Over 270 beautiful historic quilts and ephemera appear in over 430 color and vintage photographs. From quilted armor of the 17th centrury to crazy quilts of the 19th century, these personal family and museum treasures include homespun work of slaves and fancy work of freed women and First Ladies. This book is an important contribution to quilting history and Virginia heritage, and will be inspirtional today for enthusiastic sewers everywhere.
Winner of the 2022 James F. Sulzby Book Award from the Alabama Historical Association Alabama Quilts: Wilderness through World War II, 1682–1950 is a look at the quilts of the state from before Alabama was part of the Mississippi Territory through the Second World War—a period of 268 years. The quilts are examined for their cultural context—that is, within the community and time in which they were made, the lives of the makers, and the events for which they were made. Starting as far back as 1682, with a fragment that research indicates could possibly be the oldest quilt in America, the volume covers quilting in Alabama up through 1950. There are seven sections in the book to represent each time period of quilting in Alabama, and each section discusses the particular factors that influenced the appearance of the quilts, such as migration and population patterns, socioeconomic conditions, political climate, lifestyle paradigms, and historic events. Interwoven in this narrative are the stories of individuals associated with certain quilts, as recorded on quilt documentation forms. The book also includes over 265 beautiful photographs of the quilts and their intricate details. To make this book possible, authors Mary Elizabeth Johnson Huff and Carole Ann King worked with libraries, historic homes, museums, and quilt guilds around the state of Alabama, spending days on formal quilt documentation, while also holding lectures across the state and informal “quilt sharings.” The efforts of the authors involved so many community people—from historians, preservationists, librarians, textile historians, local historians, museum curators, and genealogists to quilt guild members, quilt shop owners, and quilt owners—making Alabama Quilts not only a celebration of the quilting culture within the state but also the many enthusiasts who have played a role in creating and sustaining this important art.
An exquisite and authoritative look at four centuries of quilts and quilting from around the world Quilts are among the most utilitarian of art objects, yet the best among them possess a formal beauty that rivals anything made on canvas. This landmark book, drawn from the world-renowned collection of the Colonial Williamsburg Foundation, highlights the splendor and craft of quilts with more than 300 superb color images and details. Fascinating essays by two noted scholars trace the evolution of quilting styles and trends as they relate to the social, political, and economic issues of their time. The collection includes quilts made by diverse religious and cultural groups over 400 years and across continents, from the Mediterranean, England, France, America, and Polynesia. The earliest quilts were made in India and the Mediterranean for export to the west and date to the late 16th century. Examples from 18th- to 20th-century America, many made by Amish and African-American quilters, reflect the multicultural nature of American society and include boldly colored and patterned worsteds and brilliant pieced and appliquéd works of art. Grand in scope and handsomely produced, Four Centuries of Quilts: The Colonial Williamsburg Collection is sure to be one of the most useful and beloved references on quilts and quilting for years to come.
Folk art is one of the American South's most significant areas of creative achievement, and this comprehensive yet accessible reference details that achievement from the sixteenth century through the present. This volume of The New Encyclopedia of Southern Culture explores the many forms of aesthetic expression that have characterized southern folk art, including the work of self-taught artists, as well as the South's complex relationship to national patterns of folk art collecting. Fifty-two thematic essays examine subjects ranging from colonial portraiture, Moravian material culture, and southern folk pottery to the South's rich quilt-making traditions, memory painting, and African American vernacular art, and 211 topical essays include profiles of major folk and self-taught artists in the region.
Drawing from 167 examples of decorative needlework—primarily samplers and quilts from 114 collections across the United States—made by individual women aged forty years and over between 1820 and 1860, this exquisitely illustrated book explores how women experienced social and cultural change in antebellum America. The book is filled with individual examples, stories, and over eighty fine color photographs that illuminate the role that samplers and needlework played in the culture of the time. For example, in October 1852, Amy Fiske (1785–1859) of Sturbridge, Massachusetts, stitched a sampler. But she was not a schoolgirl making a sampler to learn her letters. Instead, as she explained, “The above is what I have taken from my sampler that I wrought when I was nine years old. It was w[rough]t on fine cloth [and] it tattered to pieces. My age at this time is 66 years.” Situated at the intersection of women’s history, material culture study, and the history of aging, this book brings together objects, diaries, letters, portraits, and prescriptive literature to consider how middle-class American women experienced the aging process. Chapters explore the physical and mental effects of “old age” on antebellum women and their needlework, technological developments related to needlework during the antebellum period and the tensions that arose from the increased mechanization of textile production, and how gift needlework functioned among friends and family members. Far from being solely decorative ornaments or functional household textiles, these samplers and quilts served their own ends. They offered aging women a means of coping, of sharing and of expressing themselves. These “threads of time” provide a valuable and revealing source for the lives of mature antebellum women. Publication of this book was made possible in part through generous funding from the Coby Foundation, Ltd and from the Quilters Guild of Dallas, Helena Hibbs Endowment Fund.
The companion book to the award-winning PBS documentary of the same name. It reveals the important role played by women and quilts in the nineteenth century's great movements and events.
Located in the historic Shenandoah Valley, the Virginia Quilt Museum is a resource center for the study of quilts and quilting in American culture. Included in the museum's collection are the creations of both early American and contemporary artisans. The book comprises 50 examples of the museum's permanent collection, including Crazy quilts, Album quilts, Log Cabin quilts, quilts that show the German influence found in Shenandoah Valley folk art, quilts that are uniquely Virginian in character, and more. Along with the color photographs, selected patterns are included.
"Based on an extraordinarily rich and varied collection of diaries, letters, and autobiographies of European Americans and African Americans, this book presents the voices and views of unpropertied, unprivileged people and sensitively probes the commonalities and differences in their experiences and perspectives. Hansen persuasively argues that recognizing the 'social' domain illuminates the agency of working people and dissolves the stereotypically gendered public/private dichotomy."—Nancy Grey Osterud, author of Bonds of Community "It is a pleasure to welcome Karen Hansen into the first rank of historical sociologists. In this superb model of scholarship, she leads us on an illuminating tour of the social life of literate working people in antebellum New England. Her arena is 'the social'—the territory that overlaps with private and public, where the dynamics of friendship, visiting, gossip, and collective worship combine to fashion many of life's great joys and sorrows. Best of all, she tells her story through the experiences of the people themselves. In a clear and honest way, Hansen manages to raise fundamental questions about perceived conceptions of gender, class, and the public-private dichotomy."—Neil J. Smelser, University of California, Berkeley "This wonderful book makes a real contribution to our understanding of the lives of women and men in antebellum New England. With its focus on people of modest means and its meticulous and insightful exploration of friendship, visiting, gossip, and church-going, Hansen's work refines and concretizes how we conceive the 'social.'"—Mary Ann Clawson, Wesleyan University "How refreshing it is to see someone address the big issues in sociology based on the experience of real people. Karen Hansen has valuable things to say about the limits of the public/private distinction and the importance of the social. Her book moves the discussion of these issues to a new level."—Alan Wolfe, author of The Human Difference
