Hope of Hertfordshire 90" x 90" 12" Finished Block 9" Finished Border See the free quilt pattern below. Here's a star block with many possibilities published as "Hope of Hartford" by the Farm Journal in 1945. I assume the name recalls the Huys de Hoop (House of Hope), the first settlement that Dutch colonists built in what the English later named Hartford, Connecticut. Charles Voysey designed his own house The Orchard in Chorley Wood, Hertsfordshire in 1899 Because I have planned the block in my very British Morris Modernized fabrics, originally designed by Charles Voysey, I changed the pattern name to Hope of Hertfordshire, the English county with the original spelling. I Photoshopped it onto a bed at The Orchard. Voysey designed everything, the door latches, the fireplace, the rug, the furniture. Like many of the Arts & Crafts designer he thought the best bedspread was plain white. But What Fun is That??? So I've added a quilt. And here is a vintage quilt made in the pattern from about 1950, made from that Farm Journal pattern, I bet. The block is constructed sort of like a log cabin with pieced rectangles rotating around a center square. I shaded it differently from the original, making the background triangles a little darker so some secondary patterning appears. The lighter rectangles create another pinwheel between the blocks. You could do it scrappy as long as you had mediums and darks to shade the center, and lights and mediums for the backgrounds.Here's the yardage for a controlled color scheme with five fabrics. I drew the quilt up in EQ and under the Print Menu hit Fabric Yardage, which told me the yardage for the whole quilt. The darkest print - 1 3/8 yards. I used the darkest print in the line: #8260-14, Oleander in the red. The medium print - 2-3/4 yards. I used the largest print 8266-15 in the lighter green and tan, Oswin or or #8265-16, Saladin in tan The light background - 1-3/4 yards. I was thinking a Moda Bella Solid (#9900-67) Fig Tree Cream The medium background - 1-1/8 yards of Bella Solid (#9900-179) Together Tan The Border EQ's calculations on the border assumes the strips are pieced but I am not going to piece mine, rather cut them as one strip parallel to the selvage but I come up with the same yardage, which is 2-3/4 yards. You can get four 9-1/2" strips out of a width of fabric. I plan to use the #8264.13, the lighter colorway of the Bird & Tulip print. The print is not to scale in my mock-up at the top. A 9-1/2" strip would give you four repeats of the tulip. So cut 2 strips 9-1/2" x 72-1/2" for the sides and 2 strips 9-1/2" x 90-1/2" for the top and bottom borders. If you want to miter it, cut 4 strips 9-1/2" x 90-1/2" Cutting a 12" Block You need 49 blocks for a 7x7 grid. A - Cut 4 light rectangles of background fabric 5-1/4" x 2-7/8" B - Cut 1 square of medium background fabric and 1 square of dark print 6". Cut each into 4 triangles with 2 diagonal cuts. You need 4 dark print triangles and 4 medium background triangles. C - Cut 1 dark print square 2-7/8" D - Cut 2 squares 5-5/8" of medium print. Cut each into 2 triangles with 1 diagonal cut. Piecing the Block UPDATE Zipjezopje says in the Comments: Hi Barbara, you don't need to pivot to add the last part. When you add the centre square to unit one, you start sewing halfway of the square seen from the middle and sew to the end. Now you add rectangle two and three the way you show. Part four is added to the side of part three and to the centre square, because of the loose end you can sew till the end. Part four is now easily sewn to part one, and by doing so you also sew the part of the centre square. Thanks Z Here's the Farm Journal version from BlockBase--- #2586 but the old quilt I am copying had the triangles arranged in a different way---flipped--- which made more of a pinwheel, I thought. They are both cut to the same measurements, so you can see which one you like best on your design wall.

Great quilt top from an online auction, maybe 1930-1960 It's a version of what they call Half-A-Log in Gees Bend, Alabama. A Half a Log about 1900 But this one has an extra square in the intersections and that square is always red. There's a four patch in the corner. Not a published pattern I drew it up in EQ8 using my new repro fabrics Ladies Legacy from Moda. The collection has lights and darks and several bright reds. For a 12" finished block you need to cut 2-1/2 Inch strips. Perfect for a Jelly Roll. 36 Blocks will make a 72" quilt Half the blocks have the four patch in the top right; half in the bottom left. That's the Log-a-Rhythm I have no idea how many blocks you could get out of one Jelly Roll. But you probably have a few more 2-1/2" strips in the stash that would work out fine.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Yankee Diary by Barbara Brackman 42" x 54" Quilted by Lori Kukuk Yankee Diary by Denniele Bohannon Here's how Denniele and I set ours Here are the setting instructions for the Yankee Diary quilt. As we've sewn along you've received setting instructions for the blocks but here's a summary. Do refer back to each block pattern for more information. The basic set is two sections, top and bottom. The top section is made of of 3 strips. Top left Top Center Top Right The bottom section is two rectangles Refer to Block 11 for instructions for placing the flag in the dog's mouth. Bottom left Bottom Right The only extra piece you need for my set is a strip cut 12=1/2" x 3-1/2" that goes below the flag Becky Brown's set is a little bit different using all the parts. She has a checkerboard in the lower left corner which I forgot to put in. Next Wednesday: Borders. Nope. Next Wednesday fabric requirements and setting for next year's Antebellum Album Block of the Month. Borders for this one and the rest of Carrie's story on January 10.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Brand: Moda Designer: Barbara Brackman Collection: Ladie's Legacy Pattern Name or #: 8350-11 Fabric Content: Cotton The photo shows the full width of the fabric. It is a large print. NOTE: 1 Yard Moda cuts are precut by Moda. If you purchase more than one cut of the same design in 1 yard cuts, it will come as separate cuts, not continuous yardage. One yard Fabric cuts will measure a full yard. Please keep in mind that if the fabric needs "squaring" you could have slightly less than 1 yard by the time it is "squared." Shipping: We Combine shipping. If purchasing more than 1 item, choose the "add to cart" option and shipping will calculate automatically when you pay. Fabric will be shipped folded Returns: We do accept returns for 7 days after delivery of your item. buyer pays return postage. Thank you for looking. If you have any questions, please contact us and we will be happy to answer any questions.

