It's hard to imagine a world without flowers. Their colours and form, as well as the memories flowers hold, have meaning and appeal for most of us. From their
Bold and dramatic, our Lyvia quilt cover set is a show stopper guaranteed to transform any bedroom. Oversized flowers contrast with the dark background making this quilt cover set the perfect statement piece. The vibrant colours of the Lyvia Quilt Cover Set are digitally printed on a high quality, 100% cotton with a thread count of 300, the reverse fabric is a warm charcoal colour. The Lyvia quilt cover set comes with one quilt cover and two 48x73cm pillowcases. Your doona/duvet is enclosed with concealed buttons on the quilt cover. The pillowcases are finished with an envelope closure. Euro pillowcases and feather filled coordinating cushions are sold separately.
Foundation pieced peace quilt by #margaretrolfe Another stunner. Margaret said she started this in 2003 putting all her hope into each block that we wouldn't go to war.
Here it is all done and off the frame. This quilt will be raffled off at the NWA Q.U.I.L.T. Show on April 5 & 6 of 2019. Come to t...
BERNINA is excited to be at QuiltCon 2018! Get a peek at our newly-engineered 5 Series machines and see some of the amazing quilts from the event.
There's nothing more fun than a local quilt festival and the chance to see some real home-grown talent right in your own neighborhood ! On S...
As Teri mentioned last week, we scheduled one last road trip before I (Kara) head to Germany. Our primary goal, aside from visiting a few wineries and quilt shops, was to see Debby Cooney's exhibit, "Two Golden Ages of Appliqué: 1840-1870 and 1920-1940," at the Virginia Quilt Museum. The exhibit did not disappoint! Unfortunately, the time frame for the exhibit is over, but if you missed it, then this post is for you. Debby Cooney is a quilt historian who has researched and collected appliqué quilts and has graciously shared her collection, along with quilts from a few other collectors, with the museum. The art of appliqué has experienced a recent re-birth, and the quilts from Debby's collection tell the story of appliqué as an art form from the past. Many of us who are passionate about appliqué have been inspired by these quilts and many others. We tried to take as many pictures as possible, and while the lighting was somewhat dimmed for the sake of the quilts, I hope you will be as inspired by these appliquéd beauties from the past as we were. Many thanks to Debby for permitting us to share her collection with you! (Please note, per the museum's website: Permission to copy any of the quilt designs or patterns seen on exhibit must be obtained by the original designer or copyright owner.) One of the sights that greeted us as we stepped into the exhibit rooms Wholecloth Chintz Quilt ca. 1830s 61" x 83" Palampore Panel Quilt ca. 1830s 70" x 91" Provenance: York County, Pennsylvania Detail: Palampore Panel Quilt Detail: Jane Weakley Leche Quilt Jane Weakley Leche Quilt ca. 1825 108" x 109" Provenance: Baltimore, Maryland Framed Star Quilt ca. 1820s 60" x 60" Provenance: Probably Frederick or Washington County, Maryland Reproduction Framed Eagle Quilt ca. 2006 32" x 40.5" Provenance: Bobbi Finley Detail: Reproduction Framed Eagle Quilt Calico and Chintz Block ca. 1830s-1840s Provenance: Unknown Collection of Polly Mello Framed Center Diamond ca. 1835-1850 Provenance: members of the Holmes family, Rockbridge County, Virginia Pieced and Appliquéd Quilt ca. 1840s Provenance: Frederick County, Maryland Leaf Detail Most of these blocks have blue corner squares, but a few don't. Did they run out of fabric, or was it planned? Chintz Cradle Quilt ca. 1830s 34" x 42" Provenance: probably Baltimore, Maryland Detail: Chintz Cradle Quilt Reverse appliquéd leaves Mathematical Star Quilt ca. 1850s 94" x 94" Provenance: Eastern Shore of Maryland Detail: Mathematical Star Quilt Detail: Mathematical Star Quilt Apparently, these are typical colors found in Maryland. Appliqué Nine-Block Quilt ca. 1850s 84" x 84" Provenance: Unknown, possibly Pennsylvania Detail: Appliqué Nine-Block Quilt Baltimore Appliqué Quilt ca. 1850s 96" x 97" Provenance: members of the Hayden Family, Baltimore, Maryland Detail: Baltimore Album Quilt Detail: Baltimore Album Quilt Appliqué Cradle Quilt ca. 1850s 43" x 45" Provenance: possibly Lancaster County, Pennsylvania From the collection of Polly Mello Appliqué Pillowcase ca. 1850s 18" x 30" Provenance: possibly Lancaster County, Pennsylvania Appliqué Cradle Quilt ca. 1850s 39" x 40" Provenance: probably Washington