Jane Austen At Home for Riley Blake Designs Fabulous new collection of reproduction prints from the original 'Jane Austen' coverlet quilt thought to be made by Jane Austen herself, her sister Cassandra and their mother, dating back to the 1800s. Intricate and beautiful florals of varying scale in a captivating colour palette. Our exclusive curated bundle includes (18) fat quarters total, each measuring 56cm x 50cm. Please note this bundle does not include the navy dot fabric from the collection. (We have paper piece kits for the Jane Austen quilt, as well as a free quilt pattern).

A new year begins for newlywed Anne Brown Dickson as she navigates life with her husband who is facing serious heart issues. Anne, the owner of a local flower shop, encounters her share of challenges as she tries to juggle many responsibilities and keep up with the goings on in her family and community. In addition to the Jane Austen Literary Club that Anne already enjoys, a community group has begun to create a Jane Austen quilt—with each member devising a block that personally reflects their own interpretation of Jane. When the completed quilt is entered into an international quilt competition and then mysteriously disappears, the community is in an uproar.Book 4 in the Colebridge Community Series. Pages: 314 Author: Ann Hazelwood Publish Date: 01/21/2014 Dimensions: 5.5in x 0.6in x 8.5in Softcover

The beautiful Jane Austen quilt! A remarkable patchwork quilt that is thought to be made by Jane Austen herself, alongside her sister Cassandra and their mother. It was created in the traditional technique of English Paper Piecing, whereby fabrics are tacked or basted to a paper template and then whipstitched together. Myself and Robin have drawn up a meticulous reworked version of the original patchwork coverlet FREE for you to recreate this spectacular quilt as well. It features a medallion style diamond centre panel with a broderie perse appliqued design of birds and a basket of flowers. Broderie perse is the technique of selecting and cutting motifs from chintz and other such fabrics and needle-turn appliquéing them to different background fabrics to create a new design. We have omitted a specific appliqué design for the medallion centre, so you can create your own. The main section of the quilt top is then made up of diamonds pieced between a cream and navy dot sashing, finished with a deep border of smaller sized paper pieced diamonds. We have been asked to make paper pieces for the Jane Austen quilt for many years, and for one reason or another it always ended up on the back-burner. Though when I heard news of a Jane Austen At Home fabric collection to launch I knew it we had to make time! To one of our loyal Festival of Quilts shoppers each year (whose name escapes me now!) that always asked, can we do the Jane Austen papers - this is for you! ;-) We are offering a free downloadable 5-A4 page PDF pattern through Sew & Quilt. We also have printed copies if you don't have access to a printer, and prefer a hard copy rather than online viewing. Wow, it was quite the brain exercise to create and draw up the pattern, so much so that I'm not sure we would have done it had I known that from the start, lol! Download your Jane Austen Quilt Pattern here. Quilt Size: 71” x 89” What do I need to make the quilt? You will need the Jane Austen English Paper Piece Kit to complete the quilt top. We have created two options for you; - Starter size kit, which is just one regular size pack of each (+1 extra of one, in order to cut down, details included in the pack and on the product listing) of our standard sized bag options we sell at Sew & Quilt, put together as one item for you to purchase. - Complete kit, which includes all the paper pieces required to make the quilt top (though it doesn't include all of the small diamonds for the border, as we thought you could reuse some of those, given the large amount). We have all the information inside the pattern on total numbers of pieces, and the EPP kit product page gives details on pack sizes (if you wanted to work out how far the starter kit will get you). We also have matching acrylic templates, these include a 3/8" seam allowance. What fabric do I need to make the quilt? We have provided yardages requirements in the quilt pattern, based on cutting rectangles, as noted this will be the most wasteful in terms of fabric usage. However this is the only way we are able to give you an accurate yardage requirement. You will need 22 fat quarters for the main quilt top. 5-1/2 yards ~ 5.25m approx. (large diamonds). For our version, we have used 18 FQ's from the Jane Austen At Home Collection + an additional 4 which are duplicated. I hadn't even thought to mention in the quilt pattern which ones they were (silly me!), but it's important you should know this information which is not included in the pattern: The four duplicated FQ's for our design are; Elinor 04, Harriet 09, Margaret 11 and Penelope 15. 4-1/2 yards ~ 4.25m, approx. (Cream with Navy Dot, for sashing fabric) 9 yards ~ 8.25m approx. (borders, I would advise using up your fabric stash as the pieces are very small so you don't necessarily need the same collection, just stick with on-theme prints. 3/4 yard ~ 0.75m (binding fabric) The photo above shows you can cut (24) 3" 5-point diamonds to a (UK sized) fat quarter. Our pattern says you can cut (12) to a FQ, because as mentioned above we have based this on rectangles. Instead cutting this way (using the Jane Austen acrylic template set) you can be more frugal with your fabric. The Jane Austen fabrics are sold out? If our Jane Austen FQ bundle and the 4 additional FQ's mentioned above are out of stock, don't worry. I would instead suggest you use our numbered key of 0-17 and gather other fabrics and label each print 0-17. That way you can still follow along with our numbered diagram. Remember you will need two FQs of numbers 04, 09, 11, 15, when using our cutting instructions from the quilt pattern. Find all our Jane Austen Quilt products online at Sew & Quilt. I really hope you have fun making this quilt, it is a beautiful design that has stood the test of time and will no doubt become a family heirloom - which is what we are all about at Sew & Quilt; 'Creating your future heirloom today!'. Please share your versions of the Sew & Quilt Jane Austen quilt pattern, using the hashtag #JaneAustenEPPQuilt so we can share progress and updates online!

