Well, last weekend was AMQF and I really can't tell you when I have been so busy. Luckily for me all of that out-of-control ...
On Saturday the 21st of July 2012, Margaret Sampson George spoke for the Quilt Study Group of NSW about Medallion or Frame Quilts. There were 68 in the audience in the Target Theatre at the Powerhouse Museum who came to hear Margaret Sampson George talk about her introduction to sewing and quilting, her love of medallion quilts, examine some quilts in detail and then to see examples of her work and her students’ work. Margaret discovered quilt making through her contact with the craft magazines that her US service wife friends read when living in Alice Springs. After making her first quilt, a log cabin, and then moving to Penrith, she and a friend enrolled in a patchwork class run by the Embroiderers’ Guild of NSW. The teacher, Audrey McMahon, allowed them to make 4 blocks, instead of a glasses case, and introduced them to Avril Colby’s “Patchwork” (her bible still) and the Lady's Circle Patchwork Quilts magazines and the Quilter's Newsletter Magazines. A year later, she started teaching but saw there was a need for commercial suppliers of metal templates and quilting frames. She encouraged a local company to make these – thus beginning the successful start of JH Bonwick & Co’s quilting products manufacture. Now Margaret teaches whatever people want to do – “repeat blocks are not me”, she said. This is why medallion quilts have interested her – they are quirky, eccentric and traditionally are not made from a pattern but evolve. Her detailed examination of Joanna Southcott’s quilt (http://www.rammtimetrail.org.uk/#/period-17//object-1011) which was stitched in the centre with her own hair, best exemplifies what attracts Margaret’s interest. Margaret then discussed the historic reasons for the popularity of medallion quilts, the development of fabrics from the 1500s onwards (especially the quilt centres based on pastoral, floral, military or commemorative panels) and the importance of medallions for commemorating important dates in the makers’ lives (such as the New Zealand Martha Quilt – see the story of this wonderful quilt at - http://roxborogh.com/Marthasquiltimages/565K%20Martha%27s%20Quilt%201%201%2007.pdf). She finds it wonderful that there are no two identical frame quilts yet found and loves the odd ones – those that are not “oversized mathematical behemoths”. She doesn’t believe that there is a mathematical formula applicable but can see how the Fibonacci principles could help when designing the width of the frames. She now loves renovating her centres to take advantage of new, brighter fabrics. Margaret then took us through her quilts and those of her students. She started with the One Day Quilt she made in 1992. This is her 'Not the Levens Hall' quilt. Here are 2 centres inspired by the Jane Pizar Irish medallion quilt which is held at the Cheltenham Museum. The original can be viewed at http://www.bridgemanart.com/search?filter_text=pizar&x=0&y=0 (Barbara Brackman has a more detailed examination of the quilt on her blog). Marg discovered the quilt when she saw an ad for the museum in an 'English Country Living' magazine. The first example was made by one of Marg's students and the second one is Marg's version. And this is the medallion quilt she made from available fabrics and sewed under the curfew during the coup when living in Fiji. Margaret then shared a number of quilts her students have made including some made by Gay Drummond and Maree Spencer, who were in the audience. Thank you for letting us see your wonderful quilt tops. And this is the last quilt Marg showed us. A group of her students made it for her. She never uses Visoflex, so for fun they used it when making the blocks.
I love many different types of quilts but am especially fond of Medallions or Frame quilts, with a special weakness for the unsophisticat...
