Historic American Antique Quilts
Early and Mid 19th Century A Very Short History of Early Quilts
Since the women in my family did not make quilts, my image of quilts was that of those made by the pioneers who traveled West, an image gained from books that I read such asGiants in the Earth. Later, my husband’s grandmother ingrained in me the concept of making quilts from old clothing and leftovers from sewing garments. It never occurred to me that a quilt maker would go out and buy fabric to make a quilt or even part of a quilt.
So quilt making to me was strictly part of the American Going West story or the Depression era story. As I became a collector in the 1970’s- 80’s and read the vast number of books written by quilt enthusiasts who were starting to write about every aspect of quilt making, I soon learned that quilts were made in a plethora of places and for a plethora of uses other than bed coverings.
There is not room here to discuss all of the above. Recently Medieval quilts have been found in Belgium and Italy, Chinese and Indian warriors wore quilted jerkins for added protection during sword fighting, Indonesian peoples and, indeed Europeans used quilted garments for special occasions such as weddings. The French were known for their quilted and stuffed quilted bedcovers, which were copied by the English and Americans. In fact quilt making was not isolated but methods and styles were often passed along. In our country, the earliest quilts were copied from the medallion and patchwork styles and from the broderie perse styles in the 18th century. This is quite a logical movement as immigrants settled on our Eastern shores.
Some of the quilts below have looks that are apparently from 17th century influences. Some have acquired ideas only American. And the combination is definitely there.
619 Oak Leaf Variation, 1860-1880, 76x86, found in Illinois. Entirely hand pieced (including the triple border and binding!), appliqued and thoroughly expertly quilted. The Turkey red, chrome orange and overdyed green are all in good condition, The complex quilting is at 9st/inch in grids, circles, arcs and double-lined wreaths with cherry-like circles rather than feathers. The backing is white and the binding is green. The applique stitches are so tiny, it is hard to distinguish them. This is quilting in mid-19th century at its finest and compares well to that of the Baltimore Albums in execution. The back has stains, and there is slight foxing and very small brown stains on the front. $1050.
614 Four Patch, 1870-1885, 75x78. This quilt is doubly interesting. It is very graphic and also has some beautiful fabrics. Its yellow-based four-patch rows alternate with several rows of plain indigo and varied four-patches of madder, Lancaster blue, double pink, green with yellow, red with yellow, blue print stripe, etc. etc. The border is a wonderful madder paisley, and the backing alternates Lancaster blue with the same or similar paisley print. The quilting is about 6-7 st/inch in square grids. This is all hand-pieced, including the straight edges of the border and the backing! The binding is worn, some of the patches are netted over, there is at least one small rip repair, and, most unfortunately, the paisley has run in blotches on the backing and on some small areas of the front. Although the photos make the quilts look faded; it is not, the colors are very strong. You/ve got to love this one! $1100
446 Diamond and Squares or Checkerboard, mid 19th century, 66x77, Lancaster, PA, probably Mennonite. This is probably one of the very earliest quilts of the Mennonite or Amish communities. It was formerly in the Marilyn Cavigga collection in California. Blocks in shades of salmon and green and salmon and purple alternate with blocks of a three dimensional striped woven fabric. Two corners have blocks of darker fabrics, and four corners and the binding are covered with triangular pieces of purple twill. The backing is a sparkly blue, black and white floral cotton.
This is all hand pieced, and the quilting is in outline and parallel lines in dark thread at 8 st/in. There are some carefully mended areas and some slight additional wear. $800
381 Nine Patch Hour Glass Variation, 1830-1850, 91x91, Queen, provenance, Maine. This is an extraordinary quilt, kept in the same farm house for over 150 years in the family of Gladys Hasty Carroll, an accomplished author. She lived in South Berwick in the farmhouse that her grandfather had built. The quilts there were made, used and lovingly repaired as needed. Therefore several pieces in this quilt have been replaced in later years, probably in the 19th century.
In Britain, many mid-nineteenth century quilts were put together as patchwork frames around a patchwork or medallion center. This American quilt differs in that the center is on point. The center is composed of nine-patch blocks alternating with blocks of a lovely tan and cranberry print. The frame consists of similar nine-patches that alternate with blocks of a smaller scale print of tan and cranberry. The backing is off-white, and there is a knife edge, another borrowed British custom.
