Last updated Mrs. Bill Stagg of Pie Town, New Mexico with her patchwork and embroidery quilt that displays all the United States state flowers and birds, October 1940.
The history of quilting, the stitching together of layers of padding and fabric, may date back as far as 3400 BCE.[1] For much of its history, quilting was primarily a practical technique to provide physical protection and insulation. However, decorative elements were often also present, and many quilts are now primarily art pieces.
Whole-cloth quilt, 18th century, Netherlands. Textile made in India.
In Europe, quilting appears to have been introduced by Crusaders in the 12th century (Colby 1971) in the form of the aketon or gambeson, a quilted garment worn under armour which later developed into the doublet, which remained an essential part of fashionable men's clothing for 300 years until the early 1600s.
One of the earliest existing decorative works is the Tristan Quilt, made around 1360 in Sicily.[2] It is one of the earliest surviving quilts in the world and at least two sections survive, located at the V&A Museum (London) and in Bargello palace (Florence). Another of the Tristan and Isolde story is held in a private collection.
Russia
The oldest surviving example of a quilted piece is a linen carpet found in a Mongolian cave, dated to between 100 BCE and 200 CE. It is now kept at the Saint Petersburg department of the Russian Academy of Sciences, Archaeology Section.[3]
United Kingdom (and colonial Australia)
The National Gallery of Australia has a 3-by-3-metre (9.8 by 9.8ft) quilt known as the Rajah Quilt. It was created by about 30 convict women as they were transported from Woolwich, England to Hobart, Tasmania in 1841. The quilt was rediscovered in Scotland in 1989. It is a medallion quilt with Broderie perse at its centre.[4]
United States
Quilt making was common in the late 17th century and early years of the 18th century. Colonial quilts were not made of leftover scraps or worn clothing as a humble bedcovering during this period but were decorative items that displayed the fine needlework of the maker, such as the Baltimore album quilts. Only the wealthy had the leisure time for quilt making, so such quilting was done by only a few. Commercial blankets or woven coverlets were a more economical bedcovering for most people.
Whole cloth quilts, broderie perse and medallion quilts were the styles of quilts made during the early 19th century, but from 1840 onward the use of piecework and blocks, often made from printed fabric, became much more common.
Quilting is now a popular hobby, with an estimated base of twenty-one million quilters.[5]
Wholecloth quilts
Early wholecloth bed quilts which may appear to be a solid piece of fabric are actually composed of strips of fabric, since early looms could not produce widths of cloth large enough to cover an entire bed surface. Early quilts that feature the same fabric for the entire quilt top, whether that top is made of dyed wool or pieces of (the same) printed cotton fabric, are referred to as wholecloth quilts. Early wholecloth quilts have three layers: a quilt top, a filling (in early quilts the filler was often wool), and a backing. The three layers are held together via quilting stitches worked by hand, in an age before sewing machines were marketed. In wholecloth quilts, the quilting stitches themselves serve as the only decoration. The earliest whole cloth quilts found in America were brought from Europe. Initially, quilts were owned by the wealthy in America who had the means to purchase imported quilts.
The collection of the Lovely Lane Museum in Baltimore, Maryland contains a quilt believed to have been carried onshore by the Cogswell family who embarked from Bristol, England en route to Bristol, Maine in 1635. Once the passengers were safely on shore, the galleon "Angel Gabriel", moored in Pemaquid Bay, was completely destroyed when the Great Colonial Hurricane of 1635 rushed up the coast from Naragansett, Rhode Island, leaving the ship as just a mass of floating debris after it was hit with the strongest winds ever recorded.[6]
The Canton Historical Society in Canton, Massachusetts believes that a wholecloth quilt in their collection may be the oldest wholecloth quilt made in America. The wool wholecloth quilt was made in 1786 by Martha Crafts Howard.[7][8]
The Buckingham Quilt surfaced in 2014. It was made by the wife of Reverend Thomas Buckingham, one of the founders of Yale University, and passed down through nine generations. It is among the oldest wholecloth quilts made in America (circa 1660s).[9]
A more complete survey is needed to compare all of the wholecloth quilts held in the many museum locations who have collected such textiles. Many early quilts did not survive the test of time or were discarded, or if they survived, the name of the quilter was lost to history. For a time, the trend in wholecloth quilting was a preference for all-cotton white quilts.
