QUILTING:
An Art for the Ages
A design exploration by Katie McIntosh
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QUILTING:
An Art for the Ages
CONTENTS
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4 Chapter 1: History of Quilting
14 Chapter 2: Projects: From Past to Modern
30 Index 32 Credits
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1950s: The Extension Homemakers Club in Cabarrus County get together to complete their quilts.
Chapter
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AN AMERICAN History of Quilts:
FOLKART
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During the early years of American colonization, most Colonial women were busy spinning, weaving and sewing the clothes for their family, so had little time for artistic quilting.
THE HISTORY OF QUILTS BEGAN long before European settlers arrived in the New World. People in nearly every part of the world had used padded fabrics for clothing, bedding, and even armor. With the arrival of the English and Dutch settlers in North America, quilting took on a new life and flourished. The term “quilt” comes from the Latin, meaning a stuffed sack. The word has come to have 2 meanings. It is used as noun, meaning the 3-layer stitched bed covering. It is also used as a verb, meaning the act of stitching through the 3 layers to hold them together. A quilt is a cloth sandwich, with a top, which is usually the decorated part, a back, and a filler in the middle. Under the general term of patchwork are of 3 different types of quilts: (1) plain/whole cloth quilts, (2) appliqué quilts, and (3) pieced or patchwork quilts. The quilt, as America knows it, was originally a strictly utilitarian article, born of the necessity of providing warm covers for beds. Quilts were also used as hangings for doors and windows that were not sealed well enough to keep out the cold. The earliest American quilts, made by English and Dutch settlers, were so intimately connected to everyday life of the early colonists that no record of them exists.
History of Quilts—An American Folkart
During the early years of American colonization, most Colonial women were busy spinning, weaving and sewing the clothes for their family, so had little time for artistic quilting. Commercial blankets or woven coverlets were more likely to be used, but during difficult times, when money was scarce or imported textiles limited, many Colonial women had to become creative in their use of materials on hand to keep their families warm during the cold seasons. Those early settlers could not afford to simply discard things when they wore out; necessity required they carefully use their resources. Therefore, when blankets became worn, they were patched, combined with other blankets, or used as filler. These were not carefully constructed heirlooms, rather they were functional items for the sole purpose of keeping people warm. Only in later years, when fabrics were being manufactured in America and were more affordable, freeing women from the work of making their own yarns and fabrics, did artistic quilting become more widespread. In the 100 years between 1750 and 1850 thousands of quilts were pieced and patched, and many of them are preserved. Many of these quilts were so elaborate that years were spent making and quilting them. It is no wonder they are cherished as precious heirlooms and occupy honored places in many homes and museums. Those early quilts provide a glimpse into the history of quilting as well as the history of the United States.
Whole cloth quilts, broderie per se and medallion quilts were popular styles of quilts made during the early 1800�s. The whole cloth quilt, also known as counterpane, is usually made of single pieces of material on the top and back, and the decoration is obtained by means of padded or corded quilting in more or less elaborate design. The appliqué quilt, or “laid-on” quilt, usually has a top made of whole cloth with smaller pieces of contrasting fabrics cut into shapes or forms that are stitched to the top of the quilt. These quilts were considered more elegant than the humble pieced type. Appliqué for quilting came into favor around the mid-1700�s and reached its climax about 1850. Only the wealthy could afford the expensive imported fabric and had the leisure time for this type of quiltmaking that displayed the needlework of the maker. The earliest settlers had no labor or materials to spare so they typically found the simplest, most expedient solutions to problems. This focus on functionality was exhibited in their architecture, tools and household furnishings, as well as political and social institutions. The block-style pieced quilt was an example of this functional approach to design. Once again, the history of quilts mirrored that of the developing country.
From Left to Right: Example of a “Quilt Sandwich,” Whole Cloth Quilt detail, Example of a Block-Style Pieced Quilt.
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Left to Right: Example of a Medallion Quilt; Spools of Thread, circa 17590.
