There is a rich tradition of quilt-making in America, but the domestic art of quilting can be traced back to the Middle Ages in Europe and Asia. The English word “quilt” was first used in the 13th century and is connected to the Latin “culcita,” which means cushion. Quilts were made as a basic necessity, to celebrate specific life events, to highlight a needleworker’s skill, and for political advocacy.
In most cases, a quilt is a bed cover constructed of two fabric layers with padding sandwiched in between. The term “quilting” refers to the stitching of the layers together. The two main techniques for making quilt tops are appliqué and pieced work, also known as patchwork. For appliqué, the artist creates patterns with multiple layers of fabric that are both solid and printed. Piece work entails sewing fabric portions together for a flat design. Both of these styles can be further decorated with embroidery. Complex quilts require great needlework skill and methodical design organization.
Medallion and Honeycomb Quilts
In the early 19th century, “Medallion” was a popular quilt pattern. It is defined by a central motif with no less than one border. The Brooklyn Museum has a patriotic Medallion quilt from circa 1830 assembled by Elizabeth Welsh. Based on the quilt’s style, scholars believe that she may have had some connection to the Baltimore area. Welsh used reverse appliqué to fabricate this quilt of florals and an American eagle. The museum describes the careful technique: “Fabric that provides the ground for a design is meticulously cut away from the decorative elements that lie below.”
The “Honeycomb” pattern, as termed in the early part of the 1800s, requires a skilled, intricate, and time-consuming method. The pattern dates to around 1780 in England. The Metropolitan Museum of Art explains the fabrication process: “Hexagon quilts are built up from small to larger units. After each individual cloth hexagon has been shaped around a hexagonal piece of paper backing, seven of these are whipstitched together to make a schematic flower: six hexagons for the petals, one for the flower’s center.”
The earliest completely pieced American quilt in the museum’s collection is a Honeycomb quilt from around 1830. Although the names of makers of many historic quilts are lost to history, in this case much is known about the woman who created it.
Elizabeth Van Horne Clarkson descended from old New York families and married a prominent import and export merchant. Scholars speculate as to whether she first learned about the English hexagon style due to her husband’s business, for this quilt is possibly an early American example. The quilt, which may have been made as a wedding present for her son, descended through multiple generations of her family before being donated to The Met.
Rising Sun
Another prominent pattern, prevalent in Southern states during the 19th century, is the “Star of Bethlehem” or “Rising Sun.” The largest quilt in The Met’s collection, over 10 feet square, has such a pattern. This object was never washed and shows very little wear, so it was likely displayed to showcase the quilter’s skills. Large quilts of the period were sometimes a necessity because there were very tall beds heaped high with layers. During the course of the 19th century, mattress construction changed and quilts were made smaller.
Album Quilts
“Album” quilts, popular in the mid-1800s, are most associated with Baltimore. However, the pattern was produced throughout the United States. Album quilts were frequently made to commemorate important family events such as a wedding or birth of a child, as well as an illustration of friendship, with contributions from multiple women in a community. Many Album quilts feature blocks signed and dated by the individuals who made them.
An 1855–60 Album quilt at The Met, made by members of the First Reform Churches of Fishkill and Hopewell in New York’s Dutchess County, has both hand stitching and machine sewing. The sewing machine, which was not common in households until around 1860, was enthusiastically received by needleworkers. It was a great time-saver, often used for utilitarian aspects of quilting, which allowed women to focus on beautiful handiwork. The Met’s quilt has palettes of greens and reds; these were the most popular colors for mid-19th century quilts. While some of the quilt’s blocks have signatures, none have dates or locations.
Log Cabin Quilts
“Log Cabin” quilts were especially popular in the United States during the 1860s and 1870s. Named for the pioneer’s house that dotted the frontier, the quilts paid tribute to the birthplace of Abraham Lincoln and the country’s approaching centennial. The building block of this quilt pattern is a central shape, usually red, representative of a hearth. Anchored to this foundation are smaller light and dark strips, or logs, of fabric.
Within the Log Cabin pattern are a number of evocatively named variations such as “Courthouse Steps,” “Pineapple,” “Barn Raising,” and “Streak of Lightning.” Maine resident Catherine Hutchins’s Log Cabin quilt at the National Museum of American History (NMAH), roughly dated between 1850 and 1899, uses an astonishing 4,872 wool and cotton fabric scraps to piece 168 blocks. Hutchins made a light and dark variation by placing fabric squares of different color and value to form vibrant light and dark diamond shapes.
‘Crazy’ Quilt
It is believed that “Crazy” quilts received their name from the irregular shapes and sizes of their stitched-together pieces. Unlike other quilt patterns, they do not exhibit a seemingly orderly color scheme or geometric design. Instead, they have harmonious asymmetry partially inspired by Japanese art. The 1880s and 1890s were the zenith of their popularity in America, during which they were often made in silk and velvet. These examples were meant for display as a parlor throw rather than as a bed quilt.
A jewel in the NMAH’s collection is Kentucky-born Lydia Finnell’s quilt from 1899, which may have been made as part of her trousseau. Charmingly decorated with flora and fauna, it features an eight-pointed star around a central medallion. Finnell’s quilt, made of 82 fabric patches and several complex embroidery stitches, is an example of a “Crazy” pattern with a more systematic design scheme.
Gee’s Bend Quilts
The tradition of building community through quilting and passing on generational techniques can be found in the town of Gee’s Bend, Alabama (officially called Boykin today). Beginning in the 19th century, Gee’s Bend developed an original quilting aesthetic due to being geographically and socially isolated. Many of these quilters were direct descendants of the enslaved peoples who had lived on the area’s cotton plantations. It was economically necessary to piece together fabric scraps to make quilts for warmth, but they were made with a unique inventiveness. Gee’s Bend quilts are known for their color, boldness, and geometry, which can be seen in examples at the Virginia Museum of Fine Arts by Creola Bennett Pettway and Rita Mae Pettway.
the William S. Arnett Collection, Virginia Museum of Fine Arts. Courtesy of Virginia Museum of Fine Arts
Although in the 21st century, store-bought quilt options are plentiful, quilting is still a popular outlet for expressing creativity as well as relieving stress. In fact, Jenny Doan of the family business Missouri Star Quilt Co. is a current YouTube sensation and is called the world’s most famous quilter. Pursuing quilting as a hobby grew exponentially during the COVID-19 pandemic. This art form is an important and vibrant legacy connecting us to our history.