County, Maryland Four-Block Appliqué Quilt ca. 1850s 96" x 97" Provenance: probably Pennsylvania Quilting detail Such vivid colors after all these years! Appliqué Cradle Quilt ca. 1850s 43" x 44" Provenance: Chambersburg area, Franklin County, Pennsylvania The name of this pattern is an "Apple Pie Ridge Star." Six-Block Appliqué Quilt ca. 1850 53" x 81" Provenance: Collected in Lancaster, Pennsylvania From the collection of Pat and Arlan Christ The green feather-like motif is used here to represent the Pennsylvania-German symbol for good luck. All the dots give the quilt a certain charm. Appliqué Album Quilt ca. 1860s 73" x 88" Provenance: Unknown Appliqué Four-block Quilt ca. 1860s 83" x 90" Provenance: Southeastern Pennsylvania This Princess Feather pattern would give some good practice at corners and inner curves! All of the previous quilts fall into the first Golden Age of Appliqué, from 1840-1870. These next quilts come from the second, 1920-1940. It is interesting to see the change in fabrics used for these quilts. Nine-block Appliqué Quilt ca. 1920s Provenance: Franklin County, Pennsylvania This flowering cactus is done in bright Pennsylvania "Dutch" colors. Four-block Appliqué Quilt ca. 1930s 88" x 95" Provenance: Southeastern Pennsylvania I just love the polka-dot fabric for the center flower! Orchid Wreath Appliqué Quilt ca. 1930s 88" x 88" Provenance: probably Emporia, Kansas Original pattern by Rose Kretsinger The orange and yellow butterflies add a beautiful pop of color. Nine-block Appliqué Quilt ca. 1933 86" x 86" Provenance: Ettie Brunhaus Schulz Oak Park, Illinois Original pattern by Marie D. Webster Appliqué is my first love, and this exhibit exceeded my expectations in so many ways. It was so inspiring to view all these quilts in person, and studying them up close was a treat. Are you inspired by quilts from the past? If so, please let us know; as we'd love to hear about them! If you would like to read about our other museum adventures, you can click on the links below. Next week, we will share another fabulous exhibit that was in the VQM last fall. Hope you'll join us! Crazy Quilts at the Virginia Quilt Museum Eye on Elegance The Beauty of New York Via Denver Lovely Lane
Tenor ukelele Bovenblad: gewolkt cipres Zijkanten en achterblad: gewolkt cipres Mahoniehouten hals Palissanderhouten fretboard Mahoniehouten bovenbladbinding Scale: 431 mm 18 Frets GraphTech NuBone topkam en brug Voorgemonteerde snaren: D'Addario Clear Nylon Totale lengte: 644 mm Zijdematte oppervlakte Kleur: Naturel Incl. tenor bag (UB-T) Opmerking: Registreer uw product op www.w-distribution.de/Warranty en verleng de garantie naar 4 jaar. Let op! Registreer uw aankoop op www.w-distribution.de/en/Warranty voor een verlengde garantie van 4 jaar. 30 30 dagen Money-back garantie 3 Drie jaar Thomann garantie Leverbaar sinds Februari 2021 artikelnummer 495428 verkoopseenheid 1 stuk Body Cypress Top Cypress Frets 18 Neck Mahogany Pickup No
Winterthur print featuring the ten-petaled passion flower. A different colorway from the Victoria & Albert, which identifies it from designer Samuel Matley, printed in 1824. http://collections.vam.ac.uk/item/O289748/furnishing-fabric-samuel-matley-sons/ Another stripe, this one from the Cooper Hewitt Museum's collection European interest in exploration created a rage for exotic chintzes to decorate English rooms, one reason we see so many passion flowers in early cottons. From Winterthur's collection. Passiflore de Belot The genus Passaflora has over 500 species, mostly tropical. About 1700, Portuguese explorers found the unusual flowers in South America and seeing Christian symbolism everywhere (there was an Inquisition going on so piety may have been a requirement) they decided the plant was a metaphor for the Passion of Christ, the Crucifixion. Ignoring the native name they called it Passion Flower (Passaflora). R. J. Thornton, Passiflora caerulea, from the 1807 Garden of Nature In this metaphor, the blue ring represents heaven, the ten petals represent the ten apostles (it was a reach.) Passiflora caerulea in a print for London draper Richard Ovey by Bannister Hall printworks. The Victoria & Albert captions this piece as 1802. Ovey and Bannister Hall printed many yards of passionflower prints. Victoria & Albert Collection Ovey commissioned this piece printed to shape and cut into a chair cover from Bannister Hall about 1800. Detail from a Bromley Hall print designed by William Kilburn, attributed to about 1775 by the V & A Bannister Hall's competitor Bromley Hall also did passion flowers. Detail