Acrylic template set for the Jane Austen quilt by Sew & Quilt. Use our exclusive clear, acrylic template cutting templates to draw around your fabrics to ensure the perfect 3/8" seam allowance. Perfect for fussy-cutting, the clear material will enable you to see-through to find repeating fabric motifs and patterns. 5pc. set includes; 3" 5-point diamond, 3” x 1” parallelogram, 1” 5-point diamond, 1” 'half-length' 5-point diamond and 1” 'half-width' 5-point diamond. Please note the set does not include the 3" (half-length) and (half-width) 5-point diamonds, we decided to omit these.

Here it is then... a better picture of the quilt! You will notice that this is really a mock up of scans of all the blocks with the quilting superimposed over the top...a little dodgy in places but gives a...

Anja's quilt op de machine Als enorme liefhebber van antieke en reproductiequilts had ik vandaag (en morgen ook nog!) een minifeestje in de studio. Op de machine ligt Anja's reproductie van de Jane Austen coverlet (coverlet = een niet gevulde gevoerde deken). Anja's quilt wordt "eenvoudig" doorgequilt. Alle diamanten worden apart gequilt in bijpassende kleuren en dat blijkt nog een behoorlijk karwei. Maar mooi!!! Deze quilt staat hoog op mijn to do verlanglijst. Waarschijnlijk niet haalbaar in de grote versie, maar de kleine variant is ook te leuk (onderste plaatje)! Wil je meer lezen en zien van deze quilt? Kijk dan eens op deze links: - De site van het Jane Austen Museum - Het Jane Austen Centre - De site van Rosalee Clark Detail: Iedere diamant wordt apart gequilt De originele Jane Austen quilt in Bath (bron: www.janeausten.co.uk) Detail van de originele Jane Austen quilt (bron: www..janeausten.co.uk) Mini reproductie quilt, ontwerp van Rosalee Clark (bron:www.rosaleeclark.com.au)

Jane Austen BOW #2 Sister's Choice I used 3 fabrics in this block and I am pleased with how it turned out. The pink is from the Ladie...

Jane Austen quilt - a hand-pieced diamond coverlet made by Jane herself. There is reproduction fabric from Riely Blake to make your own.