I have been preparing starter kits over the last few days for a weekend retreat where I will be teaching Robin's Nest. After careful cutting and calculating I have managed to make a few extra sets! If you are interested in a starter pack for this quilt project either email or phone Somerset Patchwork. Background packs are also available. Robin's Nest quilt measures 70" x 70" (1.8m x 1.8m) Until next time,
So long between posts, I have been under the weather and haven't been feeling up to posting, now trying to catch up with news. Two weeks ago I visited the Guild Quilt Museum in York, which has been open for a few years but this was my first long overdue visit! I enjoyed it very much indeed and loved the hall and current exhibition, but for several reasons, I am not sure when I will be visiting again. We, who live on the west side of the UK and can't face an arduous drive across country on unfamiliar motorways, have to budget for a long, expensive train ride and an overnight stay. York is very crowded with tourists, they throng the streets, shops and cafes. This makes for a lovely, lively atmosphere but for those of us who remember the York of old, it's a bit of a culture shock and takes getting used to. I am told that it's only the central narrow streets that get crowded but nevertheless I didn't enjoy the experience of mass tourism. Perhaps I should have avoided the summer, but I particularly wanted to see the current exhibition which is called "The Blossoming of Patchwork" and here is the link that will tell you all about it! It's a period of quilt history that I am extremely interested in, so I made the effort to travel to York and fortunately Bridget Long who co-curated, happened to be there on the day we visited and took us around the exhibits. It also was an opportunity to deliver my Charles and Diana Wedding Quilt which is to be in the next exhibition beginning in September. The quilts were early and worth studying here are some - This is a rare early crib quilt and I was interested to see that it was a block quilt, well actually a two block quilt, one fairly simple block, four with stars and the other made up of tiny 1 cm squares, made around 1800. Panels of crewel embroidery are incorporated into this quilt dated 1800-1820, surrounded by frames of high quality furnishing fabrics. Sorry about the quality of the picture, it's the best I can do! The now famous and much copied Mrs. Billings Coverlet. It's dated 1785 - 1805 and it was a thrill to see the original! This coverlet has the date 1811 and S. Challans embroidered between the petals of the central flower. It is made of printed dress cotton and furnishing fabrics and is mainly applique rather than piecing. This is called the Sidmouth Quilt, not sure why but probably it was discovered in that Devon town. It is dated 1800-1830.
Susan made this Washington Medallion quilt (pattern by Sue Garman) and I got to quilt it! It's definitely more traditional than my usual style, and so it was fun to get to play with more traditional quilting designs - like feathers! Guys, I love feathers. It was so great to have free reign
Nurture M4621819 The fabrics in this collection, soft pastels of rose, aqua, tan and cream, were reproduced from an 1810-1850 medallion or frame quilt. The quilt features both patchwork and a chintz stripe. The quilt, benefiting the National Quilt Museum's Education Fund, is the 17th in the Howard Marcus Collection series. 100% cotton Width 42"- 44" (110cm-114cm) United Notions Moda **Unless otherwise stated all fabric is sold in 1/2 yard increments. If you need a longer length, just order multiple units at checkout. e.g. If you want 2 yards just select "4" in the quantity box. Note: 1/2 yard = approximately 45.72 cms
What a special day we had on Saturday with Di Ford coming to do a workshop at my home. I know everyone learnt such a lot from her in the time she spent with us. My goodness I'm looking at my fabric in a whole new light now and am really beginning to think I'm in double trouble with my stash because as I look at it ( not even going to show you the cupboard) I think I can double the size of it as it seems it has two uses. One for peicing and two how I look at fussy cutting it. Now I really do need to either sit and sew day in and day out for the rest of my lifetime or find the elixir of life so i can get through the mountain of fabric. Di bought some of her quilts to show us and the detail in them is simply amazing. Detail in Rotherfield Grey Phoebe The Morrell Quilt Everyone listening intently to Di This is Sutton Grange which we made a start on. And guess what Mery even got to lie down on Di's quilts. I hear you all gasping! But Di didn't mind one bit and requested I take a photo of her. I guess my girl knows a good quilt when she sees it! A final decision was made about the border to my Jane's Garden which I started with Di in Nantes last year. It now needs to go off to the longarm quilter. I measured and re measured through the centre of the quilt but it seems to have very wavy edges. It's a much finer fabric than the rest of the quilt so am hoping Sandy will work her magic and it will come out right in the end. I even got a photo at long last with Shirley http://stitcherydo.blogspot.co.uk/. Of course I had to have a photo with Di too and I'm just noticing the French dressing I spilt all down my sweater. What a wonderful day with freinds, good food and a great teacher. We love you Di, please come back to the UK again soon or we may all have to emigrate to Melbourne. Sue
Use your computerized longarm to create the look of free-motion quilting on your next quilted project. This design is part of the January 2022 Club: Modern Science. Pattern Type: Block Pattern Style: Drunkard's Path, Frame, Corner Formats Included: BQM CQP DXF HQF HQV IQP PAT PLT QLI SSD
I love many different types of quilts but am especially fond of Medallions or Frame quilts, with a special weakness for the unsophisticat...