Many of the beautiful surviving wholecloth quilts feature feather designs, outlines of flowers, or are based on other designs taken from nature motifs. Some were made even more exquisite by the use of stuffed and corded quilting, a method sometimes called trapunto. Trapunto is an Italian word used to describe the technique of slipping extra stuffing into certain areas of a quilt to create areas of raised motifs that stand in relief. For example, stuffing placed inside the quilted outline of a feather or flower makes the design stands out. Women were sometimes proud of their finely wrought and evenly spaced quilting stitches in their wholecloth quilts. This type of quilting seems to be experiencing a revival today and some quilt stores sell pre-marked quilt tops ready to be layered and quilted, either by hand or by machine.
Broderie perse quilts
Broderie perse refers to the technique of cutting motifs from printed fabric and appliquéing them onto a solid background. This form of quilt making has been done since the 18th century. The popular printed fabric during this period was chintz imported from India.
Printed fabric was expensive even for those who were well off. By cutting out birds, flowers and other motifs from printed fabric and sewing them onto a large homespun cloth, a beautiful bedspread could be made. The technique was also used on some early medallion quilts as in the example.
Broderie perse bedcoverings were usually used on the best bed or sometimes only when guests were staying in the home.
Medallion quilts are made around a center. The center was sometimes a solid piece of large-scale fabric like a toile or a Tree of Life, an appliqued motif or a large pieced star or other pieced pattern. The central area was surrounded by two or more borders. Although some borders were solid, many were pieced or appliqued.
Mid-19th century
Changes came about as progress in technology deeply affected the number and styles of quilts made during the middle years of the 19th century.
The Industrial Revolution brought about the most dramatic change as textiles came to be manufactured on a broad scale. This meant women no longer had to spend time spinning and weaving to provide fabric for their family's needs. By the 1840s the textile industry had grown to the point that commercial fabrics were affordable to almost every family. As a result, quilt making became widespread.
A great variety of cotton prints could be bought to make clothing and even specifically for making a quilt. Although scraps left over from dressmaking and other sewing projects were used in quilt making, it is a myth that quilts were always made from scraps and worn-out clothing. Examining pictures of quilts found in museums we quickly see that many quilts were made with fabric bought specifically for that quilt.
Another major shift was in the style of quilts made. Although a few earlier quilts were made in the block style, quilts made up of blocks were uncommon until around the 1840s. With so many fabrics being manufactured quilters could create their blocks with a delightful variety of fabrics.
Some block style quilts were made of a set of identical pieced blocks while others contained a variety of blocks made with different patterns. The blocks were sewn together and a border may or may not have been added.
Detail on a medallion quilt
During this period the invention and availability of the sewing machine contributed to quilt making. In 1856, the Singer company started an installment plan so that more families could afford a sewing machine. By the 1870s, many households owned a sewing machine.
This affected quilt making in two ways. First of all, women could make clothing for their family in much less time, which left more time for quilt making. Secondly, they could use their sewing machines to make all or part of their quilts. The sewing machine was usually used to piece quilts, but occasionally the quilting itself was done with the sewing machine.
Civil War era
Oak Leaf Variant applique quilt, c. 1860, cottons, made by Mrs. M.E. Poyner, Paducah, Kentucky, dimensions: 74" x 86". Included in "Kentucky Quilts, 1800-1900" and "Homefront & Battlefield: Quilts & Context in the Civil War" traveling exhibitions and catalogues. Collection of Bill Volckening, Portland, Oregon.Fundraising quilt
Leading up to the American Civil War, quilts were made to raise funds to support the abolitionist movement then during the war, quilts were made to raise funds for the war effort and to give warmth and comfort to soldiers. The patterns were much like those made mid-century but the purpose was different. Quilts connected to the abolitionist movement and the Civil War were made for a cause, many representing the relevant flag.