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

A string quilt pieced of odd shaped strips of fabric, about 1910 String star about 1900 Six-Point String Quilt, Kansas City Star, 1940 String quilts aren't often found in the quilt pattern literature, although the folklore literature contains information, such as the pattern sketch below from a 1920 issue of the Journal of American Folk-Lore. Family with a similar quilt Ruby Short McKim published a pattern for a String Quilt in her 1931 book 101 Patchwork Patterns, but she drew templates---not the traditional way to make a string quilt. And that is probably why so little was published about the topic. You don't need a pattern; therefore there was nothing to buy. String quilt by an Illinois Amish quiltmaker We can look at string quilts as the Cinderella of quilt history, with little published about them until they began to be appreciated at the end of the 20th century. But several quiltmakers recorded memories of string quilts, giving us some insight into the process and their status in the hierarchy of fancy versus plain quilts. Pecolia Warner (1901-1983) in 1975 with one of her "P Quilts" Folklorist William Ferris interviewed Pecolia Warner of Mississippi for his book Afro-American Folk Art and Crafts. She told him the difference between a "fancy quilt" and a string quilt. "You can sit down and make them string quilts real quick. For a string quilt, I just commence to piecing up blocks out of strings — they're scraps, you know, I have from sewing, and some that other people save for me. Like that Six Strips quilt I made, that ain't nothing but a lot of string sewn together. That way you won't throw away any pieces. See, when you get a box full of strings, you got about five or six quilts. With string quilts you ain't got nothing to throw." Set of blocks pieced over magazine and newspaper pages Cyrilla Miller Bencaz from the Louisiana project & the Quilt Index Mary Washington Clarke talked to many Kentucky quiltmakers in the 1970s for her book Kentucky Quilts. "No quilter interviewed considered a String quilt one of her show pieces, yet some are quite beautiful. 'It's just an old String quilt,' said one quilter, giving a typical response to an inquiry about a quilt using irregular shapes and sizes of brightly colored prints and solids. They had been sewed onto a square newspaper pattern with ends protruding around the edges at random. The squares were trimmed..." Most people removed the paper although shreds sometimes cling to the back. String blocks pieced over triangular foundations Lest you think string quilts are limited to the South, I'll cite an interview with Wisconsin's Ivory Pitchford of Milwaukee in Passed to the Present: Folk Arts Along Wisconsin's Ethnic Settlement Trail: "Ivory Pitchford's first quilt was a string quilt that her mother taught her to make. She started it at about the age of 16, constructing blocks about the size of a napkin from 'strings' of fabric. She quilted it herself, in 'shares' or sections, just as her mother did. Over the years, Pitchford has made quite a few string quilts, including one for each of her five boys." Quilting in shares or sections might refer to quilting by the block rather than using an all over pattern. From 1910-1940 perhaps, quite a mixture of fabrics In a 1988 Threads magazine story Willia Ette Graham of Oakland, California explained "You don't have to cut for a string quilt," using the scraps as she found them. In 1891 Annie Martin won a prize with her collection of Ladies' Work, including a string quilt. at a Clarksville, Tennessee fair. Mrs. Buckingham entered a calico quilt, a different item, apparently. From Shelly Zegart's inventory Strings are pieced over the paper and the paper trimmed to the correct shape. Popular string quilt design sometimes called Snowball... or Fireball if the quarter circle is red. Those names were published in Quilt World magazine in 1979.

A pretty block in an album dated 1843 in the collection of Conner Prairie Museum in Indiana. I noticed it because of the brown & white excentric print. It's signed by Ella Maria Deacon. Quaker Album or Friendship Quilt Burlington County, New Jersey, 1843 Collection of Conner Prairie Museum 108 x 110 inches 72 patchwork blocks Ella's block is on the top row right of center in this overall view. Wait a minute! I know Ella Maria Deacon. Not personally. But she has a quilt in Chicago. Quilt Made for Ella Maria Deacon (American, 1811–1894) 104 1/8 x 107 3/8 inches Collection of the Art Institute of Chicago 85 patchwork blocks from New Jersey: Rancocas, Eversham, Springfield and Mt. Holly. It's actually dated 1841 and 1842. See more in an article in the Journal of the American Medical Association http://jama.jamanetwork.com/article.aspx?articleid=191159 NJ Project For a while I thought there were two Quaker quilts with alternate chintz squares, but now I realize that the Conner Prairie quilt is also pictured in the Quilt Index, New Jersey project. These two are the same quilt with different lighting. Conner Prairie's Do look at this Indiana web site and notice the details listed on the right. http://indiamond6.ulib.iupui.edu/cdm/compoundobject/collection/CPQuilts/id/229 But then there are many similar quilts. Here's one quilt from the New Jersey project & the Quilt Index. The names on this quilt: Budd, Coles and Deacon families. Two dates: 1844 & 1855. New Jersey Project http://www.quiltindex.org/fulldisplay.php?kid=4A-7F-123E 1842-1843 Quaker quilt from Swedesboro, Gloucester County, NJ The quilts share a lot of design characteristics. As the authors of the New Jersey project book describe the style: The familiar New Jersey sampler with blocks set on the diagonal and use of strip sashing. Other characteristics: Variety of block techniques, some pieced, some appliqued in conventional applique, some in cut-out-chintz. Blocks contain some classic applique patterns but many are unusual one-time designs. Use of primary colored calicoes: Turkey red, chrome yellow, greens in blocks (if not in setting) Block from the Conner Prairie quilt. Many of the blocks whether pieced or appliqued are based on a circular format, with a focus on the center of the block, like a wheel or a wreath.. In other words: the designs don't really fill a square block the way classic red & green applique blocks do. Detail of Charlotte Gillingham's quilt, 1842-1843, Philadelphia Museum of Art. One of the few familiar classics from the Gillingham quilt. Oak leaf and Reel variation. Sarah Pidgeon's Album. Collection of Colonial Williamsburg. I wonder how many more of these Quaker Album quilt from the early 1840s have duplicate signers and duplicate odd blocks. A question the researchers at the Quaker Quilt History blog are working on. http://www.quakerquilthistory.com/2012_07_01_archive.html Burtis Family Quilt at the Burlington NJ Historical Society Quilt for Charlotte Gillingham, Philadelphia Museum of Art. http://www.quakerquilthistory.com/2012/09/quaker-aesthetics-and-album-quilt-made.html There are many fascinating things about these early Quaker quilts. One is the early emphasis on red, yellow and green. Two is the originality and variety of the blocks. Three: Can we thank Quakers for the American sampler album? I noticed two blocks like Ella M Deacon's in the Conner Prairie Quilt. And here's the same block in the Ella Maria Deacon quilt at the Art Institute.

