Checkerboard 
Maker unknown 
Circa 1800-1820 
Made in United States 
Ardis & Robert James Collection, IQM 1997.007.0376 

Lynne Z. Bassett, associate fellow: Pieced wool quilts such as this one can be seen as transitions between the wool and silk whole-cloth tradition of the 18th century and the pieced cotton calico quilts that came to the fore with the Industrial Revolution in the 19th century. The five different fabrics in this early quilt were reused from previous forms, as revealed by piecing within the blocks. 

the_orriginal: I *love* those borders! Having those angles is somewhat unexpected, and the colors make it more interesting. The “simplicity” of the whole quilt speaks to me, too. 

Jonathan Gregory: This quilt is so thick and dense. I wonder if the maker used pliers to pull the needle when quilting it. 

Mishel Filisha: It’s interesting that this quilt was made in the early 1800s because it looks like a graphic design from the 1980s. Twenty-something etsy 80s throwback hipster crafters should see this back-to-the-future pattern and colors. 

Mary Ourecky: The blocks set on point look so strong and stable, the angled border softens the look and puts some fun movement in the overall look of the quilt. 

Laura Chapman: It reminds me of the sectional my aunt and uncle had in their living room while I was growing up. 

Whole Cloth 
Maker unknown
Circa 1890-1910
Made in Turkey
IQM 2010.045.0012 

Marin Hanson, curator of exhibitions: In Turkey, quilts have been made for centuries, with whole cloth quilts being among the most common. Quiltmaking was a skilled profession in the Ottoman Empire (1299-1923) and even today, you can see quiltmakers in the Istanbul bazaars making brightly colored whole cloth quilts. 

Carolyn Ducey: I love block printed designs. It’s a little wonky— I can relate to that! 

Laura Chapman: #paisleysofinstagram 

Mary Ourecky: The paisleys in this quilt makes me think of a peacock strutting across the galleries dropping its beautiful tail feathers along the way! 

International Quilt Museum: Did you know... the paisley design originated in Persia and flourished in India, but its Western name came from the city of Paisley, Scotland, where manufacturers produced woven paisley shawls. For more information about Indian influence in Western design, visit “Reflections of the Exotic East.” 

Patchwork 
Maker unknown
Circa 1980
Thailand
IQM 2008.012.0006 

Marin Hanson, curator of exhibitions: We are just beginning to learn about Southeast Asian patchwork. This piece from Thailand has design elements that echo other textile traditions from nearby regions and peoples. The spirals in the center panel, for instance, relate to designs of the Southern Chinese Miao people, who are ethnically related to the Hmong of Southeast Asia. 

Mary Ourecky: Each row of this brightly striped patchwork is like a surprise layer of a grandly layered cake. 

Mishel Filisha: I like how the center part has movement and the static concentric border encloses the movement inside. It reminds me of a human body— with owing blood and coiled organs inside held together by bone and skin’s external structure. 

Jonathan Gregory: My eye can’t rest in one place—so much movement. And all those triangles make me think of inverted Prairie Points! 

Gaby White: I love the depth in the patterns and I also wonder what the symbolism is behind the spirals. Lots of spirals in Laotian textiles too. 

Laura Chapman: The center medallion of this quilt is ah-mazing, but the intricate border stands out most. (It reminds me of the quilts featured in our exhibition, “The Engineer Who Could.”)

Dawn (Left Illinois for California, April 15) 
Anna Von Mertens
2007 
California
IQM 2010.002.0001 

Michael James, artist and fellow: Quilting, the stitching that defines patterns complementary to patchwork, has rarely seemed so significant and meaningful to me as in Anna von Mertens’ Dawn. The patterns delineated here in stitching transcend their function. They capture historical phenomena, the pathways of stars that a traveler across these wide Plains would have observed between dusk and dawn on the day in question. While the land these invading travelers were crossing seemed to them vast and often featureless, the skies were vaster, and in some regard more dynamic. So as the earth revolved these stars served as witnesses to the history being made with every pioneer settler’s footsteps and every turn of their wagons’ wheels. If they had no certainty about what lay ahead of them, they could be assured that the inexorable forces of the universe would continue to mark time and place far beyond the limited scope of their mortal lives. 

Leslie Levy: This is one of those quilts you would never tire of and would love forever. It initially appears very simple, but is really quite complex and beautiful. 

YN Leung: Love this more with every viewing. I would give it a whole wall in my home if it were mine... Maybe across from my bed. This is a true artist at work. 

Laura Chapman: I could stare at this quilt forever. As a Nebraska native it reminds me of what you see on the long drive across the state on I-80. Lots of nothing, which is quite beautiful. 