Quilt blocks that tell a story have always intrigued me. Scrap quilts, for example, tell the story of quilts that came before, and T-shirt quilts tell the story of a life or hobby. With the

Made from reproduction printed cotton fabric and enhanced with felt appliqué leaves and hand embroidery. They stand on a decorative vintage wooden cotton reel. A little tree that celebrates the Jane Austen quilt fabrics. This one stands about 6” high My iconic cotton reel trees are v...More Made from reproduction printed cotton fabric and enhanced with felt appliqué leaves and hand embroidery. They stand on a decorative vintage wooden cotton...More

Around 2002, I borrowed a book from the Campbelltown Quilters Guild called “Quilt Treasures of Great Britain, The Heritage Search of the Quilters’ Guild” with photographs by David Cripps, published by Rutledge Hill Press in 1995. This book has recently been reissued. It was the first book of antique quilts I had ever seen. In that book on page 42 was a photograph of a quilt top made in the late eighteenth century. I was absolutely stunned! The intricacy of the design (and the amount of work involved in making it) astounded me. That photograph of that quilt haunted my thoughts for a long time! I had to make my own interpretation of it. The book included a small paragraph on how the unknown maker achieved her masterpiece. I could not make head nor tail of the explanation! Only more recently have I worked it out. The maker apparently drew a full scale drawing of her design on paper, including registration marks where pieces fitted together. She then cut around every piece, every petal and leaf, every frame and scroll and hand basted fabric over every pattern piece of paper. She then whip stitched every piece together. Some leaves are completely inset within the background fabric. Now isn’t that the most extraordinary achievement in English paper piecing you have every heard of? This quilt has been the subject of an article in The Journal of the British Quilt Study Group, Issue 10, 2009. The article by Bridget Long called “Sibling, Cousin or Friend?” compares the coverlet that I loved from the British Quilt Heritage Project with another very similar fragmentary coverlet now in a private collection in the United Kingdom. I decided I needed to make a quilt with a similar style to the beautiful coverlet I had seen in the book. This quilt became “Pemberley”, probably my favourite of all the quilts I have made so far and the one which has given me the most enjoyment teaching. All of the quilts I had made up to this time to teach were my own original designs. I was not sure whether my students would want to make a quilt based on an antique but I was making it just for me. I drew up a design to scale on paper and commenced appliquing the centre medallion. The original coverlet included a small rectangular basket on a mat and the major flower in the centre of the quilt was a giant sunflower. I refined the urn and drew my own flowers based on the shapes used elsewhere in the quilt. I appliquéd a row of scallops around the central oval which was outlined by a small “peeper”. I also drew a rambling vine of flowers around the centre. I made these symmetrical for the “asymmetrically challenged” and they form a larger curved shape around the centre. I made the appliquéd “wavy” border and intended to stop there and make the quilt into a wall hanging. My friend, Deborah Louie, always one to encourage me and spur me on to even more work, convinced me to keep going with the outside blocks. She is also responsible for the idea of adding 68 tiny circles in between the curves of the wavy border – thank you Deborah! The original coverlet included three different appliquéd block designs in the outside border, surrounded by a complex arrangement of clam shells. I felt the clam shells were too busy, so I eliminated them and set each block separately with a sash border between each one. The quilt overall took me four years to complete (making other quilts in between of course). When it was finished I was searching for a name for it. I thought I would like to name it after a beautiful English grand estate so I toyed with different ideas like Chatsworth and Blenheim. Then one evening I was rewatching a DVD of the 1995 BBC production of “Pride and Prejudice” and when Elizabeth toured Mr D’Arcy’s Derbyshire ancestral home of “Pemberley”, I knew I had the answer. Who could resist any connection with Colin Firth! Since making "Pemberley", I have discovered other quilters have made their own interpretation of the same beautiful coverlet. Isn’t it amazing that a 200 year old work of art would inspire today’s needlewomen. I entered "Pemberley" in the 2009 Quilters’ Guild of NSW Darling Harbour Show and it won 4th place in the Professional Predominately Applique category. It also won 2nd Viewers Choice award at the Camden Country Quilters’ Guild Show that same year. I have taught "Pemberley" numerous times and have been delighted with the response from my students. The variety of colour interpretations has been amazing. I have quite a few photographs of the different variations posted throughout my blog. Because "Pemberley" proved so popular I decided to make a series of quilts and name each one after a property featured in Jane Austen’s "Pride and Prejudice". I have been an Austen fan from the time I was a little girl, rereading "P and P" many times while tucked up in bed. Here is my quilt: "Pemberley": The next quilt