A few days ago I took a trip to see some old Welsh quilts. They are part of Jen Jones’ vast and amazing collection of antique quilts and were on show in the Welsh Quilt Centre in Lampeter, Wa…
Welsh Quilts, Please remember for every rule/fact/instance, there will be exceptions. As with so many things in life, they evolved and gr...
One of the challenges for me when it comes to teaching this process is that it's very easy for me to assume that others understand some of the foundational basics that I take for granted so I thought I'd cover a bit more before going to fabric. Marking a quilt for quilting can be really intimidating. When it comes to marking a Welsh type quilt top, it doesn't have to be a scary thing because it's basically just a series of choices which are made one after the other. The quilt can be planned on graph paper first or with some experience you can go straight to the fabric. I still make a basic plan on paper but I rarely stick to it. Allowing innovation along the way makes for more interesting quilts and I suspect that the Welsh quilters understood this well. (The Celtic ancestors of the Welsh had a highly developed understanding of design and creativity). So, a few more tips on sketching your design on paper. When I was working with quilt guilds, I usually did a 2-day class. The first day we worked on paper and the second day we marked fabric. The first thing we did was mark around a 6"x24" ruler on a very large piece of paper and then proceeded to divide the 6"x24" 'border' into triangles or whatever so we could fill the divisions with Welsh patterns. This was the point where many of the students froze up, afraid to make a mistake but after making a few marks on the paper, they were off and running and by the end of the second day they were fearless. Try marking around your 24"x6" ruler as a 'border' and then fill it with patterns, you have nothing to lose but much to gain by just doing it. Here's an important tip... when marking, rulers are good for straight lines, creating and dividing the whole quilt surface into borders and so on but when it comes to measuring a border to be divided into triangles or any other shape, the best measuring tool is simple paper tape like you'd put in an adding machine (for those of you old enough to have ever used such a thing). You just roll the tape out to the length of the border and cut it off neatly... don't tear it. Now you can fold the tape and use it to figure the spacing within the borders.. I'll get into this more a bit later and also, if you have access to a copy of my Handbook, page 36 has some information on using paper tape to figure spacing. This really simplifies the marking... there's no fractions to remember as you mark and if you still need to fudge a bit on marking, it's no big deal, just slide the paper strip a bit whichever way you need to.. For now, go find a couple rolls of paper tape, any will work but don't get the thermal kind, just the plain stuff. Paper is far more useful with this style of marking than rulers and it's a lot more fun. Here's another tip to remember when marking on graph paper... just because you can draw a pattern into a space on graph paper doesn't mean it'll fit the space in real life. For example, you've drawn a corner square and on graph paper it's 4 squares by 4 squares and you've planned each square to equal 1". Now you draw a pattern in the corner block within the 4x4 little squares and tell yourself how great it'll look but will it? To check out your plan, draw a 4" square on graph paper and draw the chosen pattern in it's true size and then ask yourself again if it'll work or if the pattern looks crowded in the block at real size. It's been my experience that it's better to error on the side of simplicity with Welsh patterns and design rather than overdoing the design. Here's the last tip for today (I think). When planning your design, choose patterns like you would printed fabrics. Include some large scale patterns, but also some medium and small scale patterns. Choose organic, flowing patterns like spirals, hearts or leaves and complement them with the more geometric patterns. It's like choosing a variety of printed fabrics to work together. If something looks awkward, check the combination of the patterns and the scale. I made a pillow with Welsh patterns back in the early days and when it was done it just didn't look right and after studying it a bit I realized that the trouble was in the scale of the patterns, I had small, close patterns around the outside and a larger, more open pattern in the middle and it just didn't look right. Go find pictures of Welsh quilts and study the patterns and the way the patterns are combined. There is a simplicity to the whole process that is a bit of a challenge for those of us in these modern'ish' times who often seem driven to make the process as hard as we can. Relax So, here's a picture to look at and consider what I've said above. This is a close-up of the quilt shown below. Notice the variety of geometric lines and patterns alongside curved, organic lines. There are smaller patterns (the spirals) and larger patterns (the leaf). Also, some of the patterns started from templates (more on that later) and some were drawn free-hand. The cable pattern shown on the gold was spaced using paper tape. The full photo doesn't show as well as I'd like but you can look at the patterns and see the variety and ideas for how they might be combined. This isn't a traditional lay-out for a Welsh quilt. I had seen an antique American quilt that was pieced this way but which was quilted in a very nondescript design so I adapted the Welsh patterns to the pieced top and this is one of my favorite quilts. Also, notice this one has a binding sewn on the outer edge rather than the folded, knife edge finish. The pieced design needed the colored binding around the edge to finish it off. Wholecloth quilts are a challenge to photograph, mine were shot by Mark Frey,a professional photographer who has done many quilts. And lucky for me, he's a neighbor (around here, that means he lives within 10 miles). Enjoy... and if your brain gets too full, take a catnap... it always works for Frank.
