Throughout the 1880s, as railroads spread and transportation improved, entrepreneurs began to look to ways to diversify their holdings. Merchants had grown wealthy during the farming crisis after the Civil War. Dramatic fluctuations in agricultural markets, however, made them search for more stable investments. The South's emerging industrialists began to look toward railroads, financial institutions and textile mills as more stable investments. Merchants also saw the mills as a way to take advantage of the economic stress on the upland farms. Textile mills could easily exploit the abundant supply of relatively low-wage labor as workers shifted from agriculture to industry. Farmers in the 1880s and 1890s succumbed to the allure of wages that the mill villages offered. Many farmers saw factory work as an opportunity to keep their families intact. In the 1880s only a few textile mills existed in the South. But by the 1920s, the region had eclipsed New England in terms of yarn and cloth production.
Cactus Basket, 1870; New York
The sides of each block measure 8” and are on point while the triangles measure 2 x 1-1/2 x 1-1/2". Every other block contains a wreath filled with inside grid quilting 1/4” apart. The corner sections around the wreath are quilted in the same manner. The cactus basket is quilted in 1/2” grids. The entire double border measuring 5” in width is quilted in an apx 1/2” grid. The outside border is finished with a 3/8” binding. All piecing and quilting has been executed by hand. The white fabric used on the front and back of this is piece is a fine cotton. The binding, inner border, 1/2" sashing and baskets are the same 19th century pink.
Four Patch, 1875; Brewer, Maine
This conversation print quilt comprising an array of expensive calicos and paisleys dating from 1825 to 1870. There’s a patch sewn on the whole cloth backing that is signed and dated. The quilt was started in 1870 and finished in 1875. Because of the fabrics and yardage used, this family was of affluent means. The whole cloth backing is a plaid of gray, white and muted red. The quilt has been pieced with the English paper piecing method. This method of piecing is the most secure method, preventing the fabrics from coming apart. It is stitched with a herringbone pattern. Three of the 4 squares in the four patch blocks have a 4” square of a Ulysses Grant and Henry Wilson’s presidential campaign with folk art American flags.
Variable Stars, 1875; New England
This Variable Star quilt has early mint condition chintz, very early block print Turkey red calicos and wonderful madder dyed prints--all rare and unusual fabrics. Pieced and calico blocks measure 7 inches square and are all hand pieced. Much later the blocks were machine pieced together with a brown calico. The back is a large size calico. Started around c.1825 and finished c.1875, it was a work in progress.
Log Cabin with Straight Furrows and H Block Border, 1875; Maine
The complete outside border measures apx 6” wide and is comprised of dozens of 6” square log cabin “H” blocks and totally different from the inside log cabin blocks which comprise the straight furrows pattern. The inside furrows blocks are half light and half dark fabric. The fabrics are stunning and unusual. All logs are 3/4” wide with the chimneys measuring 1-1/8” square.
Miniature Diamonds in a Square, 1878; New England
All hand pieced and hand quilted with an amazing array of fabrics, some dating back to 1840.
Blue & White Broken Star, 1880; New England
The stars measure 22 x 22” with each side of the diamond measuring 2-1/4”. The stars are joined with 13” square blocks. The outside edge of the stars are joined with rectangular blocks measuring apx 6-1/2 x 13”. The quilt is bordered with a 7” white strip and finished with a 3/8” indigo binding.
Mennonite Variable Star, 1880; Pennsylvania
Typical of Amish and Mennonite quilts this quilt has been machine pieced. The blocks measure 9 inches with cheddar orange sashing measuring 3-3/4 inches in width and extremely wide borders measures 12 inches. The entire quilt is covered in a 1 inch grid diagonal quilting pattern. There is a 3/8 inch binding executed half by hand. Each ring in the star in the block has identical calico fabric. There are different over dyed green calicos used for the blocks.
Log Cabin with Lightning Streak, 1880; New England
This Log Cabin is made up of 100 blocks each measuring apx 7-1/2” square. The logs used for the construction are 1” wide. All logs are outline quilted and there is an 3/8” binding. This exquisite quilt is completely pieced by hand. The backing fabrics date from c.1840 and are a pieced Bars pattern. Strip pieced backings are a signature of Mennonite quilts. Because of the quality of the fabrics, this Mennonite family would have been of affluent means.
