Studio Quilt Study Group

The topic was "English paper pieced quilts and their spin-offs". Some incredible works were shared by several collectors. We marveled at the variety of fabrics, the exquisite tiny stitches in some samples, and the dancing colors. This group is newly-formed and learning as we go. We had no resident expert on the topic and determined we had raised more questions than we answered. Consequently, we will take it upon ourselves to do some research and report back at the next meeting.

The next meeting will be January 19th (snow date: January 26th). The topic will be the color red. Its use in quilts, the different red dyes, etc. Beth Wilson has agreed to do a little research and facilitate the meeting.

The March 16th meeting (snow date March 23rd) topic will be Signature quilts and the implements and artifacts used to create the signatures. Lorie Chase (with Pam Worthen) will facilitate the discussion. Stephanie Hatch will bring related artifacts to show.

The May 18th (no snow date needed, we hope!) meeting will be on Feedsacks, facilitated by Wendy Reed and Carole Crandall. Our fledgling group is enthusiastic and eager for the next topic. Already we have identified enough topics to carry us for several years, we think. If you live in the northeast, please consider joining our next meeting. Bonnie


Early 19th century blocks. Even simple pieces (like squares) were often whipstitched together to make blocks. The quilt blocks on the right are whipstitched to a ground. Whipstitching a block to a ground, or whipstitching the seams of a quilt back is typical of the early 19th century

Victorian kneeler, papers still in place

A closeup of this quilt is to the right.

The paper on the back of these blocks was taken from a Harford CT catalog dated 1887.

Note how this quilt was put together - in rows!

Victorian Mourning Dress	early 19th century chintz	Mikado cheater cloth pillow
Early 19th century French imported monochrome toile	chinoiseire cheater cloth	the other side of the pillow

From Arlex, the definition of chinoiserie is a French word for any aspect of Chinese influence on the arts and crafts of Europe, whether produced by Chinese artists, by Europeans, or by others. This term is generally reserved for objects made in the late 17th and throughout the 18th centuries. This roughly coincides with a massive increase in exports from China following the lifting of China's ban on foreign trade in 1684.

Although the popularity of chinoiserie faded as interest in Neoclassicism increased in the second half of the 18th century, there was a revival in the early 19th century, as seen in the extravagant architecture and decoration of the Royal Pavilion at Brighton, England. By this time, however, the Chinese taste can be considered as part of the emerging cult of the picturesque.