was to be called “Netherfield”, the country estate leased by Mr Bingley at the beginning of the novel. I decided to make this quilt in the style of the typical Engligh frame quilt, a style we more often call a medallion layout. English frame quilts consisted of many pieced borders sewn around a centre square. The square in the centre was usually placed square (unlike the American medallion quilt which turned the centre square on point to become a diamond shape in the middle). Some of the frame quilts presented to the British Quilt Heritage Study Group contained many hundreds of scrap pieces from dress fabrics intricately pieced and appliquéd into many framed borders. These quilts and coverlets were made to be displayed and used only for best. Other quilts of the style were hurriedly made for everyday use, obviously with little planning or reliance on mathematics. In fact a lot of these quilts appear to our eye to be poorly planned. The effective juxtaposition of light and dark fabrics is often jumbled and patchwork designs do not turn the corners neatly. It would appear that such frame quilts were worked in strips of pieced patchwork until such time as a seamstress had enough frames to put together around a central square to make a quilt. There are many beautiful examples of English frame quilts still in existence and even the most humble version offers some inspiration for different shapes and layout ideas. The centre square was often a printed commemorative or floral panel popular at the beginning of the nineteenth century. I combined several of my favourite shapes in the framework of borders on my Netherfield quilt. The quilt originally included a centre square of a toile fabric in deep reds and greens featuring a regal peacock. I began showing the half finished piece to several of my quilting friends who unanimously agreed they liked the idea of the frame quilt but they all hated the bird! The bird had to go! Even though I had pieced several borders around it, I decided to unpick the centre square and replace it with an appliqué design. The inspiration for the design came from a block pictured in Jinny Beyer’s book “The Quilter’s Album of Blocks and Borders”. There it is called Cog Wheels from the Ladies Art Company catalogue of 1898. The pieced borders of half square triangles, sixty degree triangles and flying geese were added to the centre with what I call “fudge factor” borders in between. Having taught for ten years I have realised that not everyone sews the same quarter inch seam. The borders in between the pieced sections can be adjusted in width to accommodate any differences in the pieced borders. Much less stress for my students as well as for myself! Netherfield also included an appliqué vine border of hexagon flowers and buds and a large outside border of hexagon lozenges turned on their sides. T "Netherfield" was magnificently quilted by Veronica Appleyard of Minto Heights. The quilt won us a first place ribbon in the 2010 Darling Harbour Quilt Show. Very exciting! "Netherfield": The third quilt in the series was to be called “Longbourne” after the house where the five Bennett sisters lived with their parents. I wanted this quilt to have a pretty appearance to represent the sisters. The centre appliqué rectangle contains an urn of flowers. This is surrounded by several appliqué borders of my beloved 1 inch hexagons, frames of English paper piecing using the same shapes as the Lucy Boston Patchwork of the Crosses and the clam shells I had seen on the coverlet which inspired Pemberley. I wanted the centre to be reminiscent of Elizabethan crewel wool embroidery. To draw the urn I “googled” on the internet for images of English urns and drew up my design. Those embroideries often included plaited and twisted vines in profusion so I included a central stem like a cable design. The flower at the top is the Tudor rose, representative of the English throne. The pomegranate represents fertility and the tulips represent perfect love in herbal folk lore. The quilt also included my usual mechanism of fudge factor borders in a soft pink stripe. The quilt has a romantic effect in a palette of pink, chocolate, blue and gold. A lot of the reproduction fabrics have been “fussy cut” where one motif is deliberately cut and featured in the appliqué, especially in my ⅜ inch hexagons. This quilt is an extravaganza of hand applique, beautifully quilted by Veronica Appleyard. The quilt won a ribbon for "Best Original Design" at the 2011 Camden Country Quilters' Guild Annual Show. "Longbourne": The fourth quilt was to be named “Rosings” after the magnificent residence in Kent of Lady Catherine de Burgh, the esteemed patroness of the Bennetts’ cousin, Mr Collins. This had to be an even more elaborate quilt than the previous ones. No pressure! I completed the appliqué on Rosings in January 2012 and it has just been quilted by my dear friend Veronica Appleyard. The centre circular block is called “Georgetown Circle”. This block was also named and catalogued in the Ladies Art Company Catalogue of 1897. I thought it reminiscent of the floor tiling of cathedrals and stately homes. This is surrounded by a heavily appliquéd panel of corner urns containing a profusion of flowers. The use of the chocolate brown background with the appliqué in golds and reds give the quilt a rich appearance. The pieced dogtooth border gives the eye a rest and borders the heavy appliqué. I then devised a border of English paper pieced octagons and