Abolition and the role of quilts
Even before 1830, abolitionists were working hard to end slavery. One way they did this was to hold grand fairs to raise both awareness and money for the abolitionist cause. Quilts were one of many craft pieces sold at these fairs. These quilts were usually fine quilts often with beautiful appliqué. Women sometimes put anti-slavery poems and sayings on the quilts they made for fairs as well as for friends and family. The goal was to show the terrible plight of the slaves.
Some abolitionists were active along the Underground Railroad and helped runaway slaves get to safety. There is a popular myth that maintains that certain quilts were used as signals to help slaves in their flight to freedom. For example, a log cabin quilt might be hung on the line of a safe house. However, historians dispute the accuracy of these stories. In fact, the only reference for these underground railroad quilts is a single book (Hidden in Plain View by JACQUELINE L. TOBIN and RAYMOND G. DOBARD) written over 120 years after the war. Nevertheless, the myth caught fire and can be found in children's books, teacher's lesson plans, and quilter's pattern books; it seems loath to die.
For the troops
Civil War soldier's quilt.
Women on both sides were very active in raising money for the war effort and making quilts and other bed coverings for soldiers.
In the North, quilts were still made for fairs but now these fairs earned money to support needs that came about because of the war. In the South, "gunboat" quilts were made to pay for much-needed gunboats.
It wasn't long before it was obvious that soldiers on both sides would need blankets and quilts for warmth. In the North, women either made quilts or remade quilts from bed coverings. Since the cots were narrow, two bedspreads could be made into three quilts for soldiers. The United States Sanitary Commission was in charge of collecting and distributing them.
In the South, quilt-making was more difficult because although cotton was grown in the south, it was manufactured into fabric in the north. Before long, fabric was almost impossible to obtain so women had to spin and weave before they could sew a bed covering together. Regardless of their construction, most of the quilts made for soldiers on either side were made with practical patterns and fabric. Due to heavy use, very few have survived to the 21st century.
Victorian era America
Quilt making continued to be a popular craft during the latter part of the 19th century. The English Victorian influence was slightly delayed in the United States because of the Civil War and its aftermath.
Amish quilting
Amish quilts are appreciated for their bold graphic designs, distinctive colour combinations, and exceptional stitching. Quilting became a favoured activity of the Anabaptist sect after emigrating to the United States and Canada from Germany and Switzerland over 250 years ago. The earliest known Amish quilts, dating from 1849, are whole-cloth works in solid colours. Pattern-pieced bed coverings didn't appear until the 1870s. Particular patterns and fabrics are identified with specific Amish communities; for example, pre-1940s quilts from Lancaster County were almost always made of wool while those sewn in Ohio during the same period were commonly made of cotton.[10]
Often these quilts provide the only decoration in a simply furnished home and they also were commonly used for company or to show wealth. Amish religion discourages individual expression but quiltmaking has allowed Amish women to express their creative natures without giving offence. The Amish communities have always encouraged activities that promote community and family closeness so quilting became a fundamental part of social life for the women of the community. Quilts are created for everyday use or to celebrate special occasions such as birthdays, weddings, raising funds for the church or community cause. Since the "English" (the name for non-Amish people) discovered Amish work in the late 1960s, quilting has become a source of income for many. Their quilts have become collectors' items all over the world.[10]
Crazy quilting fad
Crazy quilt
In terms of quilts the latter years of the 19th century are best remembered for the "Crazy quilting" craze. Crazy quilts were made of abstract shapes sewn randomly together. Usually the quilt maker then used embroidery to embellish the quilt. Fancy stitches were sewn along the seams and often, embroidered motifs were added, including flowers, birds and sometimes a spider and web for good luck. Magazines encouraged making "crazies". These simple, organic quilts were seldom used as bed-coverings, instead they were made smaller and without batting to be used as decorative throws.