On Saturday the 21st of July 2012, Margaret Sampson George spoke for the Quilt Study Group of NSW about Medallion or Frame Quilts. There were 68 in the audience in the Target Theatre at the Powerhouse Museum who came to hear Margaret Sampson George talk about her introduction to sewing and quilting, her love of medallion quilts, examine some quilts in detail and then to see examples of her work and her students’ work. Margaret discovered quilt making through her contact with the craft magazines that her US service wife friends read when living in Alice Springs. After making her first quilt, a log cabin, and then moving to Penrith, she and a friend enrolled in a patchwork class run by the Embroiderers’ Guild of NSW. The teacher, Audrey McMahon, allowed them to make 4 blocks, instead of a glasses case, and introduced them to Avril Colby’s “Patchwork” (her bible still) and the Lady's Circle Patchwork Quilts magazines and the Quilter's Newsletter Magazines. A year later, she started teaching but saw there was a need for commercial suppliers of metal templates and quilting frames. She encouraged a local company to make these – thus beginning the successful start of JH Bonwick & Co’s quilting products manufacture. Now Margaret teaches whatever people want to do – “repeat blocks are not me”, she said. This is why medallion quilts have interested her – they are quirky, eccentric and traditionally are not made from a pattern but evolve. Her detailed examination of Joanna Southcott’s quilt (http://www.rammtimetrail.org.uk/#/period-17//object-1011) which was stitched in the centre with her own hair, best exemplifies what attracts Margaret’s interest. Margaret then discussed the historic reasons for the popularity of medallion quilts, the development of fabrics from the 1500s onwards (especially the quilt centres based on pastoral, floral, military or commemorative panels) and the importance of medallions for commemorating important dates in the makers’ lives (such as the New Zealand Martha Quilt – see the story of this wonderful quilt at - http://roxborogh.com/Marthasquiltimages/565K%20Martha%27s%20Quilt%201%201%2007.pdf). She finds it wonderful that there are no two identical frame quilts yet found and loves the odd ones – those that are not “oversized mathematical behemoths”. She doesn’t believe that there is a mathematical formula applicable but can see how the Fibonacci principles could help when designing the width of the frames. She now loves renovating her centres to take advantage of new, brighter fabrics. Margaret then took us through her quilts and those of her students. She started with the One Day Quilt she made in 1992. This is her 'Not the Levens Hall' quilt. Here are 2 centres inspired by the Jane Pizar Irish medallion quilt which is held at the Cheltenham Museum. The original can be viewed at http://www.bridgemanart.com/search?filter_text=pizar&x=0&y=0 (Barbara Brackman has a more detailed examination of the quilt on her blog). Marg discovered the quilt when she saw an ad for the museum in an 'English Country Living' magazine. The first example was made by one of Marg's students and the second one is Marg's version. And this is the medallion quilt she made from available fabrics and sewed under the curfew during the coup when living in Fiji. Margaret then shared a number of quilts her students have made including some made by Gay Drummond and Maree Spencer, who were in the audience. Thank you for letting us see your wonderful quilt tops. And this is the last quilt Marg showed us. A group of her students made it for her. She never uses Visoflex, so for fun they used it when making the blocks.
I love many different types of quilts but am especially fond of Medallions or Frame quilts, with a special weakness for the unsophisticat...