The International Quilt Study Center & Museum has several shows featuring antiques this summer. Jennifer Keltner has curated an exhibit of a small part of the collection---quilts with small pieces. Most of these were collected by Ardis James. Singular Fascination is in the galleries through August 30, 2018. I took photos with a pencil held about an inch away as a gauge. I'd guess many of the patches in the quilts are one inch, true postage stamp size. One Patch, Possibly from Pennsylvania, About 1870-1890, 86" x 77". From the James Collection, #2006.043.0064 Birds in the Air, Possibly made by Mary Linderburger, New Jersey. 83" x 86". About 1880-1900. James Collection. #1997.007.0731 While Ardis James and many of us are fond of these patchwork feats, the editor of the Chickasaw Mississippi Messenger was not. In 1888 his opinion: "There is no use publishing any more items about the wonderful quilts made by industrious young ladies, for the the question has been definitely settled in favor of Miss Mary Sewell, a sweet 16-year-old young lady who resides near Chattanooga [and] has pieced a quilt [with] 45,966 scraps in it. It is fearful to think a mind may also go to pieces fastened so long to such useless work. The quilt when completed will be no better for use than the $2 quilt made of plain material." He seems to miss the point. Belle Ross, Coffeyville, Kansas About 1950-1975. 72" x 92" James Collection: #2006.043.0061 Possibly this woman: Ruby Belle Ross Witte (1903-1972) https://www.findagrave.com/memorial/170359295/ruby-belle-witte Log Cabin, About 1890-1910, possibly New England. From the James Collection, 86 x 77 Inches. #1997.007.0114 Trip Around the World by Ida Pricilla Williams Giebner Moore, (1873-1942) Kansas City, Kansas. 78" x 87" Gift of Green and Louise Giebner IQSC# 2010.057.0001 Here's the label the family put on the back before they donated it. The quilt has fabrics that indicate a date of about 1890-1910, which correlates with the family history of about 1900. Ida was married to John Geibner in 1888 and they divorced about 1900. She remarried in 1904 to Thomas Moore. Read more about the exhibit here: https://www.quiltstudy.org/exhibition/singular-fascination-0 Scroll down to see Works in the Exhibition. Watch a YouTube video of Jennifer discussing the quilts. https://www.youtube.com/watch?v=DrzPTUYh9yo See a blog post I did a few months ago on the topic of tiny pieces: https://barbarabrackman.blogspot.com/2018/02/uncommon-patience-or-useless-work.html

Lots of classic neighborhoods out there. Most of these from online auctions Totally modern house---minimal. ...

Detail from an embroidered quilt, ca 1900, in the collection of the Jewish Museum My cousin sent an April 12, 2014 article from the Jewish Daily Forward called "Why Jews Suffer from a Quilt Complex?" Author Jenna Weissman Joselit discussed why her Jewish "home and ... parents’ home and ... grandparents’ homes were entirely quilt-free." "East European Jews and their descendants, as I've just discovered, had little truck with quilting. Feather bedding was one thing; patchwork quilts quite another." The article: http://forward.com/articles/196183/why-jews-suffer-from-a-quilt-complex/#ixzz2ymyvYwz4 This is true in my personal experience too. My Jewish grandmother's house (and my Irish-Catholic grandmother's house---both in New York City) were entirely quilt-free. My Jewish grandmother loved handwork, knitting full outfits (skirt, cardigan and shell) and crocheting doilies similar to this by the dozens. It's a question I have considered for awhile. To discuss it we first need to divide the quilts and quilters into two categories. One: Contemporary quilters working after 1960 Two: Historical quilts made before 1960. Then we have to define "quilt." A layered patchwork textile with layers held together by quilting or tying. Contemporary quilters working after 1960 Rosh Hashana by Linda Frost, 2010 This quilt traveled in a 2012-13 Smith-Kramer exhibit America Celebrates! Quilts of Joy and Remembrance. Linda can represent the thousands of Jewish quiltmakers working after 1960 during the current revival of interest in the form. There is no lack of contemporary Jewish quilt artists making bed coverings and art quilts, so we shall move on to the second category. Historical quilts made before 1960 The Reiter/Freidman family Baltimore Album quilt 1848-1850, Baltimore Collection of the American Folk Art Museum One of three similar Baltimore album quilts attributed to Baltimore's Jewish community about 1850. Read more here: http://www.folkartmuseum.org/?p=folk&t=images&id=4268 Quilt photographed during the Kansas Quilt Project In 1986 I participated in the Kansas Quilt Project, which documented about 13,000 quilts made in Kansas or brought to Kansas up to that date. The majority were vintage quilts made before 1950. We looked at the quiltmaker's religion. About 59 percent of the quilts were identified as being made by a quiltmaker with a known religious affiliation. The number: about 7,700 quilts. The highest percentage (22.5%) was made by Methodists followed by people identified as generic Christians, then Roman Catholics, Baptists, Presbyterians and Lutherans---not surprising as these specific denominations ranked highest among Kansans in general in the 1980s. Fundraising quilt made by members of the Sunday School, First Methodist Episcopal Church, Topeka, Kansas, 1883. Collection of the Kansas State Historical Society. Church members paid a dime to have their names included. The contrast between Roman Catholics and Methodists was interesting, however. Catholics made up the highest percentage of Kansans (34.6%) at the time, with Methodists at 26.9%. Yet Catholics did not make quilts in proportion to their numbers either in 1886 or 1986. Catholics made 7% of our total; Methodists over three times as many. I did the accounting and was surprised to find that of all those quilts only six were made by Jews: Six quilts made by 1-1/2 quilt makers identifying themselves as Jewish. I know it was 1-1/2 because I was the half and a friend was the whole. We both began after 1960. The Kansas Quilt Project also asked about quiltmakers' ethnic origins and found over 8,000 identifications. British heritage was first with 41% reporting that background, German ethnicity was a close second at 38% and then the numbers dropped to 13% for Scandinavian, 5% for French and 1% for Czech. Ethnicity such as Italian, Mexican, Amish and Jewish were insignificant at less than 1% each. Fundraising quilt made by women of the First Baptist Church, Jamestown, Tennessee 1937-1939. From the Quilt Index. Community members paid a dime for each embroidered name raising $22.10. The quilt then sold for $10.00. The $32.10 bought chairs for Sunday School. My theory at the time of writing the book on the findings of the Kansas Quilt Project: "Protestant church activities, such as Sunday School quilts and Ladies' Aid Society quilting groups traditionally were a strong influence on quilting." Lititz, Pennsylvania, 1942 Photo by Marjory Collins. Courtesy of the Library of Congress The caption: "The Moravian sewing circle quilts for anyone at one cent a yard of thread and donates the money to the church." The Moravians in the photo, like many Protestant women's church groups, raised money for church improvements and maintenance by taking in quilting, an activity still carried out in church basements. Women also raised money by charging for signatures, and by raffling (if such gambling was allowed) and auctioning quilts. Quilt auctions raise significant funds for the Mennonite Relief Services. Based on data from the Kansas Quilt Project and personal observation I would have to agree with Jenna Weissman Joselit that quiltmaking was not a popular activity among Jewish women in the past. There are, of course, exceptions to the rule. Bertha Stenge was one of the most prominent quiltmakers of the 1940's and '50s, winning national prizes with her work. Bertha Sheramsky Stenge (1891-1957) Bertha Stenge, The Quilt Show Collection of the Art Institute of Chicago See more of Stenge's quilts here at the Art Institute http://www.artic.edu/aic/collections/artwork/artist/Stenge,+Bertha And read a biography here: http://www.museum.state.il.us/ismdepts/art/collections/daisy/biography.html Berger/Miller quilt Another of the 1850 Jewish Baltimore Albums from the collection of Jane Katcher http://www.janekatchercollection.com/html/albumquilt.html Bertha Neiden 1914 Bayla Schuchman, born in Gorodish, Russia, emigrated to the U.S. in 1909. By 1914 when this photo was taken her name was Bertha and she was Americanized enough to enter her quilt in the Nebraska State Fair. Her wool patchwork seems to have more in common with the European tradition of tailor's patchwork or intarsia patchwork than the American quilts of her era. Read more about Bertha Neiden and her quilt: http://www.quiltstudy.org/exhibitions/online_exhibitions/pwp/pwp_identity.html And read more about wool intarsia quilts here at this post I did a few year ago: http://barbarabrackman.blogspot.com/2010/04/more-on-intarsia-and-inlaid-applique.html As far as reasons for the general lack of traditional Jewish quilts in America: Jenna Weissman Joselit discusses European bedding, immigrant culture, access to cotton versus goose down, etc. Quilt dated 1880 by an unknown maker in classic American applique style. One does not find this style of bedding in traditional European cultures. Quilt historians have looked at quilts and immigrants from many angles. The consensus is that the typical American patchwork quilt derived from a few sources, particularly the tradition of patchwork in India and its trading partners Holland and Britain, combined with a widespread European/Asian tradition of quilted bedding. "Armenians make quilts Alexandropol," probably early 20th century, photo from the Library of Congress Japanese quilted bedding about 1930 from the Library of Congress. People all over the world have slept under and on quilted and tied bedding. American quilts are distinctive in their combination of the two techniques, so distinctive that we can view the acquisition of the techniques and designs as a sign of American acculturation. European immigrants from the Pennsylvania Germans of the 1600s to the Ashkenazi Jews at the turn of the last century did not bring the patchwork quilt tradition with them. In the early-19th century the Pennsylvania Germans adapted the bedding of their "English" neighbors to their traditional design sense. It is probably this combination of German folk arts and British bedding format that had the most significant impact on the traditional American quilt. Unfinished top by Mary Jane Lewis Scruggs Collection of the Kansas Museum of History We can see much Germanic design influence in the flat, stylized flowers, red and green colors and mirror-image symmetries in Scrugg's top, evidence of the Pennsylvania-German impact in the American quilt. It is also evidence of this particular African-American quiltmaker's American culture. She was born right after the Civil War to former slaves. Read more about her quilt top here: http://www.kansasmemory.org/item/220469 Embroidered quilt, ca 1900, in the collection of the Jewish Museum The Museum's caption: Quilt. Russia and United States, c. 1899 Velvet: embroidered with wool, silk, and metallic thread; glass beads 81 1/2 x 65 in. (207 x 165.1 cm) The Jewish Museum, New York Purchase: Judaica Acquisitions Fund See more at: http://www.thejewishmuseum.org/1986119#sthash.v9VM6XOn.dpuf Cross-stitched embroidery detail showing European dress and dance My first thought in seeing this quilt was that it was a crazy quilt, a very popular style from 1880-1920. Detail showing cross-stitched rooster and seam-covered patchwork on the patchwork triangles. Looking closer at the embroidery I realized that much of it is cross-stitched pictorial work, not typical of the American crazy quilt, which usually features irregular pieces, outlined pictures,satin stitches and seam-covering, linear stitches. An American crazy quilt Perhaps the cross-stitch embroidery was done in Russia and the pieces assembled into patchwork in the U.S., a rather unusual example of Americanization in a single quilt. See another quilt in the Jewish Museum's collection here: http://www.thejewishmuseum.org/onlinecollection/object_collection.php?objectid=2772&lefttxt=quilt