Martha Washington, 1880; Upstate New York
The Martha Washington pattern was developed from the Ocean Wave pattern with the center joining square divided into four triangles. The edging is created using a border print. The design construction is comprised of 13” blocks on point with the four sides of this quilt filled in with triangles each measuring 7 x 7 x 10”, one white and one Indigo Calico between each square. Two sides of the quilt have a 3” border fabric edged with a 3/8” hand applied binding. In the quilt world, indigo and white is and has been the most loved color combination in America.
Martha Washington, 1880; Lebanon, Maine
The small triangles measure 1-1/2 x 1-1/2 x 2", the large triangles measure 5 x 5 x 7”. The binding appears to be applied by machine and finished by hand. This 19th century blue is a wonderful mid century shade of indigo; sought after by many people. Actually blue is the most popular color in our country.
Mennonite Reversible Double Irish Chain, 1880; Pennsylvania
This Irish Chain quilt's design is comprised of 1-3/4” squares. The outside edge is an 8" wide triple border with each strip being apx 2-3/4” wide and finished with a 3/8” separately applied binding. This is the design for the front of the quilt and is comprised from three fabrics; an over-dyed green calico, a double pink calico and a mustard calico with a red and white minuscule print. The "signature" of a Mennonite quilt is that they always strip pieced the backings of their quilts. In this case, the strips are so perfectly laid out that it is a completely reversible quilt. It’s a Bars quilt, comprised of a different green calico on the back than what was used on the front alternating with a chrome yellow calico with a small red flower and thin vine design. Each strip measures apx 7-1/2” in width. On the back, it’s easier to see the quilting design that’s been executed on the front. Each square is outline quilted. The joining blocks are cross hatched diagonal quilted. The border is quilted in a herringbone pattern.
Square in Diamond, 1880; New England
This quilt has been executed using various black and gray calico fabrics. There are (50) 6-1/4" blocks joined by white 6-1/4” blocks. There is a 4-1/2” border around the sides of this quilt. 1/4” is covered with a hand applied black and white plaid variation binding. The border is made up of 4 rows. The first is 1" wide, the second is 1-1/4” wide, the third is 1-1/4” wide, and the last is 1-1/2” wide. The border and the piece blocks are quilted using an 1840’s design of 2 parallel rows 1/4” apart then 1” space between the double rows and then repeated. The plain white blocks are cross hatch quilted in a 7/8”.
Postage Stamp Sunshine & Shadow, 1880; Kent, Ohio
Thousands of 1-1/8” squares from c.1845 to c.1880 are masterfully executed here completely pieced and quilted by hand. The quilter finished her quilt using a quilting horizontal grid pattern with rows apx 1-1/4” apart. Finishing this piece if textile art is a 1/4” hand applied binding in a solid Turkey Red fabric.
Stained Glass Velvet with Piano Border, 1880; Maine
This quilt looks just like modern stained glass work. It has an outer 5" border of 2-1/2 x 5” piano keys. The silk velvet fabrics are an array of gorgeous muted colors; cranberry, brown and rust, to name just a few. On part of the border there is a 3/8” binding in a variety of colors. Joining the border to the next row is a 2” sashing then 7 x 4-1/2” rectangles, followed by 2” sashing. Next row of brick size rectangles 9 x 4” in alternating directions. The whole cloth backing is drapery fabric.
Miniature Cigar Ribbon Quilt, 1885; Massachusetts
As a trendy habit most Victorian men smoked cigars. These cigars, in clusters, were wrapped in beautiful silk ribbons denoting the manufacturer. This advertiser design resulted in exquisite silk ribbons waiting to be creatively assembled in a piece of textile art. This Massachusetts woman, whose husband may have attended Harvard, has taken the silk cigar bands and created a version of the log cabin completely from these ribbons. This is dated mid 1880s because of the vibrant colors. Later, the colors (mostly blue, orange and red) faded more easily due to a change in dyeing techniques. These miniature quilts are rare not only because of their scarcity, but because of the rarity of the colors and the manufacturers, notably Harvard. There are numerous ribbons from Massachusetts companies and over a dozen crimson Harvard University ribbons. One ribbon includes a patriotic golden American eagle holding an arrow.