The view from our hike. This past November, my husband and I (Kara) had the opportunity to visit the spectacular country of Wales. This was to be our relaxing treat after such a crazy past year of visitors and travel. We chose the location based on its proximity to Snowdonia National Park—renowned for its beauty—and it did not disappoint. The scenery was spectacular and the hikes through various areas of the park were diverse in landscape and beauty. While hiking through the hills was one of our main goals, seeing some of the towns and castles was another. We decided to visit Caernarfon Castle on our way back to our rental. Any fans of The Crown out there? We couldn't see the castle because they were filming Season 3! Beefeaters being prepped for the shot Filming in action While the scenery and the filming were wonderful, getting to see all the quilts at the Welsh Quilt Museum, just days before it closed for good, was the absolute highlight for me! I knew that the museum would be closing in November, but I thought I would give them a call to see if I would be able to get in. As fortune would have it, the exhibit would be closed the following Saturday, but if I wanted to visit in the next two days, they would be open. My husband and I drove down to Lampeter and were able to visit with the lovely Jen Jones, owner and curator of the museum. A few show catalogs and Jen's book, Welsh Quilts Jen showed us around the museum and shared some of her vast knowledge of Welsh quilts. Her efforts through the years to save this disappearing art form has resulted in a collection of over 350 pieces. While not all of her collection was on display, this exhibit was a summary of past exhibits and showed a variety of amazing Welsh quilts. I could go into more detail about the history of these quilted beauties, but it would be better to just show them, and let you read more about the history in Jen's book Welsh Quilts. As you look at all the quilts, take notice of the incredible hand-quilting on each and every one of these quilts. The view as we walked in Tree of Life quilt from an Indian, hand-painted, fabric panel. Quilted in 1810 and exhibited at the 1851, London Great Exhibition. The colors are still so vibrant and the stitching is exquisite! Floral Patchwork, 1920 Blue and Yellow Star quilt, 1920 and Blue Spotty Strippy quilt, 1890 Quilts from the very first exhibit in 2009 Military/Tailors Quilt, pre-1938 The maker of this quilt is still a mystery! Interesting blocks! Such bold colors! From the 2014 exhibit titled, Early to Bed. This exhibit celebrated Folk Art and "Make Do and Mend" So many pieces and so much quilting! A creative example of using what you had Victorian Patchwork What a unique center! From the 2018 exhibit, Nos Da-Goodnight Prince of Wales Feathers, 1890 Close-up Red and White Strippy This quilt won an award in 1901, and I can see why. Central Star Quilt, 1895, on top made by Sarah Lewis. The quilt on the bottom was used for 25 years to protect the mattress from the boxsprings, circa 1870. 2010 exhibit highlighting the history of paisley in Welsh quilts Shawls that would have been used in the quilts. The beauty of the quilting is so evident in this one. Quilting close-up. One of my absolute favorites! Golden Yellow Quilt Made by Anna Davies, born in 1895 Hand-quilted, satin cotton with lambswool batting It was a challenge to get good pictures of the amazing whole-cloth quilts. This one is stunning! A typical Welsh quilting motif Another close-up Welsh quilting frame It was a wonderful experience seeing such a collection of what could have been a lost art. Jen has spent the last 45 years not just rescuing these quilts, but learning about their history and genealogy. She has found them through many different channels and saved a few of them from a practical existence of keeping a cow warm. This is a card for purchase in the shop that I couldn't pass up. If it weren't for Jen's tireless efforts to save such a valuable quilt heritage, this incredible art form would have been lost. While the museum is now closed, this quilt collection will be soon be traveling around the world to various locations. I will leave you with a few words from the introduction of Jen's book that give you a glimpse into her passion for this art form: Those quilts that have survived (sadly many have not) come into our own times as living emissaries of another age. They evoke the dexterity, imagination, and creativeness of people who somehow managed to produce such remarkable visual art from such humble and limited resources. What began for me as a salvage operation has evolved into a way of life. Jen Jones Welsh Quilts Thank you, Jen!
Welsh and Durham quilts are very different in many respects -I hope to take you through some of these differences. However, bear in mind that these are only generalisations, and of course there are always exceptions. Firstly, the quilts were made in different geographical areas. "Durham " quilts should more properly be termed North Country quilts, as they were made in the counties of Northumberland, Durham and Yorkshire. This is an area of Carboniferous Coal Measures, and there were numerous mining communities in this area, along with other industries fuelled by the coal. There was also farming taking place in the countryside. Welsh quilts were of course made in Wales, especially in South Wales. Again, coal measures are to be found here and there were many mining communities here as well, together with many other mining, chemical and industrial works. Wool and sheep rearing was another major source of income as much of the land is too mountanous for arable farming. Due to the cultural differences and the geographical separation, each area had its own styles of quilting. Patchwork, applique and wool quilts were made, but I shall be illustrating the differences with the wholecloth quilts which the areas became famous for. Durham quilts became well known for their impressive quilting designs - usually a large and elaborate centre design with flat irons, roses, feathers, leaves, ferns and much curlicue infill. This was surrounded by an area of infill and then an outer border. Another example of a Durham quilt with a large centre motif of feathers. This Weardale quilt has a feather wreath and a central rose. Feathers were common in Durham quilts and running feather motifs were very common. Wadding in these quilts is usually of cotton. By contrast, Welsh quilts usually had a central motif, either a circular "coin" or a diamond. This central area was enclosed by double or triple lines to form a "field". Fans or other motifs echoed the centre coin, and spirals were used as filling devices. A further one, two or three borders, also enclosed by double or triple lines, surrounded the central field. Common border motifs include leaves, spirals, church windows, tulips and many geometrical designs. But feathers were not to be found on these quilts. Leaves and spirals were very common motifs on Welsh quilts. The wool wadding made the designs stand out well in relief. Chevrons, fans and twists were well liked...the fields were marked in chalk when the quilt was in the frame, then templates were used for the major motifs, with the rest being marked in freehand. Strippy quilts were found in both areas but can easily be told apart. Durham strippies had quilting designs which followed the strips, with border motifs being used up each strip. These strippy quilts were economical to make in fabric, easy to seam together and also easy to mark in the frame. These were the everyday quilts, although this example is especially finely worked and was a wedding gift. Seen here are a running feather pattern and a scroll and daisy pattern. Strips were generally narrower than the Welsh strippies. This Welsh strippy has wider strips than its Durham counterpart, and it is fillled with wool rather than cotton. More importantly, the quilting does not follow the strips, rather the top is treated as a wholecloth and the usual format of central field and surrounding borders is followed. Here we can see a central field of heart motifs surrounded by tulips, pennies and leaves. Durham and Welsh quilts usually were finished with a butt or knife edge, where the edges are simply turned in and and sewn down. With Durham quilts, this was sometimes done by hand but more often it was sewn down with one or two lines of machine stitching. This gave a firm and durable edge, although it was not always carefully done! Welsh quilts usually have a handsewn edge, and one or two lines of running stitch secure the edge. Bindings are not the norm for antique British quilts, unless the edge had suffered wear and a binding had been applied to effect a repair.
Beautiful petrol-blue Welsh wholecloth quilt with large heart motifs, spiral-filled leaves and paisley backing. It was probably made in 1930s.