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

Selvage quilt by Chicken Julie http://chickenjulie.blogspot.com/ Selvages (or selvedges in English English) are the finished edges of the yardage. In screened fabric the selvage usually has information about the print, such as name, company and colors used in the various screens to get the multi-colored print. In the selvage above eight colors are indicated by the dots. Sometimes there is a number too. The dot is the traditional shape for color indication. At Moda we use that familiar strips of dots as a logo. ..... Riel Nason Making Every Scrap Count Riel at The Q and The U blog showed this quilt pieced of just the dots and the numbers cut from selvages. http://quispamsisquilter.blogspot.com/2012/03/making-every-scrap-count-selvage-wall.html riel Spider Webs from Squares and Triangles http://www.squaresandtriangles.com/selvages-spider-webs-and-dresdens-oh-my-100 Selvage quilters make the most of everything. Elena sells selvage quilts on Etsy They become selvage collectors A dress pieced of selvages by Jodi at Ricrac in 2008 http://vintagericrac.blogspot.com/2008/10/big-selvedge-project.html You collectors have probably noticed that Moda has done some innovating in their color indicators. In my Morris Modernized line we used a Voysey bird instead of a dot. We pull out an image from a print in the collection. The more colors, the more birds. Karen Griska at THE Selvage Blog calls the selvage quilt phenomenon "Extreme Scrap Quilting." Karen Griska, Thin Sticks http://selvageblog.blogspot.com

Threadneedle Street I named this free pattern Threadneedle Street for for an ancient London road, home to the tailors' guild for centuries. It's in the financial district today. You have a roll of 2-1/2" strips A Moda JellyRoll of Morris Earthly Paradise: Cut the strips into parallelograms by cutting them with a 60 degree ruler every 7-1/2". Flip half of them. Combine them with a Jelly Roll of Moda Bella Solids, say Snow White. Junior Jelly Roll of Snow Cut them the same way Alternate till you run out of fabric. My inspiration A snapshot of a 1930s quilt seen at the FFA & Ag Museum in Iowa. I do not believe I have ever noticed this pattern before. At first I thought it was a braid design. A diagram for a braid pattern with 90 degree angles. It's sort of like a braid but the angles have to be 60 degrees---not 90 degrees. A tessellation---and perfect for JellyRolls. UPDATE: Astute commenters noted how hard this would be to sew---it's all set-in seams, which is probably why the pattern is rarely seen. How could it be modified to make it possible to do it with straight seam on a machine? Add seams. Well you could make it all diamonds. Or some diamonds. But I think it was a hand-sewing project.