Square in 1 a Square 
Jeff Martin 
Circa 1975-1995 
Alabama 
Robert & Helen Cargo Collection of African American Quilts, IQM 2000.004.0061 

Marin Hanson, curator of exhibitions: The simple aesthetic of this piece is reminiscent of today’s “modern” quilts. Many contemporary quiltmakers—members of the Modern Quilt Guild, for instance—use large pieces of solid fabrics in basic geometric shapes in an effort to strip their quilts down to a bolder, simpler look. This leaves them room to feature intricate machine quilting. Jeff Martin, on the other hand, used large hand-quilted stitches to hold his Square in a Square together, giving it a comfortable, textured look. 

Anonymous: I can imagine this as an apartment from a sitcom. I half expect the crazy lady in 2B to hang her head out any minute to yell something at the “hoodlums” on the street. 

Sara Hobart Homeyer: Special features of this quilt: large blocks, dramatic color and value contrast, some repeated fabric/blocks. Not the “usual” quilt and therefore very attractive to me! Challenging, and yet makes me think, “I could try a design of my own something like that.” 

Jan Roland (Wabash, Indiana): The orange rectangles engage the eye and draw you into a warm collection of colors, just like the quilt would warm a person on a cold night.

Log Cabin 
Maker Unknown 
Circa 1910-1930 
Probably Lancaster County, Pennsylvania 
Jonathan Holstein Collection, IQM 2003.003.0124 

Marin Hanson, curator of exhibitions: Although Center Square, Center Diamond and similarly simple layouts were standard among early 20th-century Amish quiltmakers, some women also worked with more complex patterns, like Log Cabin. Yet, as with this maker, they usually contained their intricate piecing within the wide borders and corner squares typical of Lancaster County Amish quilts. 

Leslie Levy: It is comforting in its familiarity of design coupled with the understated colors. 

Carolyn Ducey:  I would never have thought this color combination would be so beautiful. I love the simple piecing that creates such a dramatic quilt. And who doesn’t love the Barn Raising setting? It just pulls you into the quilt! 

International Quilt Museum: This quilt consists of standard Log Cabin blocks configured in the Barn Raising setting. In addition to the standard Log Cabin block, left, two other variations are the Courthouse Steps, center, and Pineapple, right. 

Medallion 
Maker unknown 
Circa 1815 
Possibly made in Baltimore, Maryland 
Ardis & Robert James Collection, IQM 1997.007.0688 

Carolyn Ducey, curator of collections: Chintz appliqué quilts, constructed of motifs cut from polished cotton fabrics, are some of the most beautifully crafted, vibrantly colored and largest quilts ever made. Initially created to imitate the fashionable painted and printed cottons of India, they were made primarily in the United States between 1775 and 1850. 

Jonathan Gregory: This may sound strange, but it looks like a giant postage stamp. 

Mary Ourecky: I cannot imagine the hours of hand stitching spent appliquéing the beautiful images onto this quilt. And then to try to figure out the mathematical size to cut the zig-zag edge! 

International Quilt Museum: Discover more about Chintz appliqué quilts in the online exhibition for “Chintz Appliqué: From Imitation to Icon.”

Log Cabin
Maker unknown
Circa 1890-1910
Probably made in New England
Ardis & Robert James Collection, IQM 1997.007.0114

Marin Hanson, curator of exhibitions: Quilts of the “Modern Age” (roughly 1870-1940), often feature abundant piecing, with Log Cabin being among the era’s most popular patchwork patterns. Fabric was cheaper than ever before, so some quiltmakers used as many cotton prints as possible; they also attempted to make their individual pieces as small as possible (about 1/4” wide in this quilt!).

Jonathan Gregory: This quilt validates my obsessive tendencies. :-)

Dean Young: You have to be impressed with the detailing of this quilt using such a vast array of colors and fabric designs!

Mary Ourecky: I love the pastel colors popping in and out of the mostly dark log cabin blocks. She used what she had, but it is such a happy overall look.

International Quilt Museum: Learn more about log cabin quilts in the online exhibition, “Design Dynamics of Log Cabin Quilts.”

Crazy Quilt
Probably Susan and M. Eva Nicely 
Circa 1890-1910 
Possibly made in Indiana 
Jonathan Holstein Collection, IQM 2003.003.0194 

Jonathan Holstein, associate fellow 
Whoever made this quilt—I like to think of them as the Nicely sisters— adopted several different modes and styles common to quiltmaking of the time, reconfigured them, added some unique touches and so created an unusually powerful and aggressive finished textile. Nice work, Nicelys. 

Anna Nordström (Stockholm, Sweden): I’m usually not a fan of crazy quilts but this one is really amazing! I love the center medallion and the colors! The scale and composition of the whole piece makes it the best crazy quilt I ever saw. 

Ardeana Hamlin: When I look at this quilt, I feel as if I have entered into the thinking process of its maker—I can almost hear her wondering how this color ribbon will play against another color. I also like how the quilt has an air of folk art about it, while at the same time appearing to belong to the ranks of the Victorian crazy quilt genre. 