I thought I'd provide a little information about The Welsh Quilting Pattern & Design Handbook that I put together in 1999 for my students. It isn't a fancy publication and the one in the picture is well worn. There are 79 pages of drawings and notes about how different patterns were marked. This photo show a page where I try to explain how I divide space up, mark the double lines and then divide and mark double line again. In the Handbook, I used the term 'outlining' for the marking of the second but I think the word 'echo' might better explain how the second line 'echoes' the first. One of the things you have to decide is which side of the first line you wish to mark the echoing line. Mark them all the same... for instance, if you have marked the lines that divide the outer border on the outside when you start, mark all the lines the same on the other sides of the design. But, if you make a mistake, the world won't come to a crashing end. These pages are about marking motifs and tips for folding paper to make templates. These pages show how I divide up border for filling with different patterns. The left page shows the basic division of the border space and the right page shows the divided area of the border filled with repeating patterns and motifs. The Handbook isn't like a book off the shelf at the quilt shop but it seems to get people started and when you've become good at looking closely to Welsh quilts, it'll help you see how the designs were divided up and the patterns were marked. May the Welsh quilts capture your imagination.
The view from our hike. This past November, my husband and I (Kara) had the opportunity to visit the spectacular country of Wales. This was to be our relaxing treat after such a crazy past year of visitors and travel. We chose the location based on its proximity to Snowdonia National Park—renowned for its beauty—and it did not disappoint. The scenery was spectacular and the hikes through various areas of the park were diverse in landscape and beauty. While hiking through the hills was one of our main goals, seeing some of the towns and castles was another. We decided to visit Caernarfon Castle on our way back to our rental. Any fans of The Crown out there? We couldn't see the castle because they were filming Season 3! Beefeaters being prepped for the shot Filming in action While the scenery and the filming were wonderful, getting to see all the quilts at the Welsh Quilt Museum, just days before it closed for good, was the absolute highlight for me! I knew that the museum would be closing in November, but I thought I would give them a call to see if I would be able to get in. As fortune would have it, the exhibit would be closed the following Saturday, but if I wanted to visit in the next two days, they would be open. My husband and I drove down to Lampeter and were able to visit with the lovely Jen Jones, owner and curator of the museum. A few show catalogs and Jen's book, Welsh Quilts Jen showed us around the museum and shared some of her vast knowledge of Welsh quilts. Her efforts through the years to save this disappearing art form has resulted in a collection of over 350 pieces. While not all of her collection was on display, this exhibit was a summary of past exhibits and showed a variety of amazing Welsh quilts. I could go into more detail about the history of these quilted beauties, but it would be better to just show them, and let you read more about the history in Jen's book Welsh Quilts. As you look at all the quilts, take notice of the incredible hand-quilting on each and every one of these quilts. The view as we walked in Tree of Life quilt from an Indian, hand-painted, fabric panel. Quilted in 1810 and exhibited at the 1851, London Great Exhibition. The colors are still so vibrant and the stitching is exquisite! Floral Patchwork, 1920 Blue and Yellow Star quilt, 1920 and Blue Spotty Strippy quilt, 1890 Quilts from the very first exhibit in 2009 Military/Tailors Quilt, pre-1938 The maker of this quilt is still a mystery! Interesting blocks! Such bold colors! From the 2014 exhibit titled, Early to Bed. This exhibit celebrated Folk Art and "Make Do and Mend" So many pieces and so much quilting! A creative example of using what you had Victorian Patchwork What a unique center! From the 2018 exhibit, Nos Da-Goodnight Prince of Wales Feathers, 1890 Close-up Red and White Strippy This quilt won an award in 1901, and I can see why. Central Star Quilt, 1895, on top made by Sarah Lewis. The quilt on the bottom was used for 25 years to protect the mattress from the boxsprings, circa 1870. 2010 exhibit highlighting the history of paisley in Welsh quilts Shawls that would have been used in the quilts. The beauty of the quilting is so evident in this one. Quilting close-up. One of my absolute favorites! Golden Yellow Quilt Made by Anna Davies, born in 1895 Hand-quilted, satin cotton with lambswool batting It was a challenge to get good pictures of the amazing whole-cloth quilts. This one is stunning! A typical Welsh quilting motif Another close-up Welsh quilting frame It was a wonderful experience seeing such a collection of what could have been a lost art. Jen has spent the last 45 years not just rescuing these quilts, but learning about their history and genealogy. She has found them through many different channels and saved a few of them from a practical existence of keeping a cow warm. This is a card for purchase in the shop that I couldn't pass up. If it weren't for Jen's tireless efforts to save such a valuable quilt heritage, this incredible art form would have been lost. While the museum is now closed, this quilt collection will be soon be traveling around the world to various locations. I will leave you with a few words from the introduction of Jen's book that give you a glimpse into her passion for this art form: Those quilts that have survived (sadly many have not) come into our own times as living emissaries of another age. They evoke the dexterity, imagination, and creativeness of people who somehow managed to produce such remarkable visual art from such humble and limited resources. What began for me as a salvage operation has evolved into a way of life. Jen Jones Welsh Quilts Thank you, Jen!
Welsh Quilts, Please remember for every rule/fact/instance, there will be exceptions. As with so many things in life, they evolved and gr...