History of Quilts—An American Folkart
In the early 1700�s Amish colonists settled in the farmlands of Pennsylvania and the Midwest. They emigrated from Europe with the hope that they would be able to have the freedom to live according to the principles of their religion. Those early Amish women did not quilt, rather using the feather beds traditionally used in Europe. Over time, contact with outsiders combined with necessity, Amish women began creating quilts with a characteristic beauty and craftsmanship that are the hallmark of Amish quilts. As the frontier was conquered, living conditions began to improve. With prosperity and the availability of more materials, quilts became less austere. The patchwork quilt was a “utility” quilt, in contrast to the appliqué quilt which was a “best” or show quilt, upon which time and material was lavished. A particularly popular style of quilt in the early days of quilting (through the early 1800�s), was the Medallion quilt, which was made in a style that had actually been brought to America from Europe by the colonists. This type of quilt— a central motif surrounded by multiple borders — offered endless design possibilities for quilters, who could use patchwork, appliqué, embroidery, either alone or in combination. Though there are examples of elaborate patchwork quilts that took enormous amounts of time to make, pieced quilts were generally the everyday bedcover, and designed to be made quickly. Since even small cloth remnants could be used in patchwork quilts, every scrap of fabric and usable portion of worn garments were saved and used in patchwork quilts. Pieced quilts became the most common type of quilt at that time.
A variation of the utility quilt was the plain “tufted” quilt that is tied through in enough places to keep the filling from shifting and bunching. While a tufted quilt has no stitching holding the layers together, it does have the typical 3 layers seen in traditional quilts. Another variation of the quilt is the “summer” quilt, which does not have the middle filling, so is useful as a bedcover during the warmer months. The summer quilt does have the traditional stitching holding the 2 layers together. Members of rural communities frequently joined together to help their neighbors with big projects, such as barn building or finishing quilts. The quilting bee was a social event that allowed the finishing of several quilts in a single day instead of weeks or months. Early quilters did not limit themselves to designing only quilts of a single type or method. They used their imagination and ingenuity to combine patchwork, appliqué, and embroidery in endless combinations. One early variation was the Medallion quilt, a relatively simple design with dramatic impact, that was particularly popular through the early 1800�s.
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The history of America can be seen in the history of quilts.
History of Quilts—An American Folkart
During the 1800�s in many parts of the country there was a custom that a young girl make a baker�s dozen of quilt tops before she became engaged. This collection consisted of 12 utility quilts, undoubtedly pieced, and one great quilt, which was either a pieced or appliqué quilt, for her bridal bed. After her engagement, she would take final steps to turn her tops into finished quilts. Another custom was for mothers to make a quilt for each of her children to have when they left home to start life as adults. A variation of this custom continues to this day as quilters continue to make heirloom quilts for their children or grandchildren.
Patchwork quilts were more likely to be made of new and finer fabrics. Appliqué quilts, which require more fabric, emerged and developed a body of traditional patterns. More and more women, particularly those in the upperclasses, had the time and resources to pursue more “genteel” arts. During this time the Victorian crazy quilt, became popular. By the early 1900�s, quilting was transforming from a necessary art into a creative one. When the United States entered World War 1 in 1917, quiltmaking became more important than ever. The U.S. government urged citizens to “Make Quilts—Save the Blankets for our Boys over There.” Quilts were made for fundraising and awareness building. The government took all the wool produced for commercial use in 1918 and instituted “heat-less Mondays.” Interest in quilting as an art was renewed post war.
In the mid 1800�s the introduction of the sewing machine altered the dependence on hand-sewing. Long before electricity became common, quilters could power a sewing machine with a foot treadle or hand crank. However, machine quilting did not catch on right away. Hand quilt- During the Great Depression, people did not have the ing remained the favored method for nearly a century. money to buy blankets so women again relied on quilting Much of the handwork involved in quilting may have been to keep their families warm. Saving pieces of material from clothing and other blankets, using material from a form of relaxation for pioneer women, a relief from the drudgery and real labor of family life on the frontier. feedsacks, and “making do” were common practices for frugal quilters during difficult years. Additionally, fine handwork was a source of status.