Traditional quilt survival
Because crazy quilting was so popular at the time, they tend to eclipse the fact that many traditional quilts were also made for bedding and commemoration. Utilitarian quilts were pieced and tied or simply quilted for everyday bed coverings while beautiful pieced and/or appliquéd quilts were created for special events like a wedding or when a beloved minister was transferred to a new location. These were more often elaborately quilted.
In the 1940s and 1950s many farm feeds were delivered in sacks. These sacks were printed with all sorts of designs. Feed sacks were used to make thousands of quilts.[11]
Contemporary quilts
Contemporary quilting has evolved to include a broad range of functional, decorative and artistic styles that incorporate ever-expanding techniques and tools. Many quilters have experimented with creating or dyeing their own fabrics, incorporating experimental materials into their designs and conceptually challenging the notion of what quilting is or should be. Advances in technology such as long-arm quilting machines and computer programs for mapping quilt top patterns and colour schemes has significantly widened the gap between contemporary and traditional quilting. There is currently a thriving resurgence in quilting. Thousands of videos of quilting techniques and tutorials have been made and shared online by people from around the world, continuing the tradition of quilting as a social and artistic space where people have connected over countless generations
Quilting is the term given to the process of joining a minimum of three layers of fabric together either through stitching manually using a needle and thread, or mechanically with a sewing machine or specialised longarm quilting system. An array of stitches is passed through all layers of the fabric to create a three dimensional padded surface. The three layers are typically referred to as the top fabric or quilt top, batting or insulating material and the backing.
Patchwork or "pieced work" is a form of needlework that involves sewing together pieces of fabric into a larger design. The larger design is usually based on repeating patterns built up with different fabric shapes. These shapes are carefully measured and cut, basic geometric shapes making them easy to piece together.
A quilt is a multi-layered textile, traditionally composed of two or more layers of fabric or fiber. Commonly three layers are used with a filler material. These layers traditionally include a woven cloth top, a layer of batting or wadding, and a woven back combined using the techniques of quilting. This is the process of sewing on the face of the fabric, and not just the edges, to combine the three layers together to reinforce the material. Stitching patterns can be a decorative element. A single piece of fabric can be used for the top of a quilt, but in many cases the top is created from smaller fabric pieces joined, or patchwork. The pattern and color of these pieces creates the design.
Appliqué is ornamental needlework in which pieces or patches of fabric in different shapes and patterns are sewn or stuck onto a larger piece to form a picture or pattern. It is commonly used as decoration, especially on garments. The technique is accomplished either by hand stitching or machine. Appliqué is commonly practised with textiles, but the term may be applied to similar techniques used on different materials. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work, generally for the purpose of decoration.
Sewing is the craft of fastening or attaching objects using stitches made with a sewing needle and thread. Sewing is one of the oldest of the textile arts, arising in the Paleolithic era. Before the invention of spinning yarn or weaving fabric, archaeologists believe Stone Age people across Europe and Asia sewed fur and leather clothing using bone, antler or ivory sewing-needles and "thread" made of various animal body parts including sinew, catgut, and veins.
A patchwork quilt is a quilt in which the top layer may consist of pieces of fabric sewn together to form a design. Originally, this was to make full use of leftover scraps of fabric, but now fabric is often bought specially for a specific design. Fabrics are now often sold in quarter meters. A "fat quarter" is one square meter folded into four and cut along the folds, thus giving a relatively square piece of fabric 50 cm on a side, as opposed to buying a quarter of a meter off the roll, resulting in a long thin piece that is only 25 cm wide.
Broderie perse is a style of appliqué which uses printed motifs from one fabric to create a design on a background fabric. It was popular in the late 18th century and early 19th centuries. The technique could be considered an early form of puzzle piecing.
The Mola or Molas is a hand-made textile that forms part of the traditional women's clothing of the indigenous Guna people from Panamá and Colombia, South America. Their clothing includes a patterned wrapped skirt (saburet), a red and yellow headscarf (musue), arm and leg beads (wini), a gold nose ring (olasu) and earrings in addition to the mola blouse (dulemor).
