Dizzy Geese
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This Quilt is Much Simpler to Make Than it Looks! The play of color in this striking quilt catches your eye first. Then you notice the intricate patterns in each star. This must be a one-of-a-kind art quilt masterpiece, right? Well, while this is a one-of-a-kind project, and while the quilt is beautifully artistic, …
Today, I took a road trip to Tacoma, Washington, to speak to the Puyallup-based Comforter Quilt Guild. It was my fourth lecture in the last two weeks - and the third time I've given my "Masterpiece Theater" lecture in this period - but each lecture was its own thing, and it kept me energized. Today, I brought eight quilts, mostly from the 19th century, for the hour-long lecture. Here's what I brought. I began with three album or sampler quilts, all vastly different. There was the Mary Couchman Small Album with Lyre from West Virginia, c. 1850; the Album with Rooster by Hannah J. Swin of Bergen County, New Jersey, 1868; and the Sampler with Birds and Wreaths, which I just received during the past week. The next group included three pieced quilts, all variations on the pattern most widely known as New York Beauty made in the mid-to-late 19th century, before the New York Beauty name was coined. I wrapped up with a modern looking wool utility quilt and Lucy Mingo's Bible Story quilt from Gee's Bend. Both quilts represented my evolving idea of what a masterpiece quilt could be. During the talk, I also shared some books, including Shelly Zegart's "American Quilt Collections: Antique Quilt Masterpieces"; Barbara Brackman's Encyclopedias of pieced and applique quilt patterns; Eileen Trestain's "Dating Fabrics" and a few others. It was another fun day, a great group, and I hope to have the opportunity to visit them again in the future! Last lecture of 2011 will be on December 12th at the Northwest Quilters meeting. That'll make 14 lectures for the year. It's been a great year!
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Diamonds, c. 1890 - all silk! Today, I was in Newport, Oregon doing a lecture for the Oregon Coastal Quilters Guild. It was my second visit to the guild, and this time I did the Masterpiece Quilts lecture. Couldn't decide what to bring, so I showed ten quilts, and probably sounded like a fast-talking auctioneer at points. Wholecloth Linsey Woolsey Quilt, pre 1800, New England Economy Block, c, 1810, New England I started with two very old wool quilts- the Wholecloth and the Economy Block, both from New England. The Wholecloth served as an example of masterful, decorative quilting, and the Economy Block suitably demonstrated the strong, modern looking graphic design seen in early pieced quilts. Album with Lyre, c. 1850, Mary Couchman Small, WV We then jumped ahead to the mid-19th century and I told the story of Mary Couchman Small's Album with Lyre. I also showed two "New York Beauties"from Kentucky. Earlier, during the announcements, I shared some news about another New York Beauty, which I also showed. That quilt will be exhibited and possibly published later this year. More news to follow at a later date. Pieced and appliqued quilt, c. 1870, Kentucky MacMillan Family Quilt, 1868, Monroe County, Kentucky Part of the talk was about the qualities of a masterpiece quilt, such as workmanship, design, provenance, condition, cultural value and dollar value. Toward the beginning of the program, I talked about Shelly Zegart's book "American Quilt Collections: Antique Quilt Masterpieces" and how it helped shape my ideas about having a quilt collection. Shelly is the first person I ever heard call a quilt a masterpiece. Anyone who wants to know more about what makes a quilt a masterpiece should read the book, particularly the essays at the beginning. Applique Quilt, c. 1870, Pennsylvania Crossroads, c. 1870, Found in Texas Moving forward chronologically, I showed the applique quilt seen in The Quilt Digest, and the Crossroads quilt purchased from an eBay seller in Texas. After that, I wrapped it up with two quilts from the Victorian period to the turn-of-the-century. The first was the "OCD" silk Diamonds. Quilters really love that one! And the last was the bold "Frugal Housewife" quilt - people are still shocked when I tell them the quilt was listed as a cutter! "The Frugal Housewife" c. 1900, Wisconsin It was a whirlwind tour of American quiltmaking through the 19th century, and I had fun with it. At one point, someone asked if Mary Couchman Small had made other quilts, and another audience member made a funny comment about how the one quilt would've taken her whole life to do. Talk about truth in jest! When considering what makes a masterpiece quilt, it's important to hold the object to standards similar to that of a masterpiece painting or other fine art object. Is it unusual? Does it grab your attention? Is it a superlative example of fine technique? Does it capture an important historical event or embody a moment? Did it come before its time, and does the object transcend the form? At the end of the day, the most provocative works of art in any medium stir the same questions. That's precisely why I think of quilts as fine art objects, and the best ones, masterpieces.