The last room of the V & A exhibition was probably of the most interest to me; there was a good Sanderson Star quilt on display, draped over a quilting frame. I have always been impressed by this striking pattern and have four star quilts. One purpose of this blog was to spur me on to "do" something with the quilts. My idea with the star quilts was to compare the measurements and use some simple statistics to discover whether there was a common formula to this quilt. The pattern seems to often have been bought ready made and marked, as a quilt top - an early form of the "kit" format. The borders could be expected to vary a lot but was the centre star made to a common pattern and size? and were the quilting patterns also stitched according to a set style? I only have four quilts so in scientific terms a very small sample size - but of course one could measure other quilts and enlarge the database. The attraction is that this numerical evaluation is very similar to the scientific research that I did (and many, many student environmental/ecological research projects that I had to supervise and then mark). Many of my quilts were inexpensive buys and what I term "study items". Indeed, they might be termed UGLY quilts. They are ertainly not beautiful designer items, but all have been bought for a reason. I mentioned earlier that the everyday quilts were used to destruction and not many survive in some cases. What was found on most people's beds? These star quilts seem to have been considered special - but as a utilitarian item many were still used hard. Viz the fact that of my four quilts, one is unused, one is very faded and rebound, one is worn and stained and the final one is very whiskered. All are north country quilts but again one from Durham, one from Northumberland, one from "Tyne and Wear" and the final one from Cleveland - so a bit of a geographical spread. I will try to do the measurements this weekend and then analyse the results and share them with you. As in an experiment, one can either prove or disprove the question - "are the quilts similar?" Even a "No" answer would be of interest. Or, perhaps it will be "yes, but..." That's the fun! Here is the first quilt -it measures 80" x 93" and it is an unusual colour combination in cotton sateen of bronze and a lurid mint green. The colours do not show up well in the photos. The reverse is the bronze sateen. Cotton sateen was not maunfactured after 1936 so the colours and fabric suggest a 1930's date?? Any suggestions?? The quilt came from an auction in North Yorkshire but was one of five quilts from a house clearance in Barnard Castle in County Durham. Three of the quilts were used - this was one of two unused quilts. This is a "stamped" quilt and the blue pencil markings are still intact as the quilt has never been washed and appears unused. The quilting patterns are: Centre - rose in a ring plus small fern Diamonds - rose plus feather or fern Squares - diamond infill plus large rose Border 1 - unknown fleur de lys scroll Border 2 - floral scroll Border 3 - Small twist Border 4 - large floral Scroll Border 5 Twist with central diamond All the borders are "turned" with a different corner motif. The quilting thread looks like sewing thread in a light brown colour. The quilting stitches are 8 to the inch, and not especially even, so perhaps not made by an experienced quilter. The wadding is thin cotton. Edges are machine sewn. The star and borders have been machine pieced. I will be showing the other three quilts over subsequent posts. Posted by Pippa Moss - Welsh Quilts at 09:18 2 comments: Labels: Sanderson Star
Welsh Quilts, Please remember for every rule/fact/instance, there will be exceptions. As with so many things in life, they evolved and gr...
Welsh Quilts, Please remember for every rule/fact/instance, there will be exceptions. As with so many things in life, they evolved and gr...
Wearing a patterned kerchief around the neck, as a head scarf, or to keep a hat in place, is a feature of peasant costume in many countries, not just in Wales - but we used them in our quilts too. Did other countries do this, or was it just us I wonder? The patchwork has been dated 1890 but the backing fabric (therefore the quilting) is about 50 years later. The two pictures below are both sides of a wonderfully quilted one. Not sure which one you would treat as the reverse? Believed to have been made by Bariah Adams Lewis of Penybach, Llanboidy or one of her associates. c.1885 Wouldn't it be lovely to have either of these glowing on your bed over this winter season? Not that I would of course, even if I owned them, as both are far too precious for constant use - maybe on a guest room bed? They are part of the Jen Jones Collection and featured in her second exhibition at her Quilt Centre in Lampeter. This poster gives you a close-up of the wonderful quilting on the second quilt Here's another - an early 19th century one - This is another favourite of mine from Jen's collection. There is just something about it that appeals, probably the glorious chintzy fabrics and the fact that it's yet another lovely one made in God's own county, Pembrokeshire! I made a my version using some of my treasured vintage Laura Ashley fabrics to try and capture the rich patterning of the original quilt. Because it was so much smaller, I had to cheat a bit to get the right sized kerchief. I cut down a table napkin which had been printed in India - it so difficult to source this very bright bluey pink now and this napkin was a find. Then, as on the original quilt, I appliqued a rose motif at the centre. There are instructions for making this little quilt in my new e-book "Little Welsh Quilts" - see the sidebar for more details. Somewhere in my stash, I have a Liberty of London fancy hankie together with a selection of fabrics which I would like to turn into another little quilt. For one fleeting moment I thought that I might include a picture, then I realised that finding them would be a day's work, so sadly no picture for the moment! Kerchief quilts are very dear to my heart as I own one which was made at the end of the 19th century by my Great Great Aunt, Elizabeth John, who lived in our home village in Pembrokeshire. The quilt had left the family's possession, but on hearing of my interest in patchwork, the family friend who then owned it, returned it to me. It is a humble quilt, as most kerchief quilts were. They were not intended for best but for everyday wear and because of this, few have survived. Unless of course, as is the case of those in Jen's collection, they have stupendous quilting which puts them above average! For my friends in the USA, an Emma Bridgewater Turkey Platter to wish them a Very Happy Thanksgiving
Beautiful petrol-blue Welsh wholecloth quilt with large heart motifs, spiral-filled leaves and paisley backing. It was probably made in 1930s.
This class, running over two days, will give you the opportunity to explore the quilting patterns traditional to South Wales. You will design your very own heirloom cushion, but you may choose to hand stitch one of the Welsh cushion patterns provided instead! In a two day class there is the opportunity to create larger…
Making Pictures quilting workshop at the Welsh Quilt Centre with Janet Bolton
More photos from the Exhibition "A Quilted Bridge - The Amish Welsh Connection", at the Welsh Quilt Centre in Lampeter, Wales. This exhibition runs through to 3 November 2012 and is well worth seeing if you are planning a visit to Wales. The Butterfly Quilt, so named for the unusual shape in the centre of the quilt. Wool, cotton, paisley shawl and silk, cotton wadding. C 1880. This photo is very dark, the quilt is more vividly purple and green in real life. Amish floating Bars Quilt, Ohio. Wool and cotton, with a thin cotton batting. Machine sewn and hand quilted. About 1900. On loan from the American Museum in Britain. Not in the catalogue - a Welsh flannel quilt. Another geometric Welsh flannel quilt from Jen's collection. The quilt that is on the catalogue cover - Lledrod Bow Tie Quilt - Satin cotton patchwork with strippy reverse. Piecing is by machine and the quilting is entirely by hand. The filling is an old blanket. C 1900. the strippy reverse is irregular, with the strips punctuated with rectangles. Stitching patterns are random, adding up to a mad, random pattern. Treorchy Quilt - Flannel, pyjama fabric and cotton. Machine pieced and hand quilted. Late 19th or early 20th c. One of a pair of quilts found by Jen in the South Wales valleys in the 1980's. The same quilt in its setting in the exhibition - I liked the use of the old iron bedsteads to show the quilts. Cot quilt in a cradle. Red Crosses Quilt - Rhayader, Powys. Wool, flannel and velvet. Machine stitched. Higgledy-piggledy placement makes this quilt charmingly quaint. About 1890. As I have said before, an attractive catalogue is available for£5.00 plus postage and packing. Email [email protected] for a quote. More information at www.jen-jones.com or www.welshquilts.com. Please telephone 01570-422088 for opening times on public holidays or if coming a long way, as opening times do vary.