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During World War II, quilting was used to raise money to support the Red Cross. The “signature quilt” was especially popular. In a signature quilt, business people, store owners, and citizens of a community would pay a small fee to have their names embroidered on their quilt blocks. The blocks were sewn together and quilted, and the finished quilt was raffled off with all proceeds going to the Red Cross. These quilts are now serve as community records. Through the 1950�s and 1960�s, there was less general interest in quilting than at any other time in American history. To many, the quilt was associated with lean times; quiltmaking was viewed as dated and old-fashioned. It was primarily older quilters, those who had always quilted, who kept the art of quiltmaking alive. Then in the 1970�s and 1980�s, the granddaughters of these older women began to revive interest in quiltmaking. The back-to-the-land movement generated a desire among many young people to learn hand skills neglected in the postwar rush toward an automated society. A milestone in American history, the Bicentennial celebration of 1976, was also a turning point in the history of quilts in America. The quilt became popular as a means of expressing national pride and achievement, and a powerful reminder of our past. Now, in the early 2000�s quiltmaking is still practiced as it always was, though more for relaxation than out of necessity. Some quilters follow the craft in conventional form for leisure-time amusement. Others have found an artistic medium they can manipulate to their ends, and have created new styles and techniques. The history of America can be seen in the history of quilts: in the rich heritage left us by those thrifty, self-sufficient women who helped settle this land, in the families whose history is sewn into quilts one patch at a time, and in the legacy of the quilting arts passed on to children and grandchildren so they may carry them forward to the future.
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1600�s
– English and Dutch settle in the New World – Quilts primarily serve a utilitarian purpose
early 1800�s
1750–1850
– Quilting became a wealthy person’s pastime – W hole piece quilts were was considered more elegant than pieced quilts
– The "Quilting Bee" was born. – Medallion Quilts were popular
18 00�s
– Tradition for girls to make a “Baker’s Dozen” quilt before marrying
mid 1800�s
– The Sewing Machine was introduced
1917
– Women focused their quilting efforts on the troops
2000�s
– Quilting is practiced as a relaxing hobby – Modern generation took quiltmaking on as their own and created new techniques
early 1900�s
– Quilting started to become an art rather than a necessity – The "Crazy Quilt" became popular
1960�s
– Quilting became popular with young people again
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Chapter
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02
From Traditional to
MODERN
PROJECTS
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The Quilting Bee
The Quilting Bee SINCE THE EARLY NINETEENTH CENTURY, women have been coming together to quilt. Gathering regularly to work together on a quilt, a group of neighbor women would sit around a quilting frame, chatting and enjoying one another�s company while completing some productive stitching. These gatherings came to be known as quilting bees. As years passed, the popularity of quilting ebbed and flowed, but through it all many quilters continued to enjoy the community and friendship provided by quilting bees. As the decades have passed, the lives of women have changed significantly. No longer limited to friends and neighbors, our communities have grown to include the whole wide world we can find online. The Internet has allowed quilters to come together in an entirely new way. Through the Internet, quilters who live far apart have connected with one another to form a vibrant and active community celebrating the art of modern quilting. Blogs, Flickr groups, message boards —the new generation of quilters has embraced these technologies. We use these tools to find like-minded quilters, to share our work with other members of the community, and to discuss tips and techniques. The Internet is a constant source of inspiration, feedback, and advice. With no geographical limitations, the online community of modern quilters will continue to grow and thrive. The combination of the traditional craft of quilting and an active online community has given birth to the “virtual” quilting bee.
Block Variations
Courthouse Steps
Traditional Log Cabin
Block Variations:
Square-in-a-Square
LOG CABIN THIS BLOCK IS A PERFECT STARTING POINT FOR NEW QUILTERS. Easy to make, it is loved by quilting novices and experts alike. The Log Cabin block has many variations, making it the perfect canvas for showing off your creativity. This versatile block can be used with all your favorite prints, both large-scale and small-scale. It�s also a great scrap-eater, so grab your scrap basket and pull out any coordinating snippets. Follow the diagram for each block to see how the colors play in the construction. The traditional Log Cabin block uses one color for the bottom and right-hand logs, and another color for the top and left-hand logs. In Courthouse Steps, one color is used in the top and bottom logs and another color is used in the left- and righthand logs. In the Square-in-a-Square block, the center and each round of the block is a distinct color. Last but not least, the scrappy Log Cabin features a mix and match of color throughout the rounds. Are you new to quilting and don�t have a scrap basket yet? How about finding someone to do a swap with? Maybe you have a yard of fabric that another quilter would trade for a load of her scraps. There are also fabric shops (especially those on etsy.com) that sell scrap packs.