I have finished my New Year's goal of 100 Susan McCord inspired leaves. I string pieced them by hand over freezer paper shapes. I intend to do a quilt inspired by McCord's Vine Quilt. In the collection of the Henry Ford Museum. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/3437#slide=gs-238772 I did some calculating as to how many leaves I'd need. Surely 100 was enough. I drafted a curved vine with a dinner platter. So. McCord made maybe 25 leaves to a curve. 7 curves to a strip = 175 Per strip! There are 13 strips. That's 2,275 leaves I'd need. This curve has 32 leaves. How did Susan McCord make 2,275+ leaves in one lifetime? And she used the vine border on other quilts too. Ocean Wave Irish Chain quilt by Susan McCord in the Henry Ford Museum's collection "Re-Calculating" as my GPS often says. There are lots of things you could do with 100 leaves. Sort of a Laurel Wreath 25 leaves per block. Some kind of a wreath? I'd better get busy. Well, first I sorted them into 3 sizes. Small, medium & large. The small ones are not always string pieced. Stripes are good. I am going to need a lot more small leaves. I did make some decisions, obviously influenced by Australia's quiltmakers. Sarah Fielke From Little Things Kim McLean Kathy Doughty's Gypsy Kisses Marg Sampson George Irene Blanck's Tribute to Lucy Jen Kingwell's Midnight at the Oasis I did this design one once, but it might be good twice with a different aesthetic. For the background: Black & white and polka dots and other foulard style sets. (half drop, diagonal repeats) So I know Susan McCord's going to Australia. But how I haven't figured out yet. See more of my posts on McCord here: https://www.thehenryford.org/collections-and-research/digital-collections/artifact/3437#slide=gs-238772 http://barbarabrackman.blogspot.com/2016/12/oh-susannah.html http://barbarabrackman.blogspot.com/2016/12/bragging-mccord-in-mexico.html

Phoebe's Favorite Dogtooth Applique #5: Tobacco Leaf by Becky Brown Southerners had favorite patterns and this dogtooth appliqued pineapple or tobacco leaf was quite popular in the late 19th and early 20th century, usually done in solid colors. Found in the Arizona project. Betty Meek McKenzie's family called this Tobacco Leaf when they showed her quilt to the Louisiana project. It's based on one of the oldest American designs going back to the early 19th century: The Reel or Oak Leaf design... ...with many added pointy edges. Two pattern sheets for the Dogtooth technique And two for the template method. Forgot to post this one of Denniele Bohannon's. A catalog from years ago. A post on the pattern: http://civilwarquilts.blogspot.com/2022/11/georgia-adams-lane-no-nothings-fancy.html

Morris Hexathon 12: Hampton Court by Becky Brown 12: Hampton Court by Ilyse Moore This week's hexie, a star inside a star, is n...

Center from an English quilt advertised in the Clarion magazine by Woodard & Greenstein in 1987. 104" square This was also pictured in the 1989 Quilt Engagement Calendar Although this quilt made an impression on me I didn't associate it with the free-form/unconfined applique style until yesterday when I posted a photo of a British quilt with similar center. Durham Frame Quilt dated 1844 from the British Quilters Guild Collection http://www.quiltmuseum.org.uk/collections/heritage/durham-frame-quilt.html I realized I had drawn the pattern, first in ink and then digitally. Primitive Paradise by Karla Menaugh Karla Menaugh and I published our interpretation for our Sunflower Pattern Co-operative some time ago. I have spent many pleasant hours this past year digitizing the pattern from the large paper sheets (some more pleasant than others---arithmetic.) The appliqued border is my favorite part, but then again the animals are so cute and the botany is so clever. These fit on background about 6" square in the published pattern. I've been digitizing because Karla and I volunteered to do a variation as a block of the month for our quilt guild. Not the whole thing, just the border blocks. Mock-up which we figured would make a terrific small quilt--- A Little Bit of Paradise by Karla Menaugh. Actual quilt top Karla's blocks here are 8" square with triangles. Georgann Eglinski is making the guild model, hand appliqued, in 10" blocks. It did not occur to me until yesterday that the original might be appliqued with a herringbone stitch over raw edges... Karla's deer which would explain the tiny pieces. Karla who can machine applique anything did this small deer with antlers by turning under the edges and machine appliqueing with a blind hemstitch. Now I see an alternative. We are not, however, including the deer in the guild's BOM---as we try to keep unhappiness to a minimum. We have digitized the pattern for the large quilt and the smaller and I just posted it for sale at our Sunflower Pattern Cooperative Etsy shop: https://www.etsy.com/listing/641053887/primitive-paradise-full-size-appliqued?ref=listing It's 18 pages of 8-1/2" x 11 sheets---$20. If you'd rather have us print the pattern in black and white and mail it to you see this listing: https://www.etsy.com/listing/627226120/primitive-paradise-full-size-appliqued?ref=listing And I see Carolyn Konig has a pattern for the center of the Durham Frame Quilt. http://www.carolynkonigdesigns.com/home/shop/product/view/55/791 Mary's version of the V&A quilt And there is the Kaffe Fassett pattern for the quilt known as the Greek Slave quilt from the book he and Liza Pryor Lucy did Museum Quilts. Supercalifragilisticexpialidocious Barb Vedder's version from 2007 Barb Vedder and Mary M were inspired to make their own version using some of their templates and some of their own. The pictures are from the Fun With Barb blog. https://funwithbarbandmary.blogspot.com/ Inspired by them Lin McQuiston is working on one with the date 2018 optimistically basted. And that is all on British free form applique for now.

Here's a pattern that seems to have been passed around hand to hand rather than through the commercial network of pattern publications. I...