Some little quilts in my garden
A few days ago I took a trip to see some old Welsh quilts. They are part of Jen Jones’ vast and amazing collection of antique quilts and were on show in the Welsh Quilt Centre in Lampeter, Wa…
Hearts and Flowers By Janet Haigh March 9th – November 2nd 2024 Janet Haigh – ‘I am a freelance designer-maker, applied artist,...
Quilting inspiration and tutorials; dimensional wool and cotton applique; stories of quilts; applique patterns
Here is another quilted cushion. The maker was from Durham, and I hope to be given her name at some point. The finishing is much better than the usual; the cushion is piped and the three button closures are nicely finished. The colour is a warmer yellow than shown in the photos. The back has a wineglass filler pattern which gives a nice texture. The quilting stitches are small and even. The front of the cushion has paired feather curls, which make a nice motif, with diamond infill. This cushion is a nice item and is very pleasing to look at.
A few days ago I took a trip to see some old Welsh quilts. They are part of Jen Jones’ vast and amazing collection of antique quilts and were on show in the Welsh Quilt Centre in Lampeter, Wa…
Hearts and Flowers By Janet Haigh March 9th – November 2nd 2024 Janet Haigh – ‘I am a freelance designer-maker, applied artist,...
The view from our hike. This past November, my husband and I (Kara) had the opportunity to visit the spectacular country of Wales. This was to be our relaxing treat after such a crazy past year of visitors and travel. We chose the location based on its proximity to Snowdonia National Park—renowned for its beauty—and it did not disappoint. The scenery was spectacular and the hikes through various areas of the park were diverse in landscape and beauty. While hiking through the hills was one of our main goals, seeing some of the towns and castles was another. We decided to visit Caernarfon Castle on our way back to our rental. Any fans of The Crown out there? We couldn't see the castle because they were filming Season 3! Beefeaters being prepped for the shot Filming in action While the scenery and the filming were wonderful, getting to see all the quilts at the Welsh Quilt Museum, just days before it closed for good, was the absolute highlight for me! I knew that the museum would be closing in November, but I thought I would give them a call to see if I would be able to get in. As fortune would have it, the exhibit would be closed the following Saturday, but if I wanted to visit in the next two days, they would be open. My husband and I drove down to Lampeter and were able to visit with the lovely Jen Jones, owner and curator of the museum. A few show catalogs and Jen's book, Welsh Quilts Jen showed us around the museum and shared some of her vast knowledge of Welsh quilts. Her efforts through the years to save this disappearing art form has resulted in a collection of over 350 pieces. While not all of her collection was on display, this exhibit was a summary of past exhibits and showed a variety of amazing Welsh quilts. I could go into more detail about the history of these quilted beauties, but it would be better to just show them, and let you read more about the history in Jen's book Welsh Quilts. As you look at all the quilts, take notice of the incredible hand-quilting on each and every one of these quilts. The view as we walked in Tree of Life quilt from an Indian, hand-painted, fabric panel. Quilted in 1810 and exhibited at the 1851, London Great Exhibition. The colors are still so vibrant and the stitching is exquisite! Floral Patchwork, 1920 Blue and Yellow Star quilt, 1920 and Blue Spotty Strippy quilt, 1890 Quilts from the very first exhibit in 2009 Military/Tailors Quilt, pre-1938 The maker of this quilt is still a mystery! Interesting blocks! Such bold colors! From the 2014 exhibit titled, Early to Bed. This exhibit celebrated Folk Art and "Make Do and Mend" So many pieces and so much quilting! A creative example of using what you had Victorian Patchwork What a unique center! From the 2018 exhibit, Nos Da-Goodnight Prince of Wales Feathers, 1890 Close-up Red and White Strippy This quilt won an award in 1901, and I can see why. Central Star Quilt, 1895, on top made by Sarah Lewis. The quilt on the bottom was used for 25 years to protect the mattress from the boxsprings, circa 1870. 2010 exhibit highlighting the history of paisley in Welsh quilts Shawls that would have been used in the quilts. The beauty of the quilting is so evident in this one. Quilting close-up. One of my absolute favorites! Golden Yellow Quilt Made by Anna Davies, born in 1895 Hand-quilted, satin cotton with lambswool batting It was a challenge to get good pictures of the amazing whole-cloth quilts. This one is stunning! A typical Welsh quilting motif Another close-up Welsh quilting frame It was a wonderful experience seeing such a collection of what could have been a lost art. Jen has spent the last 45 years not just rescuing these quilts, but learning about their history and genealogy. She has found them through many different channels and saved a few of them from a practical existence of keeping a cow warm. This is a card for purchase in the shop that I couldn't pass up. If it weren't for Jen's tireless efforts to save such a valuable quilt heritage, this incredible art form would have been lost. While the museum is now closed, this quilt collection will be soon be traveling around the world to various locations. I will leave you with a few words from the introduction of Jen's book that give you a glimpse into her passion for this art form: Those quilts that have survived (sadly many have not) come into our own times as living emissaries of another age. They evoke the dexterity, imagination, and creativeness of people who somehow managed to produce such remarkable visual art from such humble and limited resources. What began for me as a salvage operation has evolved into a way of life. Jen Jones Welsh Quilts Thank you, Jen!
Sandy Lush is a well known hand quilter who often uses traditional designs as inspiration and a jumping off point. This summer the Quilt ...