Scrappy Log Cabin
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Variation 1:
WONKY LOG CABIN BLOCK THE WONKY LOG CABIN BLOCK is a variation of the traditional Log Cabin block, which has a center square surrounded by simple strips (”logs”) of a variety of fabrics. This wonky block provides a perfect introduction to improvisational, or freestyle, piecing. It is a more modern approach, as no two blocks will turn out the same. This is a great block to work on in a quilting bee because it allows each member some room for creativity and produces a variety of results; no two minds are alike.
How to Make a Wonky Log Cabin Block The general technique for building this block is the same as for the traditional Log Cabin block-round by round. However, instead of straight strips, you use irregularly shaped pieces and add them wherever you like. Your finished block size can vary, depending on how many strips you add. It�s up to you! In improvisational piecing, the idea is to cut and piece a quilt block “freestyle.” There is no need to precisely measure and cut all the strips. Instead, you cut free-hand and use your creativity to figure out the arrangement of shapes and colors that is most pleasing to you. There is no right or wrong way to do it, and improvisational piecing is freeing and fun. You can take this approach to making almost any quilt block.
FABRICS Alissa asked each bee member to make 2 blocks between 14" × 14" and 17" × 17". Alissa planned to later frame the blocks to make them 19" × 19" when finished. She cut 8 yards of different solid and print fabrics into 6" × 22" strips and also added some scraps of coordinating fabrics from her stash. She sent a varied selection of 10 fabric strips to each member. This enough fabric for bee members to make 2 blocks each. For your own blocks, you will need a variety of fabric scraps. If you have lots of strips of fabric that are randomly cut and varying in size (width and length), you are all set. Make sure you include some that are long enough to be the final logs of your blocks, 14" to 17" long. For each block, you will need to have a center (of any size) and 10 to 15 strips about 4" wide and of varying lengths, which you will chop up as you are making the block. The number of different fabrics you use depends on your fabric and design choices.
Wonky Log Cabin Block
TIP: Fat quarters-precut 22” × 18” pieces sold at quilt shops and online are also a great way to buy small quantities of fabric so that you can affordably get some variety in your stash.
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CONSTRUCTION Makes 1 block the size of your choice. 1. Build on the center of the block, log by log, working counterclockwise. Don�t worry about cutting perfect strips-just cut and sew what you think looks good. Also keep in mind that you can add “wonk” to your block by trimming a strip on an angle after it has been sewn on. 2. Continue building on the block, round by round, adding logs in a counterclockwise direction and pressing after each addition. Add as many rounds to the block as you�d like, picking and placing fabrics in the manner you find attractive. Stop adding rounds once the block has reached the desired dimensions. Trim the edges of the block, squaring it up using the grid on your cutting mat and a rotary cutter and ruler.
Wonky Log Cabin Block
VARIATIONS
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In making these blocks, feel free to be creative and put your own spin on things. The almost limitless options can result in a wide variety of different finished looks. Consider building one log out of multiple fabrics, (image 1). Or, add multiple logs to one side before sewing one onto the top, (image 2). Build the center out of different fabrics. The block in image 3 shows off the center by framing it with dark gray. As you construct your blocks, try to put contrasting fabrics next to one another—mix up the prints you are using. Consider both pattern and scale. You might also want to vary the width of the strips for interest.
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“Once Around the Block ” Quilt This quilt was originally created in a virtual quilting bee. The wonderful wonky blocks received from the bee members resulted in a bold, lively, and dynamic quilt.
LAYOUT
FINISHING
This finished quilt has 25 blocks. Because the blocks were irregular sizes, she added frames to make the finished blocks all the same size. Alissa chose an off-white fabric to showcase each block individually and to unify the quilt top. After framing, she trimmed each block to measure 19½'' square.