Threads of Memory #1 Portsmouth Star by Jo http://civilwarquilts.blogspot.com/2014/01/threads-of-memory-1-portsmouth-star-for.html Over on my Civil War Quilts blog I did a free Block of the Month pattern in 2014 for a series of original stars called Threads of Memory.We're on to a new project over there but I thought I would post this page with the addresses for the 12 monthly patterns. UPDATE 2017: I've taken the patterns down but left the stories up there. You can buy a PDF or paper pattern here:https://www.etsy.com/listing/484994362/threads-of-memory-civil-war-quilt?ref=shop_home_active_3 Threads of Memory #2 Mercer County Star http://civilwarquilts.blogspot.com/2014/02/threads-of-memory-2-mercer-county-star.html For my models I chose these red, black and white stars by Jo who did such a great job of interpreting my designs in graphic fashion. Threads of Memory #3 New Garden Star http://civilwarquilts.blogspot.com/2014/03/threads-of-memory-3-new-garden-star-for.html Each block symbolizes a true story about slavery, escape, emancipation and freedom---an accurate form of "Underground Railroad" quilt. The blocks are named after locations important in the history of American slavery. The stories celebrate courageous individuals. Threads of Memory #4 Canada Star http://civilwarquilts.blogspot.com/2014/04/threads-of-memory-4-canada-star-for.html Threads of Memory #5 Madison Star http://civilwarquilts.blogspot.com/2014/05/threads-of-memory-5-madison-star-for.html Threads of Memory #6 Salem Star http://civilwarquilts.blogspot.com/2014/06/threads-of-memory-6-salem-star-for.html Threads of Memory #7 Oberlin Star http://civilwarquilts.blogspot.com/2014/07/threads-of-memory-7-oberlin-star-for.html Threads of Memory #8 Jacksonville Star http://civilwarquilts.blogspot.com/2014/08/threads-of-memory-8-jacksonville-star.html Threads of Memory #9 Lancaster Star http://civilwarquilts.blogspot.com/2014/09/threads-of-memory-9-lancaster-star-for.html Threads of Memory #10 Britain's Star http://civilwarquilts.blogspot.com/2014/10/threads-of-memory-10-britains-star-for.html Threads of Memory #11 St. Charles Star http://civilwarquilts.blogspot.com/2014/11/threads-of-memory-11-st-charles-star.html Threads of Memory #12 Rochester Star http://civilwarquilts.blogspot.com/2014/12/threads-of-memory-12-rochester-star-for.html See Jo's Flickr page with photos of this set of blocks. She made other sets and has lots of her work to view here: https://www.flickr.com/photos/jotokla/with/10104216125/ And read the post with yardage for the "official set" here: http://civilwarquilts.blogspot.com/2014/02/three-fancy-sets-for-threads-of-memory.html Thanks to Jo for doing such a fabulous set of blocks! Our Flickr page for this series is here: https://www.flickr.com/groups/threadsofmemory/

I love living in the past. I know how things turn out. A century ago things were happening. James Joyce's Ulysses & T.S. Eliot's The Wasteland were published. Yankee Stadium & The Readers' Digest started. Betty White, Jack Kerouac and Doris Day were born and Marcel Proust died. Radio was taking over in communications and I can imagine my 12- year-old father working on his hand-built crystal set. Cafe du Dome in Paris Modernism was centered in Europe; the stagnant past in the U.S. where Prohibition reigned and Sinclair Lewis published Babbitt, satirizing small-town values. From our perspective quilt style a hundred years ago looks stuck in the stagnant past too. Although wool, embroidered quilts like this one might have seemed fashionable and forward thinking at the time. Tennessee Project & the Quilt Index, name quilt dated 1922. Rocky Mountain Quilt Museum, dated 1897-1922 American Museum of Folk Art Crazy quilts were by then a 40-year old fashion, assembled of wools. Silk scarcity due to world politics meant these once elegant parlor throws were now the Babbitts of the bedding world. Name quilt from 1922 in Laura Fisher's inventory The idea of embroidering names remained popular. Redwork extravaganza with many names, probably a fundraiser--- from the West Virginia project and the Quilt Index. From Clifton, Tennessee and the Arizona project. Redwork, outline embroidery, also remained in fashion, another 40-year-old fad. In other words---things in the quilt world were dull. And dated quilts from that year are scarce. Four Patch, 1922, signed Dorothy Biddle Woven patterns are easier than prints for mills to produce. Attitudes towards making quilts in the early 1920s were undoubtedly influenced by changes in the textile industries due to the Great War. Germany had held the patents on many reliable dyes for printing cotton and these were awarded to the Allies after their victory. 1922 Minneapolis Star Patriotic quilt from Stella Rubin's inventory. She writes it was once dated 1922 in the bottom border. Is that Betsy Ross showing a flag to Washington? Looks like the maker used a fast blue and Turkey red as that is just the kind of blue to fade from light at the time. Although war had been over for three years the dated quilts show us that the available fabrics continued limited and problematic, due to what we'd call supply chain issues. Too much "patient labor going for naught." Applique from Bammie, 1922 The green is almost gone. Greens were among the worst, fading to tan or completely disappearing. This quilt in a fence rail set by or for E.C. Peter shows the variable fastness in the cottons of the day. Indigoes & double pinks held up. Patterns weren't innovative either With old classics the common look. Although dated 1922 this quilt's prints look pre-war when innovative dyes were plentiful. "Made When 14 Year Old M.P. 1922" Change can be glimpsed, here in the form of a lilac among the darks. Colorfast solids in pastels would be the new look after 1925 and revive quiltmaking. Harriet's top has some light fading in the solid blues. Alphabet Quilt from Julie Silber's Inventory Quilters had plenty of patterns to choose from. The Ladies Art Company sold hundreds of different patterns through the mail. Ruby Short McKim had published her first embroidered series in 1916. The Bedtime Quilt illustrated Thornton Wilder's stories with geometrically-inspired animal abstractions, twenty "Quaddie Quilties," she called them, a taste of modernism. Marie Webster had been calling for a new look of pastels for over a decade. But without reliable cottons, her call wasn't answered until the late 1920s. International Quilt Museum Elizabeth Miller, probably Elkhart, Indiana 1922 in the quilting. Meanwhile out in the central midlands, Amish quiltmakers were doing everything the Modernists advocated, creating striking quilts from their cotton, rayon and wool clothing scrap solids. 1922, Ohio Amish, initialed ALM What a contrast to mainstream style.

Phoebe's Favorite #1: Sunflower by Becky Brown The first of an appliqued Block of the Month series here on my Material Culture blog. Look for a free pattern on the first day of each month through March, 2024 here. Becky used the dogtooth applique method to make her floral. It's called Phoebe's Favorite after my dog. The blocks finish to 18-1/2" (or you can make them larger.) You'll learn how to use the traditional dogtooth method to applique points. But you also get a pattern for conventional applique: templates with seam allowances added. Print the pattern sheets on an 8-1/2" x 11" sheet of paper. Check the inch square for accuracy and adjust size if necessary. Cut the background 19" or larger. Above the dogtooth technique pattern for the inner star and the leaf---cropped a bit to fit on a sheet of paper. The star should be cut as a circle 6-3/4" in diameter. Becky's yellow petals above (16 of them) were cut as a circle, slashed and turned under. She's stitching by hand, the traditional way to do dogtooth applique. Now you may want to use conventional applique methods so you will get two patterns each month. Patterns for conventional applique. You need to add seam allowances to these templates. The leaves and center star Jeanne Arnieri used the dogtooth technique and added a dot. She says: "Dogtooth applique is quite quick and easy -- fun!!!" A variation. Drawn from a quilt in the collection of Bev & Jeffrey Evans Mark French's inventory 20th-century version The dogtooth method allows you a lot of freedom. This 1921 reference to a dog-tooth border is the earliest I've found to that name for applique style but they are showing a pieced sawtooth border, not what I'd call an appliqued dogtooth border. Sunflower by Denniele Bohannon See the introduction post a few weeks ago: https://barbarabrackman.blogspot.com/2023/06/applique-block-of-month-phoebes.html