Ranked #1 of 11 attractions in Lampeter. Been here too? Add it to your map!
Hearts and Flowers By Janet Haigh March 9th – November 2nd 2024 Janet Haigh – ‘I am a freelance designer-maker, applied artist,...
Sandy Lush is a well known hand quilter who often uses traditional designs as inspiration and a jumping off point. This summer the Quilt Museum at Lampeter showcases a series of her hand quilted cot quilts. All develop the use of Welsh quilting designs, especially the paisley motif. The original inspiration was this Welsh strippy from Jen Jones' collection by Mrs May Thomas. Sandy combined the paisley motif with another pattern called the Welsh trail to create a cot quilt she called "In the Pink". Still rather a North County style format! Excited by the design possibilities, Sandy went on to create a series of little quilts with a more Welsh flavour, having the all-over Welsh format. See how experimentation with a few simple designs can create a great variety of results! Varoius fabrics, plain and patterned were used.... Find out more on Sandy's website: http://www.sandielush.co.uk
The view from our hike. This past November, my husband and I (Kara) had the opportunity to visit the spectacular country of Wales. This was to be our relaxing treat after such a crazy past year of visitors and travel. We chose the location based on its proximity to Snowdonia National Park—renowned for its beauty—and it did not disappoint. The scenery was spectacular and the hikes through various areas of the park were diverse in landscape and beauty. While hiking through the hills was one of our main goals, seeing some of the towns and castles was another. We decided to visit Caernarfon Castle on our way back to our rental. Any fans of The Crown out there? We couldn't see the castle because they were filming Season 3! Beefeaters being prepped for the shot Filming in action While the scenery and the filming were wonderful, getting to see all the quilts at the Welsh Quilt Museum, just days before it closed for good, was the absolute highlight for me! I knew that the museum would be closing in November, but I thought I would give them a call to see if I would be able to get in. As fortune would have it, the exhibit would be closed the following Saturday, but if I wanted to visit in the next two days, they would be open. My husband and I drove down to Lampeter and were able to visit with the lovely Jen Jones, owner and curator of the museum. A few show catalogs and Jen's book, Welsh Quilts Jen showed us around the museum and shared some of her vast knowledge of Welsh quilts. Her efforts through the years to save this disappearing art form has resulted in a collection of over 350 pieces. While not all of her collection was on display, this exhibit was a summary of past exhibits and showed a variety of amazing Welsh quilts. I could go into more detail about the history of these quilted beauties, but it would be better to just show them, and let you read more about the history in Jen's book Welsh Quilts. As you look at all the quilts, take notice of the incredible hand-quilting on each and every one of these quilts. The view as we walked in Tree of Life quilt from an Indian, hand-painted, fabric panel. Quilted in 1810 and exhibited at the 1851, London Great Exhibition. The colors are still so vibrant and the stitching is exquisite! Floral Patchwork, 1920 Blue and Yellow Star quilt, 1920 and Blue Spotty Strippy quilt, 1890 Quilts from the very first exhibit in 2009 Military/Tailors Quilt, pre-1938 The maker of this quilt is still a mystery! Interesting blocks! Such bold colors! From the 2014 exhibit titled, Early to Bed. This exhibit celebrated Folk Art and "Make Do and Mend" So many pieces and so much quilting! A creative example of using what you had Victorian Patchwork What a unique center! From the 2018 exhibit, Nos Da-Goodnight Prince of Wales Feathers, 1890 Close-up Red and White Strippy This quilt won an award in 1901, and I can see why. Central Star Quilt, 1895, on top made by Sarah Lewis. The quilt on the bottom was used for 25 years to protect the mattress from the boxsprings, circa 1870. 2010 exhibit highlighting the history of paisley in Welsh quilts Shawls that would have been used in the quilts. The beauty of the quilting is so evident in this one. Quilting close-up. One of my absolute favorites! Golden Yellow Quilt Made by Anna Davies, born in 1895 Hand-quilted, satin cotton with lambswool batting It was a challenge to get good pictures of the amazing whole-cloth quilts. This one is stunning! A typical Welsh quilting motif Another close-up Welsh quilting frame It was a wonderful experience seeing such a collection of what could have been a lost art. Jen has spent the last 45 years not just rescuing these quilts, but learning about their history and genealogy. She has found them through many different channels and saved a few of them from a practical existence of keeping a cow warm. This is a card for purchase in the shop that I couldn't pass up. If it weren't for Jen's tireless efforts to save such a valuable quilt heritage, this incredible art form would have been lost. While the museum is now closed, this quilt collection will be soon be traveling around the world to various locations. I will leave you with a few words from the introduction of Jen's book that give you a glimpse into her passion for this art form: Those quilts that have survived (sadly many have not) come into our own times as living emissaries of another age. They evoke the dexterity, imagination, and creativeness of people who somehow managed to produce such remarkable visual art from such humble and limited resources. What began for me as a salvage operation has evolved into a way of life. Jen Jones Welsh Quilts Thank you, Jen!
Finally, I went to see the Quilt Centre's Exhibition "A Quilted Bridge - The Amish-Welsh Connection" in which Welsh and Amish quilts were hung side by side. Of course, the book which sparked this is Dorothy Osler's recent book..... The Quilt Centre is easy to find, has a quilt shop nearby and a wonderful cafe next door (run by Jen's daughter and partner) - what could be better? Jen kindly allowed me to take photos to share with you in this blog. Details of the exhibition and Jen's website at the bottom of this post. In addition to Jen's own collection, quilts were loaned by the American Museum at Bath, Ceridigion Museum and the National Museum for the Wool Industry. Central Star Quilt. Llanrhystud, flannel, wool wadding, circa 1870. Double sided Welsh patchwork, Cardigan, flannel. Hand pieced and quilted. 1st half 19thc. Once again, I thought the use of beds to display the quilts worked extremely well, and the lighting was excellent. Geometric Welsh Central Bow Tie Quilt, c 1860, Salem nr.Landeilo. Flannel with mustard flannel reverse, hand quilted. The "Rothko" quilt! (see catalogue for explanation...) Welsh flannel quilt - this one is not in the catalogue, and I'm afraid that I did not take any notes...beautiful on the iron bedstead. Llanybydder Quilt - 1911 - made by Ada Jones in the mourning period after her husband had died. Green and red Welsh strippy Garth Farm Welsh Flannel Patchwork - c 1851 - Drefach nr Lampeter, hand pieced and hand quilted. Welsh Wool Flannel quilt Another Welsh flannel strippy. More photos to come - a catalogue is available from Jen Jones - the cost is £5.00 plus post and packing (email for a quote at: [email protected]). This exhibition at the Quilt Centre, Lampeter is open from 10 March to 3 November 2012 on Tuesdays to Saturdays 11.00am to 4.30pm. Entry for adults is £5; please call 01570-422088 for the opening times on public holidays (or email), as these do vary. Also get in touch if coming a long way.