Looking to amp up your accessories game? This gold vermeil chain necklace will work like a charm. A semi-precious pendant in light green aventurine, amazonite, and peach aventurine is framed by delicate freshwater pearl, gold-plated cornicello, and lemon quartz charms. - Gold-plated sterling silver, gold-plated brass, aventurine, amazonite, freshwater pearl, quartz - Length: 21" Extender: 6"
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
Seams like Yesterday by Karen Styles Karen Styles is an Australian quilt designer who has been fabricating works of art with reproduction fabrics for the past 20 years. Karen loves stars, hexagons, medallion/framed quilts, and is a Master at English Paper Piecing. Her book is a gourmet fest of these passions, including a sublime Sampler where color, creativity, techniques and gorgeous fabrics abound. Over the years I have enjoyed seeing my beginners light up as they discover the joy of patchwork and quilting and the more experienced students enjoy the more challenging designs I have created. » - Karen Styles Karen’s quilting journey began as a teenager when she learned the basics of EPP. The quilting bug didn’t gain hold until after the birth of her children when a dear friend convinced her to take some classes at a local Melbourne shop. And as the French say, voilà, she was hooked! Karen began reproducing antique quilts and eventually purchased the shop that had sparked her quilting rebirth! Karen loves to find unique and uncommon works to reinterpret. She adores the precision required in assembling stars (a common motif in her quilts), as well as in circular forms and hexagons. Karen is a renowned international teacher, and her inspirational personality is as bright and warm as her quilts. 15 quilts and 8 full-size templates -168 pages You will find in this book the explanations for the quilts below: In the pink Henrietta Clementine Betty Lyngford Lane Prins-Hall Coverlet Miss Lynne Winter Garden King Cross Goosey Goosey The Village Ambrosia Little Mathilde Southfields Sykes Family Album
During my lectures and workshops, I've had several people ask me how I accomplished curved crosshatching. You can't imagine how very simple it really is. Get ya an arched template and curve away. Right? Right! So, to show you how easy peasy it is, I'm posting pictures of Linda's gorgeous Borders quilt where I did a curved crosshatch in the cream border, and showing you step-by-step how I did this. Linda LaBrot's beautiful Borders Quilt. Pattern is from Winnie Fleming's Borders Class I first wanted to create arches throughout the cream border. Using my favorite purple disappearing ink marker, I used an arch template to mark the double lines to create even arches through the border. I sewed these lines creating the arches. You could easily make this step straight lines as well. I like using double lines because it defines the arches. Now it was time to mark the curved crosshatched lines. Using that fabulous disappearing marker again and the same arch template, I marked the lines following the curve across the arch. Then turned the arch template over and marked the other way. Since the arched template I was using does not have any marked lines, I used a piece of painters tape on the template to mark the width of the crosshatches. Time to sew...Using the same arch template, I quilted the lines. I retraced the original arches and the stitch in the ditch at the bottom so I would not have so many starts and stops within such a small space. And so I put the curve into crosshatching. It really is Easy Peasy! And for your enjoyment, the rest of Linda's stunning Border Quilt. I had a hard time letting this one go back to her. I wanted to keep it.
60" x 60" Jumbled Library 2 - 28" x 29.25" Kaleidoscope - Finished in 2012 Candy Colors 31" x 37" Candy Color Left...
It has been a while between posts so there is a lot to share.....here is the first instalment! This past weekend a small group of us were invited by a very special friend to travel to Victoria to see the inaugural quilt exhibition of the Castlemaine Applique Group and what an incredible exhibition it was! I took over 80 photos just on the first day so have had to reduce them for the blog. As a lover of appliqué this was like viewing the "cream of the cream" with a very strong focus on reproduction fabrics. Many of the quilts have been inspired by antique quilts as you will read on the labels and many hand pieced and hand appliquéd. The labels explain more so I will let the photos do the talking........and not sure if the bike hire was to zoom around the exhibition or not! (and yes to those at home....that would be Kay still hobbling on that broken foot) and this is the pieced back of Di's quilt............. We are now being thoroughly spoilt for a few days in the beautiful city of Ballarat with lots of talking, quilting, eating and sight seeing...... so more news of that in a few days. Hope all is well in your part of the world xx
