By: Virginia Gunn

This research project explores relationships between ornamental needlework and quiltmaking by tracing the evolution of the 1930’s calico print yo-yo or bed of roses “quilts”. Analysis of data from women’s periodicals, photographs, artifacts indicates that the yo-yo technique, a form of fabric lace, had early 19th century roots. Women manipulated white cotton calico and commercial braids and tapes, widely available after the Industrial Revolution, to form fabric laces for decorative household textiles or for trim on clothing.

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Yo-Yo or Bed-of-Roses Quilts: Nineteenth Century Origins  »

By: Ruth Roberson

North Carolina quiltmakers formed a Steering Committee in 1983 to look into the possibilities for a statewide quilt project. In early 1985 that committee organized the North Carolina Quilt Project as a nonprofit corporation to (1) document North Carolina quilts and quiltmakers, (2) analyze the collected data, and (3) present that information to the citizens of the state. Between November 1985 and December 1986 the Project orchestrated 74 Quilt Documentation Days across the state,

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The North Carolina Quilt Project: Organization and Orchestration  »

By: Barbara Brackman, Virginia Gunn, Laurel Horton, and Joanna Smith

At the 1987 AQSG Seminar four quilt researchers formed a panel to discuss their research methodologies. Virginia Gunn, Barbara Brackman, and Laurel Horton presented information on individual research strategies, while Joanna Smith addressed the use of computers to record and retrieve data generated by quilt research projects. These presentations demonstrate some of the many possible approaches to the study of quiltmaking and are intended to encourage others considering similar avenues of inquiry.

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How I do Research (Panel)  »

By: Merikay Waldvogel

Since 1980 I have searched for pieced Southern quilts called “linsey quilts”. The linsey fabric (wool woven over cotton) is solid, striped, or checked in bright colors. Linsey-woolsey whole cloth quilts dating from the early 1800s contain intricate quilting; however the pieced linsey quilts (estimated at 1850-1870) contain simpler quilting styles. Intrigued by the fabric, I began to search the literature. The word “linsey” appeared in store inventories from 1790,

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Southern Linsey Quilts of the Nineteenth Century  »

By: Laurel Horton

The North Carolina Folklore Society, formed in 1913, took on an ambitious project – the compilation of North Carolina folklore in published form. Under the leadership of Dr. Frank C. Brown of Duke University, the collection involved hundreds of contributors statewide. By the time the first of the seven volumes appeared in the 1950’s, most of the contributors, including Brown himself, had died.

While understandably falling short of the planned “complete” state collection,

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Quilt Patterns in the Frank C. Brown Collection  »

By: Jane Przybysz

In studying The Great American Quilt Festival, sponsored by The Museum of American Folk Art and 3M Corporation, I found that quilters and festival sponsors value quilts in different ways and for different reasons. Using interviews with 3M and Museum staff, and evidence drawn from a) festival promotional materials and events, b) the festival program of events, and c) how the festival was organized spatially, I argue that the Museum and 3M value quilts as either aesthetic objects or historical documents of events in American HIS-story,

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Competing Cultural Values at the Great American Quilt Festival  »

By: Jan Murphy

During the Quilt Documentation Projects of the both North and South Carolina, an unusual and nameless appliqué design (examples ranging from c.1850 to c.1890) was presented many times and mainly in the Piedmont areas. I have compiled a descriptive catalog of twenty two (22) examples showing: location of origin, date, colors, technique, and background of the maker. Some of this information is from the South Carolina Project (my thanks to Laurel Horton) and some I have gathered on my own by interviewing quilt owners and through correspondence.

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Design Influences on an Unnamed Regional Pattern  »

By: Colleen Hall-Patton

How has the traditional art of quilting changed in a modern urban setting to meet the changing needs of its practitioners? This paper uses a comparative anthropological approach to view quilting within the context of other ethnic and folk arts worldwide which have been “modernizing”.

Field research for this master’s thesis extraction was conducted among two Southern California quilt groups from January to August 1985 using participant observation,

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Innovation among Southern California Quiltmakers  »

By: Bryding Adams Henley

In mid-February of 1862 an article entitled “A Southern Woman” appeared in the Mobile Register and Advertiser. The female author appealed to the patriotism of southern women and particularly those of Alabama, to make contributions for an Alabama gunboat to defend the city of Mobile. Even though the author had a “house full of children,” she made a proposition to contribute her five dollars “earned by her needle.” Thus began the inspiration for a statewide campaign in Alabama for the women’s gunboat fund.

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Alabama Gunboat Quilts  »

By: Annette Gero

Australia was founded as a British penal colony after cessation of transportation to America. Thus the early 19th cent rue Australian quilts reflect an English influence (chintz medallion quilts or silk hexagons and tumbling blocks). However, by the 1870’s, Australia was beginning to experience an independent national pride and Australian symbols and motifs appeared on all forms of decorative arts. Thus patriotic patchwork quilts began to appear. These quilts reflect the indigenous flora and fauna (kangaroos,

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Australian Patriotic Quilts  »