Anonymous: The irregular piecing and chaotic composition appeal to both my fondness for crazy quilts and my thrifty nature. It is exciting. Compelling. It urges me to action. 

International Quilt Museum: View more crazy quilts in the online exhibition, “A Fairyland of Fabrics.” 

Kimono 
Maker unknown Circa 1910-1930 
Japan IQM 1998.003.0002 

Marin Hanson, curator of exhibitions: Although we might imagine this Japanese patchwork garment being worn to impress others, it was actually meant as an under-kimono. Its elaborately dyed and stitched fabrics would never have been seen, other than perhaps peeking out at the collar or at the robe’s overlapping opening. 

Carolyn Ducey: This was one of the first patchwork garments I saw. It opened a new world of patchwork to me and made me realize quilting was bigger than I imagined. 

Leslie Levy: Each individual fabric is interesting, but when sewn together in this kimono, the overall effect is striking. I love the symmetry. 

Laura Chapman: Not even the “Fashion Police” could find fault with the fabulous fabrics used in this piece. #want 

Marin Hanson: Yes! Would wearing this kimono transport me to a hot spring somewhere in the Japanese mountains? Probably not, but I’d love to try! #alsowant 

Ralli 
Maker unknown, probably Rabari 
Circa 1975-2000
Probably in Gujarat, India
IQM 2010.022.0001 

Patricia Stoddard, associate fellow: Bright and bold ralli hail from the arid lands of western India and eastern Pakistan and are the creative output of traditionally nomadic tribal groups— including the Rabari. Women often speak of making their ralli while thinking about “what they will look like under a starry sky.” 
 
Nebraska State Quilt Guild member: I love the texture and the movement of the quilt—and the colors! 

Marin Hanson: Having visited Gujarat, India in 2009, this quilt transports me back to the colors, sounds, and activity I experienced while I was there. I’m particularly fond of the stylized Tree of Life, peacock, and temple motifs in the center of this quilt. 

Nebraska State Quilt Guild member: It reminds me of my sister-in-law and brother’s lives in India, Pakistan, and Nepal. 

International Quilt Museum: View more ralli in the online exhibition, “South Asian Seams.” 

Hexagon Mosaic 
Maker unknown 
Circa 1890 England
IQM 2014.050.0001 

Bridget Long, associate fellow: This luxurious silk quilt is typical of “fancy work” that was popular in the third quarter of the nineteenth century. The maker “fussy cut” patterned silks to enhance the elegance of her design. Fancy work was not practical for bedroom use, but was often displayed in more public rooms such as the parlor, a room in Victorian homes set aside for receiving guests. 

Ann Ross: Hexagon hand piecing was the first theme I tried in quilting. I can vouch for the hours and eye strain involved. This is a beautiful quilt and the star design centre is quite unusual. 

Patty Goddard: This is a beautiful and unique way to arrange hexagons. 

Mary Jenkins: Wonderful work and unusual shape and with the printed medallions on their side. Surely it was made to cover a table and isn’t actually a quilt? 

International Quilt Museum: We want to know: What do you think about this circa 1890 British Hexagon Mosaic quilt? 

Darlene Krystal: WOW...!!! 
Suzanne Smith Hardebeck: Stars twinkle

Big Blue 
Ardis James 
1980 
Chappaqua, New York 
Ardis and Robert James Collection, IQM 2009.039.0065

Carolyn Ducey, curator of collections: In 1980, quilt collector and philanthropist Ardis James made her first quilt. Made in an album format, it shows her learning numerous techniques, from a Cathedral Windows folded pattern to a technically difficult Mariner’s Compass variation. We are so fortunate to have it in our collection. 

Cathy James Paglia: When my mother told me that she and Dad had found a new hobby, studying and collecting quilts, and that she herself had started making a quilt for Dad as a gift, I remember thinking to myself that this was a very sweet idea, but probably not too impressive compared to some of the spectacular quilts they were finding on their travels. Imagine my surprise when I saw it for the first time! I was blown away by the quality of the design and workmanship. It was my first insight into my mother as quilt craftsman (as opposed to the lady who made my Easter dresses) and I gained so much respect for her as an artist and creator. I am glad that Big Blue has a home deserving of her merit. 

Robert James: Ardis realized after starting our quilt collection, that she needed to actually make a quilt! It was, as usual for Ardis, very well made. She did this quite secretly, and gave it to me. I certainly admired it. Years after it was made, it was lost. We hunted everywhere for it which was difficult because she had shown it in a number of places, including Japan. We feared it might not have returned with others that had been shown from the collection. We pored over the collection several times with no luck; after several years, we sort of gave up. Finally, I gave it one more try, alone, and went through every quilt one by one. At the very bottom of the fourth pile, there it was. I hung it up while Ardis was gone. She was rst stunned, then wept.