Two groups, Choco and Cuna lived side by side without intermarriage and without adopting a similar culture."10
Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.
The following outline is provided as an overview of and topical guide to crafts:
The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.
A Hawaiian quilt is a distinctive quilting style of the Hawaiian Islands that uses large radially symmetric applique patterns. Motifs often work stylized botanical designs in bold colors on a white background.
Quilt art, sometimes known as art quilting, mixed media art quilts or fiber art quilts, is an art form that uses both modern and traditional quilting techniques to create art objects. Practitioners of quilt art create it based on their experiences, imagery, and ideas, rather than traditional patterns. Quilt art generally has more in common with the fine arts than it does with traditional quilting. Quilt art is typically hung or mounted.
The term Provençal quilting, also known as boutis, refers to the wholecloth quilts done using a stuffing technique traditionally made in the South of France from the 17th century onwards. Boutis is a Provençal word meaning 'stuffing', describing how two layers of fabric are quilted together with stuffing sandwiched between sections of the design, creating a raised effect. The three main forms of the Provençal quilt are matelassage, piqûre de Marseilles, and boutis. These terms, along with trapunto are often debated and confused, but they are all forms of stuffed quilting associated with the region.
Machine quilting is quilting made using a sewing machine to stitch in rows or patterns using select techniques to stitch through layers of fabric and batting in the manner of old-style hand-quilting. Some machines even replicate hand stitching, for example Sashiko or running stitch quilting.
Sewing is the craft of fastening or attaching objects using stitches made with needle and thread. Sewing is one of the oldest of the textile arts, arising in the Paleolithic Era. Although usually associated with clothing and household linens, sewing is used in a variety of crafts and industries, including shoemaking, upholstery, sailmaking, bookbinding and the manufacturing of some kinds of sporting goods. Sewing is the fundamental process underlying a variety of textile arts and crafts, including embroidery, tapestry, quilting, appliqué and patchwork.
Corded quilting is a decorative quilting technique popular from the late 17th through the early 19th centuries. In corded quilting, a fine fabric, sometimes colored silk but more often white linen or cotton, is backed with a loosely woven fabric. Floral or other motifs are outlined in parallel rows of running stitches or backstitches to form channels, and soft cotton cord is inserted through the backing fabric using a blunt needle and drawn along the quilted channels to produce a raised effect. Tiny quilting stitches in closely spaced rows fill the motifs and provide contrast to the corded outlines.
The Sujani embroidery work of Bihar, is a textile expressive art product, given protection under the GI registration act. It is usually a quilt or bed spread, which was earlier made of old clothes, but is now generally made of easily available fabric with embroidery done with the most simple stitches with motifs narrating stories. It is exclusively made by women in 15 villages of Bhusra in the Gaighat block of Muzaffarpur and a few villages of Madhubani in the Indian state of Bihar.
The conservation and restoration of quilts refers to the processes involved in maintaining the integrity of quilts and/or restoring them to an acceptable standard so that they may be preserved for future generations. Quilts have been produced for centuries, as utilitarian blankets, decorations, family heirlooms, and now treasured museum collections objects. Quilts are three-layered textile pieces with a decorated top, a back, and a filler in the middle. The composite nature of these objects creates an interesting challenge for their conservation, as the separate layers can be made of different textile materials, multiple colors, and therefore, varying degrees of wear, tear, and damage.
↑ Cummings, Patricia L. (February–March 2014). "Quilts in Early America, Part I: The Oldest Known Wholecloth Quilt Brought to the New World". The Quilter. Stanhope, NJ: All-American Crafts, Inc.
↑ Cummings, Patricia L. (April–May 2014). "Early American Quilts in America, Part II: The Martha Crafts Howard Quilt". The Quilter.
"Dunton Quilting Collection". Archives and Manuscripts Collections. The Baltimore Museum of Art. Archived from the original on 19 April 2015. Retrieved 15 December 2011.
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