essential part. This is the beautiful Tygh valley which we passed through on our way to Portland. There are acres of grazing land with cows and their baby calves, also cherry orchards and filberts are grown in the area. On a historical marker nearby this was written. "After descending a long steep, rocky and very tedious hill, we have camped in a valley on the bank of Indian (Tygh) Creek, near some Frenchmen who have a trading post. There are also a good many Indians encamped around us." -Amelia Stewart Knight, Emigrant 1853. Nearby we discovered and investigated this old cemetery......with some old grave stones. I thought the heart in hand was interesting on this one. Always so sad to see infant graves.....what hardship parents have suffered losing a child. We especially found this one to be interesting.....it seems he was a pioneer who came to the area in 1853. Here is a marker for a Civil War Veteran....The Grand Army of the Republic, from 1861-1865. I found this one to be quite remarkable in that it was erected for Agnes Wright by the women of woodcraft. It would be great to have some back ground information about this. And then off to the side in the older part of the cemetery we found a few graves with nothing but a pile of stones.....of course our imaginations really took flight. Because there is so much pioneer history around the area connected with the Oregon Trail we wondered if it was marking the graves of early pioneers. Near by was this historical marker. Last of all, I thought I'd share with you lunch! :-) We did add a piece of fruit, but it suited us just fine. Notice the extra butter!!! Now for the drawing. Winners please reply soon so that I can get your selection sent before I leave for Ohio. There were so many entries that I'll have 4 chosen this time. Please send me your address along with your selection. The Sweet and Simple book is not available for the give away. Loretta Neighbors Daphne Easter Juel Baggason Heather Scott Please contact me at www.norma @timelesstraditionsquilts.com "If you want something you've never had, you must be willing to do something you've never done." -Thomas Jefferson