Miniature Patriotic Cigar Ribbon Quilt, 1885; Massachusetts
This miniature quilt has some very rare ribbons, including 4 red, white and blue ribbons used to frame a center square design on point. Also incorporated in this quilt are very rare green ribbons, Harvard University crimson ribbons and even red and white stripe ribbons. This Massachusetts quilt is filled with cigar maker manufacturers names along with ribbons showing American flags and other symbols.
Railroad Crossing with Nine Patch, 1885; Erie, Pennsylvania
This Turkey Red and white quilt has been pieced by machine and quilted by hand. Coming from Erie, the symbolism of the quilt may be related to the maker's husband’s work on the railroad. It was created with 14” square blocks with the blocks joined with a 5-1/2” sashing. The binding was created by turning the back fabric to the front and machine stitching the fabric down. The quilting design indicates that this quilt was made later than the fabric which is pre 1865. Turkey red, the most popular fabric for affluent women between 1835 and 1865. The fabric was also previously used, which is indicated by the white striations on the red,.only caused by wear. This clue added to the fact that the quilt was hardly used.
Nine Patch on Point, 1890; Vermont
There are over 40 different fabrics, solids and calicos, all pieced and quilted by hand.
Embroidered Folk Art Crib Quilt, 1890; Maine
This crib quilt is comprised of 24 7” blocks with motifs embroidered on black wool with wool yarn. There is a swan, representing a lifelong relationship, flowers and leaves representing spring, summer and happiness. There’s a bird with “AM” embroidered on its wing. Created in the 1890s, it appears that the maker was incredibly creative and probably came from a less affluent family. The backing of each block is a much earlier handwoven fabric.
Wool Crazy Lap Quilt, 1890; New England
Wool crazy quilts were made to be used, unlike silk crazy quilts that were made a for artistic embellishment. This quilt is comprised of (12) 10-1/2" blocks that are wool, wool challis and some cotton flannel. The backing is a cotton flannel.
Crazy Quilt with Native American symbols, 1894; Maine
This original piece of art is comprised of 20 blocks, each measuring 16” square. This is a Victorian crazy quilt that is totally unique. There is Native American symbolism throughout the quilt. This quilt has embroidered names, auld lang syne, staffs of wheat and ears of corn and planted rows in a field. Wonderful colors with wonderful motion and one of a kind. The front fabrics are wool, wool challis, wool silk and heavy cotton. The backing is all wool.
Amish Wool Bars with Corner Squares, 1895; Lancaster, Pennsylvania
This quilt measuring 69 x 84”. Typically Amish quilts are comprised of few colors. The Amish quilt shown here is comprised of 4 colors. The outside border measures 11-1/2” and is finished with a typical Amish binding of 1-1/8” in width. The corner squares, the signature of the Lancaster Amish, measure 12” square. The inner border measures 3-1/4” in width. Inside this border there are 7 bars each measuring 5-1/2” in width. The colors are alternating Prussian blue and olive brown. The outside border is beautifully quilted with meandering vines and leaves. The inner border is quilted in a meandering wreath and vine design with a four leaf clover in the middle of the square of the pattern. The bars are quilted on the diagonal in a 1” grid. All Amish quilts are machine pieced and hand quilted. All the quilting stitches are perfectly executed. The backing is a black and white gingham check.
Drunkard's Path, 1895; Pennsylvania
A very rare and unusual rendition of the Drunkard’s Path pattern. A very popular pattern with quilters who were against consuming liquor. This quilt is comprised of 20 blocks, each measuring 12” square and all joined by strips of white with red dot 3-1/2” sashing. The backing is a very similar whole cloth fabric creating a reversible quilt. Another fabric used in the construction of the block is an indigo calico. The 1/4” binding is turned over from the back and finished by hand. All blocks are pieced by hand then joined to the sashing by machine and finished with hand quilting. This mint condition quilt certainly fits a description of patriotic. Around two sides of the outer edge of there is a 6-1/2” border. The fabric on the other two sides is a red with white polka dots.
No comments:
Post a Comment