squares. The final border was a magnificent border print of urns of flowers designed by Judie Rothermel for Marcus Brothers fabrics called “A Journey Through Time”. I was very excited that the first four quilts in the series were featured as part of the Quilt Exhibition associated with the Australasian Quilt Convention held in Melbourne in April 2012. "Rosings": The fifth quilt in the series is "Hunsford", named after Mr Collins' parsonage on the edge of the "Rosings" estate. This quilt is in a colour scheme of black, red and cream with lots of geometric patterns. I wanted it to have a more masculine look than the previous quilts so there are no flowers on it. It was quilted by Veronica Appleyard. Here it is, hanging at Darling Harbour: "Hunsford": The sixth quilt is called "Meryton" after the town the sisters walk to from Longbourne to go ribbon shopping. If you are an Austen fan, this is where they meet Mr Wickham. This quilt is very feminine in a colour scheme of pink and green. "Meryton": The 7th quilt of the series is called "Lambton". Lambton is the town closest to "Pemberley" where Elizabeth Bennet stays at the inn with her aunt and uncle Gardiner. It is here that she receives the latter from Jane advising her that Lydia has run away with Mr Wickham. The quilt features a large circular motif in the centre block inspired by the rose stained glass windows in English cathedrals. The colour scheme is teal, navy blue, orange/red, brown and gold. The quilt was magnificently quilted by Helen Hayes of Melbourne. "Lambton": The next quilt to be added to the collection is called "Hartfield". I completed the quilt in May 2016 and it was again quilted by the very talented Helen Hayes. I found I had exhausted the prettier names of places in "Pride and Prejudice" and therefore "Hartfield" comes from Austen's novel "Emma". "Hartfield" is where Emma Woodhouse lives with her elderly father. The quilt is completely made using English paper piecing techniques in a colour scheme of red, brown, mustard, green and purple. (Yes, I added purple to the repertoire!) This will be my major teaching piece for 2017. "Hartfield": The major teaching piece for 2018 is called "Highbury". This is the village near Hartfield, a place Emma often visits in the novel. My quilt is in a very pretty colour scheme of strong pink, teal, gold, green and purple. The palette is different to the previous quilts which were all the more dull colours of civil war reproduction fabrics. The centre features a bouquet of flowers tied with a ribbon. This is surrounded by other pretty vines of flowers and more ribbons in the four corners. A feature border of lovely Dresden flowers and frames of one inch hexagons complete the quilt. I am working steadily on the next instalment which will be the tenth quilt in the collection, to be called "Donwell Abbey". It is more masculine in bold colours of black, red and gold with lots of fussy cutting. Stay tuned. If you would like to make any of these quilts in class, please consult my teaching schedule or email me at kat.had@bigpond.com.

Around 2002, I borrowed a book from the Campbelltown Quilters Guild called “Quilt Treasures of Great Britain, The Heritage Search of the Quilters’ Guild” with photographs by David Cripps, published by Rutledge Hill Press in 1995. This book has recently been reissued. It was the first book of antique quilts I had ever seen. In that book on page 42 was a photograph of a quilt top made in the late eighteenth century. I was absolutely stunned! The intricacy of the design (and the amount of work involved in making it) astounded me. That photograph of that quilt haunted my thoughts for a long time! I had to make my own interpretation of it. The book included a small paragraph on how the unknown maker achieved her masterpiece. I could not make head nor tail of the explanation! Only more recently have I worked it out. The maker apparently drew a full scale drawing of her design on paper, including registration marks where pieces fitted together. She then cut around every piece, every petal and leaf, every frame and scroll and hand basted fabric over every pattern piece of paper. She then whip stitched every piece together. Some leaves are completely inset within the background fabric. Now isn’t that the most extraordinary achievement in English paper piecing you have every heard of? This quilt has been the subject of an article in The Journal of the British Quilt Study Group, Issue 10, 2009. The article by Bridget Long called “Sibling, Cousin or Friend?” compares the coverlet that I loved from the British Quilt Heritage Project with another very similar fragmentary coverlet now in a private collection in the United Kingdom. I decided I needed to make a quilt with a similar style to the beautiful coverlet I had seen in the book. This quilt became “Pemberley”, probably my favourite of all the quilts I have made so far and the one which has given me the most enjoyment teaching. All of the quilts I had made up to this time to teach were my own original designs. I was not sure whether my students would want to make a quilt based on an antique but I was making it just for me. I drew up a design to scale on paper and commenced appliquing the centre medallion. The original coverlet included a small rectangular basket on a mat and the major flower in the centre of the quilt was a giant sunflower. I refined the urn and drew my own flowers based on the shapes used elsewhere in the quilt. I appliquéd a row of