This is a used ,in good condition Art of the needle 100 Masterpiece Quilts from Shelburne Museum . (Shelburne, Vermont) Shelburne Museum has one of the largest,best and beautiful Quilts in United States. This book features 100 masterpiece quilts, there were made between 1800 and 1900 ,from this magnificent collection. please look at my photos. The book measures , approximately 8×11 . If You have any questions please ask, thank you for visiting my shop. Raelene
Katherine Whiting Hozen, Brighton, Maine This quilt, perhaps from about 1830-1840, was once in the collection of Margaret Cavigga. It seems to represent a transition between styles, combining the bright graphics that became popular in the 1840s with the softer chintz compositions lingering from the 1820s and '30s. I've been posting about Rising Suns, Mathematical Stars and other large-scale star quilts lately. The fashion for stars covering the quilt top seems to have developed in these combination cut-out-chintz/pieced stars. Collection of Tucson Museum of Art ' The earlier versions look to be 1820s and '30s with fashionable gamebird chintzes arranged in the open spaces. Seen at a show in Paducah a few years ago. Classic example with gamebird and palmtree print from Just Folk antiques http://www.justfolk.com/traditional/detail.php?cat_id=textiles&id=Star of Bethlehem Quilt Seen at Quilt Festival a few years ago The stars were an effective way to feature the imported bird chintzes and these circular and oval panels (perhaps meant for chair seats.) Collection of the Charleston Museum Recently on display in Charleston http://www.charlestonmuseum.org/Quintessential-Quilts Bouquet and flower baskets also complement the bold stars... Collection of New England Quilt Museum ...Some with more grace than others. From the McCarl Collection sold at auction last year Amelia Jane Foster Cobb Bird Maryland Historical Society http://www.mdhs.org/digitalimage/pieced-and-appliqued-mathematical-star-quilt Silk Quilt from the Collection of Metropolitan Museum of Art http://www.metmuseum.org/Collections/search-the-collections/13897?rpp=20&pg=1&ao=on&ft=star+quilt&pos=7 Dated 1853 "John Torrance Made by his Wife Marieta" From the Binney Collection Instead of plain white: an Indienne style print with a little added floral. Collection of the Brooklyn Museum Recently on display at the National Museum for Women in the Arts in Washington DC http://www.nmwa.org/exhibitions/%E2%80%9Cworkt-hand%E2%80%9D I didn't find enough date-inscribed examples to draw any conclusions, but observation indicates the star + Cut-out Chintz style would tend to be 1840-50 or earlier. After that date quiltmakers would be inclined to do conventional applique, constructing their own flowers instead of transferring them from chintz.
My new exhibit, "Masterpiece Quilts, Modernism in American Patchwork, 1810-1970" is now open at Latimer Quilt and Textile Center in Tillamook, Oregon. The exhibit runs through April, and takes a look at how modernism was part of the visual language of patchwork quiltmaking throughout the ages. These marvelous pieced quilts are among my all-time favorites, and I think they are relevant to the quiltmakers of today. An open house is planned as part of Latimer's Spring Tea event Sunday, March 9th, from noon to 4pm. For more information, click here. Here are a few of the quilts in the exhibit. Enjoy! c. 1810, New England c. 1835, New England c. 1870, Texas c. 1890, Pennsylvania c. 1920, New York c. 1930, Ohio c. 1970, Oregon
Sewing can be roughly dated back to thousands of years ago when it was a popular trade all over the world. Arguably, whether you’re a seasoned quilter or just starting to feel at home in the textil…
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Willyne Hammerstein's La Passacaglia Quilt: UP SIZED! Recreate this icon masterpiece using English Paper Piecing in Larger Scale! Original pattern can be found in Millefiori Quilts by Willyne Hammerstein for Quilt Mania. Complete Piece Pack includes approx 2,900 Pieces to complete the Quilt. Pattern Not Included. Acrylic templates sold separately. Made of: Paper Use: English Paper Piecing Included: 2900 pieces THESE PIECES ARE LARGER THAN THE ORIGINAL PATTERN CALLS FOR. Pattern found in Millefiori Quilts by Willyne Hammerstein Pieces D (Small Pentagon) is a based off a 1-1/4” Pentagon. Complete Piece Pack Includes ALL the Pre-Cut Papers, approximately 2900 pieces, to make La Passacaglia: Piece A: 468 Pieces Piece B: 206 Pieces Piece C: 640 Pieces Piece D: 272 Pieces Piece E: 1368 Pieces Finished Quilt Size: 91.73"x112" Strawberry Quiltcake, Inc. www.strawberryquiltcake.com
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Another quickie post today, I just wanted to share that I've completed another Caswell block: Caswell Quilt - Block B2 I'm hopelessly addicted to these blocks right now, and lucky for me I'm on holidays so I can indulge my addiction. Chatter soon - I'm off to prepare my next block!