of a print credited to Bromley Hall printworks, 1816-1817 by the Cooper Hewitt. They have another piece in a white colorway with full-chintz coloring. Wholecloth quilt once in the McCarl Collection. Two distinctive features of the tropical Passiflora: 1) A prominent stamen and style 2) surrounded by rings The center of the flower catches your eye in American quilts made before 1840 or so. Quilt by Amelia Heiskell Lauck, 1823, Virginia, in the collection of the DAR Museum. Stripe in a border of a medallion quilt by the Allston family of South Carolina, Smithsonian Institution. http://americanhistory.si.edu/collections/search?page=2&custom_search_id=collections-search&edan_local=1&edan_q=quilt&op=Search Same print in an applique medallion in the collection of the International Quilt Study Center & Museum #2008.040.0019 from the Dillow Collection. It's the rather pinkish stripe, the second last border. The ten petals are also a characteristic but botanical accuracy was not a priority. Two passion flower derivatives in the popular peacocks with chicks chintz. Detail of a print in a quilt date-inscribed 1830 from dealer Pique Trouver Some prints eliminate most of the botanical detail. This one with a fancy machine ground behind the flowers looks more like a hibiscus than a passion flower. In the U.S. we have a hardy hibiscus called the Rose of Sharon with a prominent stamen and five petals. Another Smithsonian quilt. The light flower in the right border looks more like a hardy hibiscus than a tropical passion flower. This English palm tree panel includes passion flowers and hibiscus with exotic pheasants---Asian natives. Smithsonian quilt found in Vermont. I have many more examples in my files of American quilts with passion flower prints than I do of British quilts. In fact my British examples are only marginally seen as passion flowers. The Austen quilt at Chawton Cottage has far more domestic flora. Pieced British quilt Is it possible that most of the British prints with passion flowers and relatives were designed for the Portuguese market (the export market) and shipped to the Americas where taste was thought to favor the exotic? Yet, Richard Ovey would not have been commissioning passion flower designs for furnishings if they weren't popular in London in 1805. Perhaps the fashion became passe in the 1820s and was then thought suitable only for the foreign buyer. Whole cloth quilt from Cindy's Antique Quilts inventory The passion flower prints are distinctive and in American quilts probably offer us clues to a date of about 1820-1840. The sources are probably the big English printers Bromley Hall and Bannister Hall and their imitators. Stripe described as a Portuguese print, probably English designed for export market. Collection of the Cooper Hewitt. See more about the Portuguese stripe style here: http://barbarabrackman.blogspot.com/2017/10/chintzes-for-portuguese-3.html Passion flower prints give us a little more insight into the fabric trade in the first half of the 19th century. The more prints I look at carefully the more I see a division between what shows up in British quilts versus those made in the U.S. Two very different markets. Small quilt made by Hephzibah Jenkins Townsend, Charleston, South Carolina. Smithsonian Collection http://americanhistory.si.edu/collections/search?page=11&custom_search_id=collections-search&edan_local=1&edan_q=quilt&op=Search
It's day 3 of our Exotic Flower Quilts series ! We've been admiring Ellen Lindner's photo-inspired quilts ever since we featured her Apple S...
Evolve Fabric Lookbook Evolve by Suzy Quilts. Evolve is a captivating sequel to Suzy’s debut collection Duval, where 1960s New York menswear meets the allure of Key West. Embrace the tropical essence as new colors and motifs merge, creating a seamless harmony with Duval’s timeless fabrics. Watch these designs transform into something fresh and vibrant. …
Quilts! Sewing! Books! Life!
Petal Signature Cotton® Design #17039011 42" wide, 4.4 oz per sq yard Everyday-use cotton for quilting, crafts and apparel Estimated shrinkage: 5-6% in length and 2-3% in width Perfect for quilting, craft projects, costuming, toys and accessories.
From her home in Guatemala, Central America, Priscilla Bianchi creates quilts, fabrics, and designs in a dazzling array of color. Priscilla ...
Cette année, mon coup de coeur s'appelle Akiko Ike, artiste textile japonaise, qui a inventé le Chiku Chiku (l'Art du Dessus Dessous, en référence au mouvement de l'aiguille et du fil qui permettent d'assembler des morceaux de tissus): Faut-il encore...