scallops around the central oval which was outlined by a small “peeper”. I also drew a rambling vine of flowers around the centre. I made these symmetrical for the “asymmetrically challenged” and they form a larger curved shape around the centre. I made the appliquéd “wavy” border and intended to stop there and make the quilt into a wall hanging. My friend, Deborah Louie, always one to encourage me and spur me on to even more work, convinced me to keep going with the outside blocks. She is also responsible for the idea of adding 68 tiny circles in between the curves of the wavy border – thank you Deborah! The original coverlet included three different appliquéd block designs in the outside border, surrounded by a complex arrangement of clam shells. I felt the clam shells were too busy, so I eliminated them and set each block separately with a sash border between each one. The quilt overall took me four years to complete (making other quilts in between of course). When it was finished I was searching for a name for it. I thought I would like to name it after a beautiful English grand estate so I toyed with different ideas like Chatsworth and Blenheim. Then one evening I was rewatching a DVD of the 1995 BBC production of “Pride and Prejudice” and when Elizabeth toured Mr D’Arcy’s Derbyshire ancestral home of “Pemberley”, I knew I had the answer. Who could resist any connection with Colin Firth! Since making "Pemberley", I have discovered other quilters have made their own interpretation of the same beautiful coverlet. Isn’t it amazing that a 200 year old work of art would inspire today’s needlewomen. I entered "Pemberley" in the 2009 Quilters’ Guild of NSW Darling Harbour Show and it won 4th place in the Professional Predominately Applique category. It also won 2nd Viewers Choice award at the Camden Country Quilters’ Guild Show that same year. I have taught "Pemberley" numerous times and have been delighted with the response from my students. The variety of colour interpretations has been amazing. I have quite a few photographs of the different variations posted throughout my blog. Because "Pemberley" proved so popular I decided to make a series of quilts and name each one after a property featured in Jane Austen’s "Pride and Prejudice". I have been an Austen fan from the time I was a little girl, rereading "P and P" many times while tucked up in bed. Here is my quilt: "Pemberley": The next quilt was to be called “Netherfield”, the country estate leased by Mr Bingley at the beginning of the novel. I decided to make this quilt in the style of the typical Engligh frame quilt, a style we more often call a medallion layout. English frame quilts consisted of many pieced borders sewn around a centre square. The square in the centre was usually placed square (unlike the American medallion quilt which turned the centre square on point to become a diamond shape in the middle). Some of the frame quilts presented to the British Quilt Heritage Study Group contained many hundreds of scrap pieces from dress fabrics intricately pieced and appliquéd into many framed borders. These quilts and coverlets were made to be displayed and used only for best. Other quilts of the style were hurriedly made for everyday use, obviously with little planning or reliance on mathematics. In fact a lot of these quilts appear to our eye to be poorly planned. The effective juxtaposition of light and dark fabrics is often jumbled and patchwork designs do not turn the corners neatly. It would appear that such frame quilts were worked in strips of pieced patchwork until such time as a seamstress had enough frames to put together around a central square to make a quilt. There are many beautiful examples of English frame quilts still in existence and even the most humble version offers some inspiration for different shapes and layout ideas. The centre square was often a printed commemorative or floral panel popular at the beginning of the nineteenth century. I combined several of my favourite shapes in the framework of borders on my Netherfield quilt. The quilt originally included a centre square of a toile fabric in deep reds and greens featuring a regal peacock. I began showing the half finished piece to several of my quilting friends who unanimously agreed they liked the idea of the frame quilt but they all hated the bird! The bird had to go! Even though I had pieced several borders around it, I decided to unpick the centre square and replace it with an appliqué design. The inspiration for the design came from a block pictured in Jinny Beyer’s book “The Quilter’s Album of Blocks and Borders”. There it is called Cog Wheels from the Ladies Art Company catalogue of 1898. The pieced borders of half square triangles, sixty degree triangles and flying geese were added to the centre with what I call “fudge factor” borders in between. Having taught for ten years I have realised that not everyone sews the same quarter inch seam. The borders in between the pieced sections can be adjusted in width to accommodate any differences in the pieced borders. Much less stress for my students as well as for myself! Netherfield also included an appliqué vine border of hexagon flowers and buds and a large outside border of hexagon lozenges turned on their sides. T "Netherfield" was magnificently quilted by Veronica Appleyard of Minto Heights. The quilt won us a first place ribbon in the 2010 Darling Harbour Quilt Show. Very exciting! "Netherfield": The third quilt in the series