The view from our hike. This past November, my husband and I (Kara) had the opportunity to visit the spectacular country of Wales. This was to be our relaxing treat after such a crazy past year of visitors and travel. We chose the location based on its proximity to Snowdonia National Park—renowned for its beauty—and it did not disappoint. The scenery was spectacular and the hikes through various areas of the park were diverse in landscape and beauty. While hiking through the hills was one of our main goals, seeing some of the towns and castles was another. We decided to visit Caernarfon Castle on our way back to our rental. Any fans of The Crown out there? We couldn't see the castle because they were filming Season 3! Beefeaters being prepped for the shot Filming in action While the scenery and the filming were wonderful, getting to see all the quilts at the Welsh Quilt Museum, just days before it closed for good, was the absolute highlight for me! I knew that the museum would be closing in November, but I thought I would give them a call to see if I would be able to get in. As fortune would have it, the exhibit would be closed the following Saturday, but if I wanted to visit in the next two days, they would be open. My husband and I drove down to Lampeter and were able to visit with the lovely Jen Jones, owner and curator of the museum. A few show catalogs and Jen's book, Welsh Quilts Jen showed us around the museum and shared some of her vast knowledge of Welsh quilts. Her efforts through the years to save this disappearing art form has resulted in a collection of over 350 pieces. While not all of her collection was on display, this exhibit was a summary of past exhibits and showed a variety of amazing Welsh quilts. I could go into more detail about the history of these quilted beauties, but it would be better to just show them, and let you read more about the history in Jen's book Welsh Quilts. As you look at all the quilts, take notice of the incredible hand-quilting on each and every one of these quilts. The view as we walked in Tree of Life quilt from an Indian, hand-painted, fabric panel. Quilted in 1810 and exhibited at the 1851, London Great Exhibition. The colors are still so vibrant and the stitching is exquisite! Floral Patchwork, 1920 Blue and Yellow Star quilt, 1920 and Blue Spotty Strippy quilt, 1890 Quilts from the very first exhibit in 2009 Military/Tailors Quilt, pre-1938 The maker of this quilt is still a mystery! Interesting blocks! Such bold colors! From the 2014 exhibit titled, Early to Bed. This exhibit celebrated Folk Art and "Make Do and Mend" So many pieces and so much quilting! A creative example of using what you had Victorian Patchwork What a unique center! From the 2018 exhibit, Nos Da-Goodnight Prince of Wales Feathers, 1890 Close-up Red and White Strippy This quilt won an award in 1901, and I can see why. Central Star Quilt, 1895, on top made by Sarah Lewis. The quilt on the bottom was used for 25 years to protect the mattress from the boxsprings, circa 1870. 2010 exhibit highlighting the history of paisley in Welsh quilts Shawls that would have been used in the quilts. The beauty of the quilting is so evident in this one. Quilting close-up. One of my absolute favorites! Golden Yellow Quilt Made by Anna Davies, born in 1895 Hand-quilted, satin cotton with lambswool batting It was a challenge to get good pictures of the amazing whole-cloth quilts. This one is stunning! A typical Welsh quilting motif Another close-up Welsh quilting frame It was a wonderful experience seeing such a collection of what could have been a lost art. Jen has spent the last 45 years not just rescuing these quilts, but learning about their history and genealogy. She has found them through many different channels and saved a few of them from a practical existence of keeping a cow warm. This is a card for purchase in the shop that I couldn't pass up. If it weren't for Jen's tireless efforts to save such a valuable quilt heritage, this incredible art form would have been lost. While the museum is now closed, this quilt collection will be soon be traveling around the world to various locations. I will leave you with a few words from the introduction of Jen's book that give you a glimpse into her passion for this art form: Those quilts that have survived (sadly many have not) come into our own times as living emissaries of another age. They evoke the dexterity, imagination, and creativeness of people who somehow managed to produce such remarkable visual art from such humble and limited resources. What began for me as a salvage operation has evolved into a way of life. Jen Jones Welsh Quilts Thank you, Jen!
In 1681 William Penn devised a project to establish a Welsh Barony in what would later become Pennsylvania. Here members of the Society of F...
A few years ago when Clare and I were working on MAKING WELSH QUILTS I spotted a picture of an old Welsh quilt in Pepper Cory's book MASTERING QUILT MARKING (Hi Pepper - I love this book!) and I thought it would make a good project for our book (we did ask Ardis and Robert James for permission to do this). I quickly drafted it on my favourite squared paper and Clare made it with pieces from her stash. She then quilted it beautifully using many of the patterns on the original. We called it Pennsylvania Echo, because it seemed like a good idea at the time and it is in the book if you want to make one. This is the link to the original quilt -http://www.quiltstudy.org/collections/search.html?search_type=advanced&search_action=advanced&totalresults=9&offset=0&maxresults=10&detailresult=3&sortby=PatternPrimary It is much larger than our little quilt and of course the fabrics are very different. It couldn't be in a better place to be appreciated and cherished, but I do feel that it is a shame that it has left Wales. I believe that it it is an important quilt for a few reasons. Firstly it is very early for this style of quilt and secondly it is actually dated 1818, which is rare. It is made of a mixture of wool and silk and when I drew it to the attention of Dorothy Osler, she and Debbie Harries did extensive research on the fabrics and produced a research paper for Quilt Studies (published by the British Quilt Study Group). So it is a very special quilt and in a perfect world it should be here in a Welsh museum. But hey ho, we have so much heritage that we don't value it as much as we should. It is safe where it is in the USA and after all it really is their heritage too! The above link to the old quilt doesn't seem to be working consistently, if you see the wrong quilt (and it's obvious) copy and paste the web address into your browser.