Aiko Japanese Style Quilted Blanket Coat. Unique vintage Japanese style quilted puffer robe coat. Slightly oversized and lightly cotton padded with quilted patterns. Minimalist style with exotic artist look. Spring/Autumn weather appropriate. One Size: Bust 138cm / Length 118cm / Shoulder 64 cm / Sleeve Length 33cm Gender: Women Material: Cotton, Polyester Clothing Length: Long Pattern Type: Solid Closure Type: Sash Type: Wide-waisted Thickness: Standard Sleeve Length(cm): Three Quarter Filling: Cotton Style: Japanese Style Fabric Type: Woven Decoration: Quilted, Pockets, Sashes Weight: 0.8kg
Brand Fender Model American Select Stratocaster Exotic Quilt Finish Iced Tea Burst Year 2014 Made In United States Categories Solid Body Electric Guitars Body Material Alder Body Shape S-Style Body Type Solid Body Bridge/Tailpiece Type Tremolo Bridge Color Family Red Finish Pattern Sunburst Finish Style Satin Fretboard Material Rosewood Model Family Fender Stratocaster Neck Construction Bolt-On Neck Material Maple Number of Frets 22 Number of Strings 6-String Pickup Configuration SSS Right / Left Handed Right Handed Scale Length 25.5" Series Fender American Select Wood Top Style Quilted Show More
Tenor ukelele Bovenblad: gewolkt cipres Zijkanten en achterblad: gewolkt cipres Mahoniehouten hals Palissanderhouten fretboard Mahoniehouten bovenbladbinding Scale: 431 mm 18 Frets GraphTech NuBone topkam en brug Voorgemonteerde snaren: D'Addario Clear Nylon Totale lengte: 644 mm Zijdematte oppervlakte Kleur: Naturel Incl. tenor bag (UB-T) Opmerking: Registreer uw product op www.w-distribution.de/Warranty en verleng de garantie naar 4 jaar. Let op! Registreer uw aankoop op www.w-distribution.de/en/Warranty voor een verlengde garantie van 4 jaar. 30 30 dagen Money-back garantie 3 Drie jaar Thomann garantie Leverbaar sinds Februari 2021 artikelnummer 495428 verkoopseenheid 1 stuk Body Cypress Top Cypress Frets 18 Neck Mahogany Pickup No
By Patricia Belyea LA CONNER WA How often do we get to meet a living legend? That was my joy when I visited Kitty Pippen, and her husband Eldon, at their retirement residence in historic La Conner. This charming couple, now married 72 years, live in a bright, two-bedroom, corner apartment. When I arrived, the apartment door was ajar. I found Kitty sitting by the living room window with a ukulele in her lap. On the sill lay a hand-stitching project and some knitting. Obviously at 95, Kitty continues to be engaged in new endeavors. Kitty started by telling me a quick synopsis of her life—born in China to missionaries; homeschooled by her mother until she, her twin sister and brother were sent to a boarding school near Peking for middle and high school; came to America for university; married Eldon when she graduated; and then moved to California four years later when Eldon attended grad school at UC Berkeley. It was Koji Wada at Kasuri Dyeworks in Berkeley who introduced Kitty to Japanese textiles. Kitty bought four small pieces of yukata cotton and tucked them away until she tried a quilting project after she retired. Kitty made a king-sized quilt that was accepted into the AQS show. The show organizers called to say Kitty had won a prize. Kitty remembers boarding a plane by herself and, when she got to Paducah, learning that she’d taken first place for Innovative Quilts! I’d already seen Flight, the remarkable quilt that took Houston by storm in 1994. This May, Kitty mounted a one-woman show at La Conner Quilt & Textile Museum. It was there I met Kitty—so petite beside her 64
Recently, I received a lovely email from artist Tracy Potts. I immediately recognized her name from following her on Flikr over the years, and always loving her art. It had been awhile since I had been on Flikr so I was blown away by the images of her new work that I'd somehow missed. Something Told Me It Was Over, 2012. Mixed media on canvas, 94 cm x 64 cm. Tracy was so kind to tell me my work and the blog had inspired her. By seeing other people use craft in their work, she gained the confidence to jump in and explore the medium. She clearly nails it, don't you think? Yes ... I Want to Be Your Everything, 2012. Mixed media on canvas, 94 cm x 64 cm. Her work is intensely personal and highly charged. I think it's that rare ability to incorporate craft with painting that works so well here. 74 Brilliant Suggestions, 2012. Mixed media on canvas, 94 cm x 64 cm. And also that subtle hint, just a hint, of representational that grounds the highly charged crochet, knitting and sewing that she overlays onto canvas. The Soft Wall, 2012. Mixed media on canvas, 94 cm x 64 cm. Her email couldn't have come at a better time. You know how all of us artists go through those highs and lows in our work. I was at a dull thud that week, feeling a little helpless and wishing I could do more for artists to share their work. Thinking about reaching out more: curating, writing more articles, pushing craft further into the mainstream art world. I Am Your Exotic Bird, 2012. Mixed media on canvas, 147 cm x 128 cm. Well, this work truly would fit into the gallery scene and it does. She is represented by a wonderful gallery in Australia, Anita Traverso Gallery, in Melbourne. Her work inspires me and I hope it does you too.
Festival of Quilts 2013