was to be called “Longbourne” after the house where the five Bennett sisters lived with their parents. I wanted this quilt to have a pretty appearance to represent the sisters. The centre appliqué rectangle contains an urn of flowers. This is surrounded by several appliqué borders of my beloved 1 inch hexagons, frames of English paper piecing using the same shapes as the Lucy Boston Patchwork of the Crosses and the clam shells I had seen on the coverlet which inspired Pemberley. I wanted the centre to be reminiscent of Elizabethan crewel wool embroidery. To draw the urn I “googled” on the internet for images of English urns and drew up my design. Those embroideries often included plaited and twisted vines in profusion so I included a central stem like a cable design. The flower at the top is the Tudor rose, representative of the English throne. The pomegranate represents fertility and the tulips represent perfect love in herbal folk lore. The quilt also included my usual mechanism of fudge factor borders in a soft pink stripe. The quilt has a romantic effect in a palette of pink, chocolate, blue and gold. A lot of the reproduction fabrics have been “fussy cut” where one motif is deliberately cut and featured in the appliqué, especially in my ⅜ inch hexagons. This quilt is an extravaganza of hand applique, beautifully quilted by Veronica Appleyard. The quilt won a ribbon for "Best Original Design" at the 2011 Camden Country Quilters' Guild Annual Show. "Longbourne": The fourth quilt was to be named “Rosings” after the magnificent residence in Kent of Lady Catherine de Burgh, the esteemed patroness of the Bennetts’ cousin, Mr Collins. This had to be an even more elaborate quilt than the previous ones. No pressure! I completed the appliqué on Rosings in January 2012 and it has just been quilted by my dear friend Veronica Appleyard. The centre circular block is called “Georgetown Circle”. This block was also named and catalogued in the Ladies Art Company Catalogue of 1897. I thought it reminiscent of the floor tiling of cathedrals and stately homes. This is surrounded by a heavily appliquéd panel of corner urns containing a profusion of flowers. The use of the chocolate brown background with the appliqué in golds and reds give the quilt a rich appearance. The pieced dogtooth border gives the eye a rest and borders the heavy appliqué. I then devised a border of English paper pieced octagons and squares. The final border was a magnificent border print of urns of flowers designed by Judie Rothermel for Marcus Brothers fabrics called “A Journey Through Time”. I was very excited that the first four quilts in the series were featured as part of the Quilt Exhibition associated with the Australasian Quilt Convention held in Melbourne in April 2012. "Rosings": The fifth quilt in the series is "Hunsford", named after Mr Collins' parsonage on the edge of the "Rosings" estate. This quilt is in a colour scheme of black, red and cream with lots of geometric patterns. I wanted it to have a more masculine look than the previous quilts so there are no flowers on it. It was quilted by Veronica Appleyard. Here it is, hanging at Darling Harbour: "Hunsford": The sixth quilt is called "Meryton" after the town the sisters walk to from Longbourne to go ribbon shopping. If you are an Austen fan, this is where they meet Mr Wickham. This quilt is very feminine in a colour scheme of pink and green. "Meryton": The 7th quilt of the series is called "Lambton". Lambton is the town closest to "Pemberley" where Elizabeth Bennet stays at the inn with her aunt and uncle Gardiner. It is here that she receives the latter from Jane advising her that Lydia has run away with Mr Wickham. The quilt features a large circular motif in the centre block inspired by the rose stained glass windows in English cathedrals. The colour scheme is teal, navy blue, orange/red, brown and gold. The quilt was magnificently quilted by Helen Hayes of Melbourne. "Lambton": The next quilt to be added to the collection is called "Hartfield". I completed the quilt in May 2016 and it was again quilted by the very talented Helen Hayes. I found I had exhausted the prettier names of places in "Pride and Prejudice" and therefore "Hartfield" comes from Austen's novel "Emma". "Hartfield" is where Emma Woodhouse lives with her elderly father. The quilt is completely made using English paper piecing techniques in a colour scheme of red, brown, mustard, green and purple. (Yes, I added purple to the repertoire!) This will be my major teaching piece for 2017. "Hartfield": The major teaching piece for 2018 is called "Highbury". This is the village near Hartfield, a place Emma often visits in the novel. My quilt is in a very pretty colour scheme of strong pink, teal, gold, green and purple. The palette is different to the previous quilts which were all the more dull colours of civil war reproduction fabrics. The centre features a bouquet of flowers tied with a ribbon. This is surrounded by other pretty vines of flowers and more ribbons in the four corners. A feature border of lovely Dresden flowers and frames of one inch hexagons complete the quilt. I am working steadily on the next instalment which will be the tenth quilt in the collection, to be called "Donwell Abbey". It is more masculine in bold colours of black, red and gold with lots of fussy cutting. Stay tuned. If you would like to make any of these quilts in class, please consult my teaching schedule or email me at kat.had@bigpond.com.