Alissa chose to back her quilt by stitching together 3 sections of fabric in her 3 main solid colors-gray, aqua, and orange. She made her design choices just by working with the fabric she had remaining from the quilt blocks and some solid off-white. She quilted the quilt on her home sewing machine, using an allover stippled design, and bound it with a gray print fabric also found in the blocks. Altogether, Alissa needed 8½ yards of fabric for her backing, and she needed ½ yard for the binding.
From 4½ yards of background fabric, Alissa cut 100 strips 3" × 20" for framing the blocks. This gave her extra-large strips, making it easy to just sew them on and trim afterward. Alissa sewed the framed blocks together in a 5" × 5" grid to create a finished quilt measuring 95" × 95". This large quilt works nicely on a queen-size bed, adding warmth and color to Alissa�s bedroom.
TIP: Because the bee members contributed blocks in a variety of sizes, Alissa had to trim down some of the framed blocks significantly to reach the finished size of 19 ½" square. For other blocks, the framing strips hardly needed any trimming at all.
Wonky Log Cabin Block
ALISSA’S THOUGHTS on the Quilting Bee I started quilting just four years ago, and it was my introduction to various Internet communities that helped to get me hooked. When Kristen and I started the bee, I thought it would be a wonderful way to create a community of friends who quilt. When I joined the bee I did not have any “real life” friends who quilt, so getting to know these eleven women through the blocks they sewed has been wonderful! I was surprised to learn that being in the bee made me a better quilter. Working with fabrics and design requests that other people chose pushed me to be creative and attempt new techniques that I wouldn�t have tried. All the quilts that resulted from the bee are amazing! And even better, I now know a group of women who love quilting, and modern quilts, as much as I do. Alissa Haight Carlton lives in Los Angeles with her filmmaker husband. She has been obsessively quilting for four years. She is one of the founders of the Modern Quilt Guild. When not quilting, she casts reality TV shows, including seasons seven and eight of Project Runway. She blogs about her quilting at www.handmadebyalissa.com.
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Variation 2:
QUARTERED LOG CABIN BLOCK This quilt is another variation on the traditional Log Cabin block. A Quartered Log Cabin block takes a Square-in-a-Square Log Cabin block and cuts it in quarters to create four smaller blocks. The resulting wonky blocks are graphic and fun. This quilt is another great one to do with a bee. The creator of this quilt decided to try a non-traditional source of fabric: upcycled men�s shirts and neckties. With a cool palette of blue and a splash of warm yellow, this cozy quilt makes the perfect play mat for her children.
How to Make a Wonky Quartered Log Cabin Block For this block, you construct a Square-in-a-Square version of the Log Cabin block (see page 16). Then you chop up the block in quarters to make 4 smaller blocks and reassemble them into a new block.
FABRICS For her blocks, Nettie cut up 12 men�s shirts that she found at a thrift store. She sent each bee member 6 pieces of a shirt (a sleeve, a front half, or half of a back), with each person receiving pieces from 6 different shirts. She also sent along some scraps from 2 neckties. To create additional interest, she cut 2 half-yards of solid quilting cottons each into 12 strips 3" × 22" and included them too. To create an eye-catching look, Nettie wanted different-sized blocks to work with when putting her quilt together. She requested that some bee members make 21" × 21" blocks that when cut in quarters would be 10 ½'' × 10 ½" (10" square finished), and that others make 11'' × 11'' blocks that would become 5 ½” × 5 ½" quarter-blocks (5" square finished). For your own blocks, you will need at least 2 shirts per block, but the more shirts you have, the more variety you can include in all the blocks. For the block, you�ll need a center (any size you would like) and 12 to 20 long strips of shirts that are a variety of widths from 1 ½" to 4". Some of the strips must be at least 22" long for the last rounds of the largest squares.