Here are some details from the 'Early to Bed' exhibition at the Welsh Quilt Centre. It closed on Saturday, so if you didn't get to visit, you've missed it. The exhibition catalogue is available by mail order, as are the catalogues from the previous exhibitions - worth having. The quilt shown above, from Llandeilo, which is shown in Janet Rae's book 'Quilts of the British Isles'. I didn't take a photo of the whole quilt, because it's in the book, so please cross refer with your copy to see the whole thing. I like the tiny pieces in the centre grading out to larger pieces towards the edge, and the completely busy appearance of all those prints. There are some very early fabrics in this quilt. This quilt, made from military cloth, includes early khaki uniform cloth. It has a more innovative, random style, similar in feeling to the coverlet made by James Williams of Wrexham (scroll down my blog link to see photos) but in an even more lively style. This patchwork top is a very playful and irregular take on a medallion arrangement. It seems like an early hint of some of the 'modern quilt' pieces being made today. The fabrics used to piece the squares are graded, with darker pieces at the bottom, almost an early colourwash. This patchwork is made from flannel shirtings, with the stripes going in every direction and very simple quilting. Tailors' sample quilt, showing fabric details. Detail of the tailors' quilt Glyn is looking at in my previous post, showing that bold red stitching. Another tailors' quilt, with very simple quilting but wonderful value contrasts, also shown in my previous post but with an extra detail photo below. Details from the quilts displayed in the central 'enclosure'. Quilts from the right hand wall. These have typical Welsh quilting designs, with spirals and fans etc. The Sennybridge quilt, a well known design partly thanks to being used as the poster quilt for Festival of Quilts a few years ago, is much more simply quilted. Unlike many Welsh quilts, the quilting design on this one seems to have been fitted into the patchwork design. Perhaps I could use any oddments of red and black check from Glyn's kilt to make something like this? There were some very interesting textured weaves in this block based quilt, beautifully accented with red flannel. I love the random strips and the plaids on point in this. The fancy stitching on this crazy quilt suggests much later abstract embroideries from the 1960s. Subtle touches of plaids in an otherwise dark palette. An early C19th patchwork in many brown fabrics - and in very good condition for its age, as brown/black prints are very prone to rot from the iron mordant in the dye. Aren't the blocks of colour beautiful in this? It was hung very high and this was the best photo I could manage. I am sure I have seen this quilt exhibited before, perhaps at Llanidloes. It might surprise quilters today that anyone would attempt to piece such an intricate design in thick wools, but the fabric is a big part of the charm here. We finished off our visit with a good look through the shop and bought the exhibition catalogue so we can browse the quilts all over again. I would have liked to stay much longer, but we could only have a very short visit because of our schedule - setting up World Textile Day on the other side of Bristol that afternoon. We were both glad we'd made the effort to drive that bit further to Lampeter on this trip, otherwise we wouldn't have had the chance to see the exhibition - 540 miles. Now I'm looking forward to next year's exhibition, which will feature wholecloth quilts. The Welsh Quilt Centre makes great reuse of an old building and getting there by car is relatively easy from south or mid Wales. Next time I want to explore the town as well.
I was really drawn to these Welsh quilts. They are dramatic in their simplicity. Their are a couple of exceptions with the simplicity that is usually found in Welsh quilts. Log Cabin....This Victorian sofa throw, a variation of a log cabin quilt, Court House Steps, was made in Horeb, Cardiganshire in 1888 by a Miss Lloyd whose family bred champion Welsh cobs. The fabrics are mainly from furnishings and are neatly tied with small red tufts at almost every corner. Woolen Hexagons. See Dazzling Patchwork above. A central square of bowties is surrounded by small blocks, sharks teeth, and then many borders of bowties. Wonderful array of fabrics including tartans which was very popular during Queen Victoria's time. Red and black center, plus the addition of gray. These are traditional Welsh quilts and are made of flannel. "Content makes poor men rich. Discontent makes rich men poor." - Benjamin Franklin
A few days ago I took a trip to see some old Welsh quilts. They are part of Jen Jones’ vast and amazing collection of antique quilts and were on show in the Welsh Quilt Centre in Lampeter, Wa…
THE JEN JONES ELSH QUILT CENTRE 2009 exhibit photos The Welsh Flannel geometric patchworks were the focus of the inaugural exhibition at The Jen Jones welsh Quilt Centre. They are thrilled that, at last these wonderful artifacts have become universally recognized. Opening March 6th 2010 Their new exhibition, 'Unsung Heritage: The Quilts Of Wales' will be a further revelation in terms of the enormous spectrum within the Welsh quilting tradition. They will feature the fiery reds including red paisleys and paisley shawl quilts. Alongside these will hang the contrasting and diverse cotton patchworks and whole cloths that represent a major portion of the output during the 19th and early 20th century. Early Cotton patchwork Merthyr Tydfil C1840 Email [email protected] www.jen-jones.com My thoughts: There is joy in viewing Welsh quilts due to the simplicity of the patterns, the contrast of the fabrics and a WOW in the incredible stitched quilting patterns. Welsh quilter's seem to bring the art of quilting (stitches) to the forefront of their work and of the times. They share quilt styles with the English, and wool contrasting concepts with the Amish, but the quilting, it stands alone, in an outstanding way from most quilts through time. Our American made whole cloth wool quilts, or are the closest quilts I know with ornate quilting. French made quilts have stuffed quilting with ornate designs, but they mostly favored channel quilting, or straight lines and angled quilting, not the swirls that are common on Welsh and fancy wool whole cloth quilts. If any of you visit the exhibit, please let us know more about it. We'd love to hear. You can email me, or leave comments.
Sandy Lush is a well known hand quilter who often uses traditional designs as inspiration and a jumping off point. This summer the Quilt ...