Phoebe's Favorite #2 Bouquet by Becky Brown Comfort magazine, a widely read woman's periodical in the early 20th century, published a design for "Bouquet." My 1-inch sketch gives you an idea of the pattern. Elsie Ridgley's Bouquet A little William Morris fabric. Bouquet by Denniele Bohannon Pattern for dogtooth applique Print the pattern sheets on an 8-1/2" x 11" sheet of paper. Check the inch square for accuracy and adjust if necessary. Each month you get two patterns for two techniques. Pattern for conventional template applique Notice that Becky shortened the green stems to make the red florals touch, giving a more complex look to the finished block. The design seems to have been popular in the red and green decades. From a sampler recorded by the New York project & the Quilt Index. Jeanne Arnieri's Bouquet She is enjoying the dogtooth applique technique. I don't have a clipping for the Comfort picture of Bouquet but here is a similar pieced design. They did some wacky designs---mostly reader contributions. And on the topic of wacky.

Does the T stand for Temperance? I recently read a paper: CRUSADING QUILTS: SOCIAL REFORM AND THE WOMAN’S CHRISTIAN TEMPERANCE U...

Me and the people at Electric Quilt have been working on re-issuing my Encyclopedia of Pieced Quilt Patterns and the digital version BlockBase in new editions later this year so I've recently been adding patterns I missed in the first indexes. I wrote a bit about the Laura Wheeler/Alice Brooks designs of the 1930s in the Kansas City Star Quilts Sampler book that came out last year and I thought I'd seen them all. Link to a preview: https://books.google.com/books?id=hmx8DwAAQBAJ&printsec=frontcover&dq=kansas+city+star+quilts+sampler&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjXh6Hj3Y3nAhXJQc0KHUugDmMQ6AEwAHoECAYQAg#v=snippet&q=wheeler&f=false Colonial contradiction so prevalent in the 1930s: Inaccurate period dress, colonial kitchen green and modern patterns. Merikay Waldvogel conducted a study center on an important newspaper pattern group for the AQSG meeting last October. She has been telling me I missed a lot of Alice Brooks/Laura Wheeler designs. I was aghast to find she is right. Like the one in the lower center in her graphic for the study center. I spent hours on that Friendship Chain and a post here: https://encyclopediaquiltpatterns.blogspot.com/2018/08/pincushion-variation.html The patterns I missed were mostly under the Alice Brooks byline. Darn that Alice Brooks. The problem is that patterns under the Alice Brooks byline were syndicated to fewer papers than the Laura Wheeler designs. I didn't see them in indexing nearby newspapers; I didn't find any in scrapbooks I came across; they were probably printed in fewer numbers and thus fewer survive. I missed some Laura Wheeler designs like this one too. Leota sent a scrappy version, telling me she couldn't find it in the Encyclopedia. It will be in the next edition. Setting Sun, Leota Alice Brooks was just one name used by a New York needlework syndicate from King Features known by many names: Reader Mail Needlecraft Service Household Arts Old Chelsea Station (this is what the pattern collectors of the 1960s & '70s called it because their office was across the street from this post office branch in Manhattan) By Lines: Alice Brooks Laura Wheeler Anne Adams Carol Curtis Marian Martin (more clothing than quilts) Mary Cullen Lily Album 1933 Merikay told me to subscribe to Newspapers.com to find more Brooks designs so I did and have spent too many leisure hours scrolling through papers looking at "Alice Brooks Quilt Pattern" hits. I have come up with many that were not indexed. Fortune's Fancy 1933 Pine Cone 1934 Sally's Favorite 1933 It may have been Sally's Favorite, but I haven't ever seen a quilt in the pattern. Some of the Brooks patterns are a bit quirky. Flower Wreath 1935 Friendship Rings, quirky though it may have been, was relatively popular. I've been looking for the source for all these wedding ring chain quilts for a while. The block Read more about the syndicate here at Wilene Smith's webpage: http://quilthistorytidbits--oldnewlydiscovered.yolasite.com/laura-wheeler-and-alice-brooks.php

For many years I've been saving photos of quilts with the date actually on them. I figured you could analyze style trends in a sort of timeline. I've spent a lot of time analyzing the years before 1860 but I thought I'd look at an era I haven't paid much attention to: The end of the 19th century. We can begin with 1891. Crazy quilt dated 1891 The files would be full of crazy quilts if I saved pictures of crazy quilts (I think we have seen a large enough sample to say they were popular in 1891). Detail of a crazy quilt in the collection of McMinn County Living Heritage Museum Silk quilt dated 1891 from the Michigan Project & the Quilt Index, in the collection of the Dearborn Historical Society. I am more interested in cotton patchwork, even though silk quilts and crazies were quite a fad at the time. A related vogue was redwork, outline embroidery, this one from the Indiana project and a Methodist Church in Dayton, Indiana. Fundraisers and all sorts of name quilts were quite fashionable. What do we see when looking at the cotton patchwork? Irish Chains were being made, in fact they must have been a desirable design. I have 25 photos of cotton quilts dated 1891and three are Irish Chains, one Double above, two Triple below. "E.H.K." Note ice cream cone border Hmmm. Mary Rausch from a Case Antiques auction in Tennesssee And here's a fourth, a Single Irish Chain or just a Nine Patch For Ann Phillips from the Ladies of Mt. Morris (New Jersey) Mt Morris Historical Museum A newer idea was the Drunkard's Path Two red and white examples from online auctions. M.A.J. might have been in her 70s but she was in the avant garde. It's not surprising how many red and white quilts are dated 1891. We've all noticed that end-of-the-century fashion. Combination piecing and red work embroidery 1890-1891 Some solid fabrics; Some prints. Garfield's Monument, another novel design, reflecting the surge of commercial patterns about that time. Garfield's Monument from Farm & Home. Several versions of this mourning image were published. Debra Wright Stansbury's Collection About 1/3 of the quilts in the file are red and white. An unusual log cabin kind of pattern from the collection of the Wisconsin Historical Society. Names on the logs. The red and white quilts point out the simplicity of design. One one hand everyone was making elaborate crazy quilts; on the other pieced designs were far more austere. Solid colors.... The more I see of these blue and brown quilts the more I wonder if the brown was once a dark blue. "1891 Pa & Ma to Mell" Prints may have been hard to find or relatively expensive. "D H Mack" And the prints one does see tend to be simple too. Stella Rubin's Inventory The national colors of red, white and blue were discussed in the newspapers for fundraisers and commemoratives. Prints in the new wave of synthetic dyes that characterize the 1890s and early 20th century By Rebecca Alford Dinsmore Lawrence County, Pennsylvania International Quilt Museum https://www.internationalquiltmuseum.org/quilt/19970070945 Only one pieced album, from the Aycock family in Abilene, Texas. Another album dated 1891; this pictorial sampler from Stella Rubin's inventory. Including some temperance sentiment and a pair of Drunkard's Path blocks. Pook & Pook Auction A second sampler, this one mostly applique and mostly simple. M McKee (?) Few repeat block applique quilts. This four-block of all solids: Turkey red, blue that has remained blue and chrome orange. Unusual. Really unusual Was the tan background once green? And one last unusual example Nancy Rutherford Fisher's string quilt in the collection of the Smithsonian. One could understand how this (and several of the other unusual quilts) might have taken years. Nancy presented this to her daughter in 1891. The abundance of prints indicate it may have been made over a range of years. Detail from the McMinn County Living Heritage Museum crazy quilt What was happening in the year 1891? Not too much. There are not a lot of pieced or appliqued quilts dated that year--- the crazy quilt and silk quilt fashion may have made them old-fashioned. But those cotton quilts that were made don't look too old-fashioned. In fact, they look kind of modern in their simplicity. Solid colors and Red & White! Drunkard's Paths! Where are the prints?