Quartered Log Cabin Block
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CONSTRUCTION Makes finished blocks 10" × 10". If you�re planning on making all the squares in your quilt yourself, make five 21" squares and five 11" squares so that you�ll have a mix of sizes to work with when you�re ready to determ ine the layout. The 21" squares will be cut into quarters to make 20 blocks. The smaller squares will be cut into quarters and reassembled to make 5 blocks. 1. For the Square-in-a-Square variation of the Log Cabin block, the same fabric is used for all the logs in a single complete round. Cut a fabric square the size of your choice for the block center. To make a Square-in-a-Square block for this quilt, sew 2 side logs to the center first and trim. Then add the top and bottom logs and trim. 2. Continue sewing on strips as in Step 1, adding enough rounds to make either a 22" square or a 12" square. Remember to press each seam along the way. Once the blocks are big enough, square up each to 21" or 11" square. 3. Cut each square in equal quarters to create 4 blocks 10½ " × 10½ " (from a 21" square) or 4 squares 5½'' × 5½'' (from an 11" square). Set the 10½ " blocks aside. 4. With the 5½" quarters, reassemble the pieces to make 10½" unfinished blocks. You can arrange them into any layout you like. One way is to combine 4 mismatched quarters into a new Square-in-a-Square. Alternatively, you can keep the quarters all pointing the same way, which creates a different but equally interesting block.
Quartered Log Cabin Block
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“Square Deal” Quilt Including pops of yellow among all these blues gives this quilt a wonderful, vibrant look. Even though this quilt uses men�s shirts that cost about $2 each at the thrift store, the quilt is beautiful. What an economical way to make an amazing quilt!
LAYOUT
FINISHING
Rather than looking at this quilt as horizontal rows, Nettie arranged the blocks in 5 columns. The first column has
Nettie backed her quilt with some additional blocks from her quilt top, combined with plain, pale blue fabric. Her quilt is straight-line machine quilted in a diagonal grid pattern. She added a binding of green dotted fabric. For a one-fabric back, Nettie need 3¼ yards of fabric and 1 yard for the binding.
5 large blocks. She threw in a solid block at the top of column 2 and then added 4 blocks. Column 3 is again 5 blocks, but in column 4 she used 4 blocks and 2 half blocks. The last column has 5 blocks again. She then sewed the columns to each other to make a 50" × 50" finished quilt.
Quartered Log Cabin Block
NETTIE’S THOUGHTS on the Quilting Bee I started quilting about ten years ago. My coworker was a quilter, and she shared the most beautiful quilts I had ever seen. I knew how to sew a straight line, and I figured I�d give it a try. It didn�t take long before I was hooked. Eventually my husband and I moved away (and I started having babies), and I found that I missed my friendships with my quilting/sewing friends. That�s when I discovered the wonderful world of online quilting! You never know what people will ask you to make for them—the thought of hexagons scared me to death, but they ended up being my favorite block. I also discovered some methods that I do not really prefer (paper piecing), but I�m glad I gave it a try and that I know how to do it. This bee has also taught me that I do my best work when I do not over-think things. If I sit down at my sewing machine and just sew, I tend to like the results better than when I try to plan them out. Most importantly, I have found friends in this bee. The generosity and kindness of the members is by far the best part of being involved in a quilting bee. I love that I have a quilt made up of blocks from all over the country, and from all different types of quilters. I think we all consider ourselves modern quilters.
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Index
INDEX
Amish Quilting 9 Appliqué 6, 7, 9, 11 Bicentennial 12 Courthouse Steps Block 17 Great Depression 11 From Traditional to Modern Projects 15 History of Quilting: An American Folkart 5 Homemakers Club 4 Log Cabin Block 17, 18, 24, 26 Medallion Quilt 7, 8, 9, 13 “Once Around the Block” Quilt 22 Pieced Quilt 6, 9, 13
Patchwork Quilt Quartered Log Cabin Block Quilting Bee Scrappy Log Cabin Block Summer Quilt “Square Deal” Quilt Square-in-a-Square Block Tufted Quilt Victorian Crazy Quilt Whole Cloth Quilt Wonky Log Cabin Block World War II
6, 9, 11 24 9, 16, 23, 28 17 9 28 17, 26 9 11, 13 6,7 18 12
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Credits
IMAGES ruralnchistory.blogspot.com gladcreationsquilts.com craftsy.com quiltingintherain.com Quilt-as-you-Go Made Modern by Jera Brandvig Block Party—The Modern Sewing Bee compiled by Alissa Haight Carton
TEXT quilting-in-america.com Quilt-as-you-Go Made Modern by Jera Brandvig Block Party—The Modern Sewing Bee compiled by Alissa Haight Carton
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