Vandaag was de finale van de Jane Austen BOM Club. We maakten de middenmand in broderie perse. Hoe dat in elkaar steekt laat ik je zien in deze tutorial. Dus Jane Austen Club leden, zitten jullie klaar? Je hebt een wit basisstofje gekregen; dit is je achtergrond. Ik heb met een groene sewline pen de grote ruit van het patroon overgenomen en het mandje. De maten van de ruit zijn bij benadering omdat je voor je eigen quilt eerst even moet meten hoe groot je ruit is. Hij kan best wat kleiner of groter uitvallen. In het boek staan de afmetingen van de ruit volgens Linda Franz. Neem nu een stukje freezerpaper en neem het mandje over en knip het uit. Strijk het op de bruine 'vlecht-stof'. Teken nu met de groene sewline pen langs de freezerpaper rand. Knip nu een naadje rondom zoveel als je wil. Omdat je gaat needleturn appliceren maakt dat niet uit. Je kunt het freezepaper er nu gewoon aftrekken. Je mandje staat nu op de stof en het is klaar om te appliceren. Van de bloemenstof knip je nu ongeveer 4 bloemen uit. De roze bloemen heb ik later niet gebruikt, het mandje zat al helemaal vol! Zorg ervoor dat je de bloemen wat grof en ruim uitknipt. Leg de bloemen met de verkeerde kant op de plakkant van de vliesofix. Als je nu de strijkbout erop zou zitten, zou je hele strijkbout vol zitten met lijm, dus.... ...leg je er een velletje bakpapier op! Nu kun je makkelijk strijken. Ik zet mijn strijkbout altijd op stand katoen/linnen en ik strijk lekker lang zodat de vliesofix goed vast komt te zitten aan de uitgeknipte stof bloemen. Als het goed is komt het er dan zo uit te zien... ...en dan kun je het bakpapier er af trekken en hou je een wit vel vliesofix over met daarop vastgeplakt de stoffen bloemen. Nu pak je een lekker bakkie thee of koffie, zet je een film op die je al 100 x gezien hebt en ga je knippen.... ...tot je alle bloemen hebt uitgeknipt. Ik laat langs de bloemen altijd een klein randje van de achtergrond stof zitten, hoef ik ook niet elk nerfje van een blaadje te knippen. Nu ga je spelen (ook wel een compositie maken genoemd). Een beetje schuiven, is het zo leuk, nee zo is het beter. De bloemen en bladeren laat je hier en daar overlappen, maar je blijft binnen je ruit. Het mandje appliceer je erop met de bovenrand omgevouwen. Doe dat eerst en zorg dan dat de steeltje onder de omgevouwen rand van je mandje komen en de blaadjes over de rand hangen. Als je helemaal tevreden bent met je compositie, pulk je alle papiertje weg achter je bloemen. De bloemen hou je op z'n plek met strijkbare spelden. Let erop dat de rand van je mandje ook vastspeldt. Neem nu appliceer garen (je weet wel dat superdunne zijde van YLI) en appliceer het omgevouwen randje van je mand vast. Daar waar de blaadjes over de rand vallen, hoef je niets te appliceren. Steeltjes laat je er dus invallen, blaadjes erover. Helemaal tevreden? Dan strijk je alles vast. De vliesofix fixeert alles op de ondergrondstof. De spelden kunnen er nu uit. Nu komt het meest tijdrovende werkje, dat je lekker in de avond doet. Je neemt een draadje en een naaldje en je maakt allemaal mooie festonsteekjes over alle zorgvuldig geknipte randen. Zo zet je alles vast. De rest van je mandje appliceer je ook met de needleturn techniek. Mocht je nu iets luier zijn, dan neem je de rode stof met het bloemenmandje, dat vliesofix je in z'n geheel erop. Niks samenstellen met bloemen en over en onder het mandje. Ook die zet je vast met de festonsteek. Of je doet net als Ans en appliceert een complete bloemenmand naar eigen ontwerp. Mooi!!! We hebben een jaar gewerkt aan Jane Austen en ik heb al zoveel mensen moeten teleurstellen dat het vol zat (stof was gewoon op). Als ik nu weer een mooie stippeltjes stof kan vinden en ZEKER weet dat ik er weet ik niet hoeveel rollen van krijg. Dan wil ik er nog wel een jaartje Jane Austen spelen in d'r koetsje. Als jullie dat nu ook willen, laten jullie dat dan weten? ( welkom@quilt-it.nl ) Dan ga ik vast een lijstje maken om iedereen op te zetten. Happy quilting! Dorry Ps. vergeet ik nog helemaal te zeggen dat het nieuwe cursusprogramma hier staat.