Donna Pyle had a pattern question. She's been restoring this quilt from Alabama. "I've just been given several quilts from a famil...

I've been saving photos of quilts with dates on them for years and have been entertaining myself recently by organizing the pictures by...

"Richmond," pieced in Richmond Reds by Becky Brown Becky, who used to live in Richmond, Virginia, wrote she couldn't resist making...

Collection: Huntington (West Virginia) Museum 84" x 103" An impressive quilt recorded in the West Virginia project, photo from the Quilt Index. https://quiltindex.org//view/?type=fullrec&kid=26-22-4166 Twelve appliqued and embroidered cherry trees set on point with stuffed work quilting in the alternate plain squares. Quilting patterns: another tree and some fern-like fronds AND there is an inscription inked on the reverse: "S. Z. Wilhoit March, 1852 by her mother" AND when Juanita Reed documented it for the project she recorded this family story: "The quilt belonged to our grandmother, Sarah Zerelda Wilhoit Long, from Versailles, Ky....We think these quilts were made as birth gifts for several members of our grandmother's family....The quilt was made by a woman in Woodford County, Kentucky (Versailles). It cost Mahalia Dale Wilhoit $80.00 and was a gift to her daughter, Sarah Z. Wilhoit, at birth, March 1852. It is called 'George Washington's Cherry Tree.'Sarah's family gave the quilt to the museum in 1958 and then gave more of the story to the project in 1997. It's not a West Virginia quilt. Sarah Zerelda Wilhoit was born, as her family knew, in Kentucky in 1852. In 1860 the census taker found the Wilhoits on their farm in Woodford County, Kentucky. Robert and Mahala were rather prosperous farmers with daughters Mary, Sallie and Elizabeth and sons Hiram, Elijah and Robert. Did each of the six get a quilt at birth? The quilt's remembered price $80 would be worth about $2,500 today. Ten years later the 1870 census tells us Robert was worth about half of what he'd had before the Civil War. Mary the eldest was listed as Mollie, Elizabeth was Lizzie and the older boys were on their own except for Robert who worked on the farm. Three children were born in the 1860s: Emma, Jackson and Clarence. Nine children in all. A cherry tree pattern. In the original many of the stems are embroidered with wool yarns. The trunk was stuffed. "We think these quilts were made as birth gifts..." When I reread that I realized the family may have donated more than one but I don't find record of any others. One does not often come across a family story about a quilt purchased as a luxury item. The standard view without the memory would be that Mahala Wilhoit made this herself. Purchasing a quilt is not part of our attitudes about women's work. Typical illustration of a hobbyist, a folk artist by Jean Oldham who worked in the 1920s. It's a pretty painting but not the least bit historically accurate. This quilt and its story needs some follow-up. Tomorrow a twin. See a large photo of Sarah's quilt here: https://artsandculture.google.com/asset/george-washington-s-cherry-tree-quilt-unknown-maker/bAEZ6hEgWOnhSA

Alice's four patch When Alice Browne was nine in the 1860s she began a four-patch quilt. from which we drew many of the pri...

Pam & Erica do a live broadcast for AccuQuilt and they asked me to help them launch their new die for the cutting machines: Schoolhouse. Click here to see a link to the hour-long show on the Schoolhouse die: https://www.facebook.com/accuquilt/videos/573193120540703 They asked me for a little history of the pattern Houses were certainly popular, here are a few from BlockBase+. The name Schoolhouse comes from Ruth Finley in her 1929 book although other pattern sources had published variations on the block as far back as about 1890. Ruth was not fond of the pattern and included a photo in her chapter on the "Decline of Handcraft." She was in a pessimistic mood as she finished her book in 1929, not realizing the explosion of interest in quiltmaking (and fine handwork) that would follow in the 1930s. We disagree! I had more pictures than Erica & Pam could show.... Most from online auctions and dating about 1890-1940 A Little White Schoolhouse from Joanna Rose's collection of red & white quilts. Maggie Malone's collection From the Iowa Project and the Quilt Index One can always create a neighborhood: Possibly from Joanna Rose's collection. Add the names of the local householders Cindy Rennels's inventory, dated 1897 Each block has a name between the chimneys Doyle Antiques Auction Add a railroad and the cemetery. It's a village. Or maybe you live in the country all by yourself.

Phoebe's Favorite Dogtooth Applique #5: Tobacco Leaf by Becky Brown Southerners had favorite patterns and this dogtooth appliqued pineapple or tobacco leaf was quite popular in the late 19th and early 20th century, usually done in solid colors. Found in the Arizona project. Betty Meek McKenzie's family called this Tobacco Leaf when they showed her quilt to the Louisiana project. It's based on one of the oldest American designs going back to the early 19th century: The Reel or Oak Leaf design... ...with many added pointy edges. Two pattern sheets for the Dogtooth technique And two for the template method. Forgot to post this one of Denniele Bohannon's. A catalog from years ago. A post on the pattern: http://civilwarquilts.blogspot.com/2022/11/georgia-adams-lane-no-nothings-fancy.html