Locating my work within a tradition of quilting Although Topologies of Memory does not follow the conventional ways of quilting, there are elements of this tradition that have inspired the work. Australia's quilting traditions are uniquely defined by our cultural, so
Here is the Halloween Crazy Quilt canvas KCA 013-18: Sadly, It is the only Crazy Quilt canvas that I have not yet stitched and written a guide for. Some of you have been hinting strongly that I needed to get stitchin' to finish the Trilogy! Well wait no more! Six sections are figured out and started! This is a tiny Chartreuse wedge of the fan: Here are two different checkerboard sections: Here is a close-up of the oblique orange section in upper right quadrant: And, lastly, the three different patterns in the upper right quadrant. Notice the use of many different Combination stitches. My stitching goal with the Crazy Quilts is to create a pattern in each patch. Each patch has alot of visual interest, because it should represent an individual fabric. I achieve this by layering the stitches...layers of pattern and threads and stitches. There are 13 patch sections in the body of the Block, plus the Fan. The Fan is made up of 10 wedge sections. 23 sections total. I'm off to a healthy start...HOORAY! And just as a reminder, here are Spring & Christmas Crazies: And looking lovely on my bed:
Thank you to those of you who shared with me what you know about the Australian fabric I posted in the previous post. If you are curious whe...
The Benton County Historical Museum, Philomath, Oregon Yesterday I spent the afternoon at the Benton County Historical Museum, meeting with the staff and discussing ideas for my show at the museum next year. I will be showing a big group of New York Beauties. It will be my first show, and it will be the first time the museum has a show from one private collection. Rocky Mountain Road, c. 1880 Since 1951, the Benton County Historical Society has been preserving artifacts, photographs, and manuscripts. After Philomath citizens prevented the demolition of the 1867 Philomath College building and placed it on the National Register of Historic Places, The Society opened the building to the public in 1981 as a museum, research library and art gallery. The main gallery space is the second floor auditorium, which to this day exists as a multi-purpose space. In addition to exhibitions, the space hosts meetings, lectures and tours. There is seating and a stage on one end of the hall, and an open space with a small video kiosk on the other end. There are large windows on both ends, with special UV filtering blinds to let in light but protect the artwork. New York Beauty, c. 1930 You could display most anything in the space, and it would look good. But quilts look especially great in the space. They can hang a few quilts from the high, vaulted ceiling, and even display one flat in a big, covered display box. The space also has two covered display cases, one on each side, built in to the wall. The wall display cases will be perfect for ephemera, and I think I've collected enough related artifacts to make good use of the cases. Mountain Mist New York Beauty Pattern, 1930 I showed several quilts to Irene Zenev, Mark Tolonen, Mary Gallagher, and Liz Hoffman, and discussed ideas with them about how the show would come together. We talked about the display, storyline, points of historical interest, and agreed to do a few guided tours. I asked if it would be OK for me to put together a small printed catalog, and they liked the idea. Rocky Mountain Road, c. 1875 This whole project will be a good reason to do more research on these quilts, document them, and get some better quality professional photography done. We all see it as a unique opportunity to assemble a group of quilts representing 150 years of American quilt history in a pattern, and all from one private collection. I have a feeling the show could travel to other locations in the future.
Reproduction quilt by Petra Prins from an antique quilt found in An Noonan's A History of Dutch Quilts . Somehow Americans have lost most...
Isaiah Jacket (Oat) - CHARCOAL Exclusive Step into chic sophistication with our Isaiah Jacket, a contemporary masterpiece designed for both style and functionality. Crafted from high-quality faux leather, this jacket features matching color center front snap buttons, an adjustable neckline with snap button closures, and two functional front pockets, all accentuating its sleek racer-biker silhouette. The quilted insulated lining provides warmth and insulation, while the silver zipper closure and faux chest pocket add modern flair. With its slightly cropped design, the Isaiah Jacket offers versatility and edgy appeal, making it the perfect choice for any occasion, whether a casual day out or a night on the town. Oat jacketMatching colour centre front snap buttonsAdjustable neckline with snap buttonTwo functional pockets along frontRacer-biker jacket styleQuilted insulated liningSilver zipper closureFaux chest pocketSlightly croppedFaux leatherShell: 60% PU / 40% PolyesterLining: 100% Polyester HOW TO LOVE ME Do not machine wash Spot wash under cool water or gentle hand wash Gently wring garment Lay flat to dry, careful if clip hanging as this can dent / stretch fabric Do not iron, if there are wrinkles carefully use a steamer from the inside out or away from garment High heat from washing or dying will warp garment fabric MODEL MEASUREMENTS Location model is a size AUS 8/US 4, wears an AUS S/M in this styleHeight: 165cm / 5'5"Bust: 82.5cm / 32.5inWaist: 59.7cm / 23.5inHips: 85cm / 33.5in Studio model is a size AUS 8/US 4, wears an AUS S/M in this styleHeight: 175cm / 5'9"Bust: 75cm / 29.6inWaist: 79cm / 31.1inHips: 82cm / 32.3in