The number and type of vintage fabrics in the nine-patches are too many for this description. There are teals, indigos, madders, pinks, rainbows, indigo and chrome, indigo and cheddar, paisleys, etc. The fabrics are in generally fine condition ( some barely noticeable brown discolorations on the top). The overall clamshell quilting is 7-8 st/in. $2350
613 Caesar's Crown with serpentine sashing, mid 19th century, 80x84. The red, yellow and blue-green floral stripe print gives away the age of this beautiful quilt. The serpentine sashing is appliqued in teeny tiny stitches as are the stylized flowers and leaves. There are two fabrics which are blue-green; one has a small white figure, the other is solid. As can be seen in the photo above, some of the Turkey red is wearing, but it does not detract from the overall effect. The backing is white and the binding is slightly worn Turkey red. Even the double border is hand pieced , of course, as is the binding.The quilting is in double lines and contours at 9-10 st/inch. This fine quilt has a real touch of class. $1350
620, Chained Five-Patch or Irish Chain, mid 19th century, 88x92 . A lovely old quilt with lots of work involved; it's all hand pieced. Green and red prints are used throughout, with white background. The backing is white and comes around to the front to form the binding. There is an inner border of green sawteeth, a 10-inch-wide white middle border and red and white sawteeth on the outer border.The quilting at 7-8 st/in is in double feather wreaths in the white blocks, diagonals and vees within the pattern patches. There is a double sinuous feather wreath in the white border. The black and white polka dots in the red fabric have either popped or are about to pop, the colors are slightly faded, and there is slight foxing on the top.But look at the quilting and the overlall graphic design! A classic of the mid century! $850
729 Mennonite Nine-Patch from Goshen, 67x82, ca 1880. Unusual crosshatch woven fabric in teal blue as background and some of patches. Other patches are brown and mauve, coral, forest green, pale green, green and white striped. The backing is striped coral on tan with brown wheat sheaves. The 1/4 -3/8 in. applied binding is striped coral. There is a cocoa border inside the background border. The quilting at 9 st/in is in diamonds in the patches and double diagonals elsewhere. $650
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464 Double Nine Patch, ca 1860-70, 62x78. This Civil War era quilt may indeed have been through that conflict. It was found in Idaho, though. Burgundy and white prints and white make up the postage-sized patches and lay against a background of cocoa. The border is a darker shade of cocoa. There is a muslin backing brought over to the front to form the binding, which is rather wide for that era. I suspect it may have been added later to cover some ragged original binding.. The double diagonal quilting is about 8st/in. The patches are hand-pieced but the binding looks to be treadle stitched. The cocoa colors may be home-dyed. There is slight wear in the fabrics but a quilt with this age and who-knows-what-story is allowed some wear, don't you think? $750.
536 Nine Patch with Cheater Cloth Back, 70x78 with two 7-inch cutouts, ca 1870-80, Lake George, New York. The colors of the nine-patch are more intense than in the photo. The sashing is double pink vermiculite print, and the background of each nine-patch is brown on white or tan sprigs. The binding is also that latter print. The patches are madder prints, stripes, plaids, turkey red, brown, mint green and mauve. The cotton fabrics are closely woven and silky to the touch. The backing is an orientally inspired cheater print, made by the Cocheco factory. Prints like these were made in the Eastern US between 1876 and 1890 and very popular. The quilting is 8st/in in straight lines and contours. There are some brown discolorations, but they blend into the fabrics' patterns very easily. My impression is that this quilt was made with an eye toward using the latest of fabric fashions at the time, and it is lovely. The binding is worn, but the other fabrics are firm. $750
383 Diamond in a Square, 1860-80, 60x62, provenance, Maine. Gladys Hasty Carroll estate. Shades of brown, tan, madders, pinks, grays, etc. fill the double diamond in squares blocks, and the wide sashing is gray and fawn cobblestone print. Yet, more British influence. The batting is rather thick, and the quilt is tied with 6-ply gray yarn. The backing is a small scale tan stripe with red that has been replaced on two edges with a much more modern large scale and, frankly, grotesque ca 1920 fabric. This has been brought around to form a binding. It appears that the quilt, or rather, comforter, was cut down to cut off worn pieces. The other two ends are knife edges. There is a lot of fabric wear on both front and back, but the piece is by no means in tatters. As is, it makes a fascinating and pretty wall hanging, with a nice history. $450