Voordat ik echter weer voet over "eigen" drempel zette, ging ik eerst nog samen met Bep naar 't westen van 't land, en wel naar 't Quilters Palet in Den Haag voor een instructie-workshop "Apliquick". Behalve dat we een geweldige dag hadden met een door Petra heerlijk verzorgde lunch, was het een leuke, leerzame workshop en besloten we meteen tot de aanschaf van deze handige "tooltjes" over te gaan. In de auto naar huis planden we een "Apliquick Summer School" . Het werd donderdag 15 augustus. De volgende dag in de winkel was het genieten van al het nieuws. Een heel nieuwe ouderwets mooie collectie Lecien rozenstoffen in prachtige verstorven kleuren! ZOOOOO schitterend! Een zomerquilt in pasteltinten gemaakt met de collectie Olivia van Anna Griffin. Aan 't pakketwordt nog gewerkt :-) Heel anders van kleur, maar niet minder mooi; fat eight waaiertjes van de Scarlet Evening collectie van Judie Rothermel. Nieuwe projecten in de maak: een reproductie van een antieke ster quilt met een prachtige rand een Mariner's Compass medaillon quilt en een op het middenstuk van Di Ford's Drayton Hall geinspireerde quilt gemaakt met een selectie uit de collecties Paintbox en Audra's Iris Garden van Moda. Hier een preview, er moet nog iets aan het middenstuk gebeuren en er komt nog een rand omheen. Na een heerlijk vakantie ben ik weer helemaal THUIS en klaar voor nieuwe plannen! Fijne dag
this is the mother of all projects.....www.365challengequilt.com.au....starting january 1, 2016....i am picturing scrappy to the nth degree here....some blocks 3", some 6" and i would guess the corner squares and center are 12".....a heavy commitment that depends on stamina and continuing good health...can i do it? should i do it? or possibly tweak it? maybe make only the 3" or the 6"....plenty of possibilities...in the meantime will focus on today's quilty plate that includes the bonnie block from farmer's wife, some stars too....some serious caffeine first as it is a cloudy and rainy day, good day for a book and a comfy chair with a cozy quilt. the good AND bad side of the internet--so much--too much--quilty temptation. have time to ponder this while focusing on today's.....keep dry and quilt on!
I love many different types of quilts but am especially fond of Medallions or Frame quilts, with a special weakness for the unsophisticat...
and I MADE my self imposed deadline. As those of you who follow my sporadic blog… I have been piecing and hand quilting Mrs Billings Coverlet. A pattern reproduced by Karen Styles of Somerset Patchwork in Australia. I have included a little of the history of the Quilt as written by Karen on her Blog. The Billings’ Coverlet 1805-1810 The original coverlet can be found in the collection of The Quilters’ Guild of the British Isles. This is the amazingly detailed quilt on which I based my Mrs Billings. A square coverlet made from fifteen frames of printed cotton hexagons, squares on point, kites and long diamonds made from triangles. Some of the fabrics date from the 1770s, and several have three blue threads in the selvedge. The majority of the fabrics are made from dress prints, although there are some furnishing prints represented. The coverlet had been passed down through the donor's family from her Great Grandmother, who was a housekeeper in a large house in the Leeds area. This is my version At last it is now finished. At this stage this is the only photo I have as its in storage awaiting the Festival of Quilts show in Auckland on the 7th, 8th and 9th November. I am really thrilled with how it turned out, and if I’d known what a mammoth job it was I may not have kept at it….but I did. Over 500 hours of hand quilting! Thanks for dropping by
blogged
De zusters, waarom de quilt waar ik aan ga beginnen zo heet weet ik niet, en zusters moet ik ook al ontberen, zelfs ééntje is mij niet gegun...
It is nice to be home from Houston, it is fun to go, but always nicer to come home. We have been home since Monday and now tomorrow (Monday) we leave for Des Moines, IA, for our last show of the y…
Le Best of Mountmellick. Di Ford (Australie) a créé un Quilt Mystère pour Quiltmania en 2013. A Nantes, il n'y avait pas moins de 25 quilts en l'honneur de l'artiste. interprétation de Cécile Franconie interprétation de Christine Villemant Modern...
When I saw Di Ford's new fabric range 'Cloverdale House' I knew I HAD to have it. Then, when I'd purchased enough to make 'something' (I really wasn't sure what it would be quite yet), I left it in my
Some more photos from our day in Wales Love these red's This was a favourite and hanging in the hallway. Janet Boltons work was on display too. After Lampeter we headed off for Jen's shop in Llanybydder. This little building is stuffed to the gunnels with quilts and welsh wool blankets. Linda just didn't just peer over the wall. Lots of foraging went on too. We then headed for home and wish I could have shown the route the sat nav took us. I'm sure she took us on the scenic route. That's it for today, tomorrow is another day with another adventure. Sue
