Galleries
The Galleries section contains thematic presentations of groups of quilts curated by invited authors.
As part of an IMLS funded national leadership project, invited authors selected Quilt Index materials around specific topics to produce galleries.
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Alliance for American Quilts Contest Winners Milne, Amy The quilts showcased here represent the Alliance for American Quilts' national quilt contest started in 2006. Each year the AAQ presents a small quilt contest with an open-ended theme. The goal of the contest is to reach out to today' s quiltmakers with a challenge that engages them with our mission, document their response and raise funds via an auction of the quilts (all entrants donate their quilts to the AAQ). |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: Amish Inspiration Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: Introduction Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: Quilts Become Art Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: The Commercial Market Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: The Diversity of Amish Quilts Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Beyond Diamonds and Bars: The Cultural Production of Amish Quilts: The Hmong Connection Smucker, Janneken During the last half of the 20th century, Amish quilts underwent a cultural transformation, starting as objects given as gifts within Amish families but unknown to the outside world, becoming valuable works of art, and eventually commodities sold by Amish entrepreneurs to consumers. Although connoisseurs have been most interested in Amish-made quilts from the late-19th and early-20th centuries, quiltmaking in this community is far more than the now iconic graphic diamonds and bars. |
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Christmas Quilts Sikarskie, Amanda Grace This gallery represents Christmas quilts from the 19th century. |
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Contemporary Massachusetts Quilts Lane, Laura The New England Quilt Museum houses over 400 quilts that have been donated since 1987. The heart of the museum's contemporary collection comes from the Massachusetts Quilt Artists. |
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Eugenia Mitchell Quilts: The Foundation of the Rocky Mountain Quilt Museum Collection Unknown author The Rocky Mountain Quilt Museum in Golden, Colorado, first opened its doors in 1990 thanks to founder Eugenia Mitchell. The museum currently has 340 quilts in its collection. |
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Great Lakes, Great Quilts MacDowell, Marsha; Worrall, Mary Great Lakes, Great Quilts shows contemporary reproductions of quilts at the Michigan State University Museum. |
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Halloween and Autumn Quilts Sikarskie, Amanda Grace Halloween and Autumn quilts are made of neutral, warm colors to reflect that season. |
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International Quilts on the Quilt Index: The Beginnings Sikarskie, Amanda Grace Michigan State University Museum and the National Quilt Museum contributed records on international quilts. Some countries included are Australia, Belgium, Canada and Chile. |
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Kit Quilts Sikarskie, Amanda Grace Kit Quilts are pre-made quilt blocks that were not very popular in the early 20th-Century, but are still available today. |
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Lone Stars: A Legacy of Texas Quilts Bresenhan, Karoline Patterson; Puentes, Nancy Obryant This gallery depicts 62 Texas made quilts that were made before 1936. |
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Lone Stars: A Legacy of Texas Quilts: A New Perception of Quilts Bresenhan, Karoline Patterson; Puentes, Nancy Obryant Karolina Patterson Bresehan and Nancy Obryant Puentes writes about early Texas quiltmakers that broke all the rules, even the ones they didn't know exsisted, when designing their quilts. |
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Michigan Quilts MacDowell, Marsha The Michigan Quilt Project was started to help uncover information on Michigan quilting and its role in Michigan history. Data from quiltmakers and collector's help to achieve the goal of finding Michigan initiated quilts. |
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Quilt Treasures: Collectors and Historians Worrall, Mary; Sikarskie, Amanda Grace The Quilt Treasures Project features individuals who helped push the 20th Century Quilt Revival forward. |
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Quilt Treasures: Contemporary Quilt Artists Sikarskie, Amanda Grace; Worrall, Mary Quilt Treasures interviewees Virginia Avery, Jean Ray Laury, Yvonne Porcella and Jinny Beyer are featured in this gallery. |
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Quilt Treasures: Cuesta Benberry, An African American Quilt Scholar Sikarskie, Amanda Grace; Worrall, Mary Quilt scholar Cuesta Benberry, was the pioneer of researching African American quiltmaking and she is a Quilt Treasure. |
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Quilters' S.O.S. - Save Our Stories Galleries Worrall, Mary; Sikarskie, Amanda Grace The Quilters' S.O.S.- Save Our Stories Galleries makes accessible interviews and quiltmaking information for quilter's and institutions. |
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Quilts and Human Rights Worrall, Mary; MacDowell, Marsha; Swanson, Lynne Quilt have been used to make statements like on human rights, in both a visual way and by stories. This gallery depicts these quilts that were used to express feelings on human rights. |
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Quilts and Mathematics in Education Sikarskie, Amanda Grace Quilts and elementary mathematics go hand in hand since quilts are made up of various shapes and sizes. |
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Rooted in Tradition: Art Quilts from the Rocky Mountain Quilt Museum Unknown author This gallery shows quilts from the Rocky Mountain Quilt Museum's Rooted in Tradition collection. |
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Sears Quilt Contest Project Galleries: Introduction Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Commemorative Quilts in Black and White Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Familiar 1930s Patterns in Contest Entries Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: First Place Winners in 10 Regional Rounds Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Folk Renditions of “A Century of Progress” Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Other Sears Contest Quilts in the Quilt Index Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Results of the Contest Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Second and Third Place Winners in Regional Rounds Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: Souvenir Kit Quilts in the Century of Progress theme Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Sears Quilt Contest Project: The Grand Prize Winning Quilt Waldvogel, Merikay Sears Roebuck & Co. with headquarters in Chicago was a financial backer of the 1933 World’s Fair, known as The Century of Progress Exposition. To drum up interest in the Fair nationwide, Sears announced a national quilt contest in January 1933 with prizes totaling $7500. Over 24,000 quilts were entered by the contest deadline in May 1933. It still holds the record for the most contest entries. Not only was it a huge success, it had a major impact on the quilt revival of the 1930s. |
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Stained Glass Quilts Sikarskie, Amanda Grace Stained glass windows are a beautiful design choice for many old buildings, including churches. It is of no surprise that quiltmaker's take that beautiful window design and turn them into quilts |
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The International Quilt Festival Q.S.O.S. Sikarskie, Amanda Grace; Worrall, Mary The International Quilt Festival Q.S.O.S. took place in 1999, 2000, 2002 and 2003. 152 quiltmakers were interviewed. |
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The Michigan State University Museum Q.S.O.S. Sikarskie, Amanda Grace; Worrall, Mary Interviews are the best way to gather information on quiltmakers. Michigan State University's Q.S.O.S. took place in 2001 and 2002. |
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The Oh Wow! Miniature Quilt Collection Unknown author Bill Schroeder and Klaudeen Hansen created The Oh Wow! Miniature Quilt Collection. These quilts are made to scale and were donated to the National Quilt Museum. |
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The Paul D. Pilgrim Collection at the National Quilt Museum Roy, Gerald E. Paul D. Pilgrim, collector and quiltmaker, brought together old forgotten quilt blocks with new contemporary blocks in his quilts. is collection was donated to the National Quilt Museum in Paducah, Kentucky. |
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The Women of Color Quilters Network Q.S.O.S. Sikarskie, Amanda Grace; Worrall, Mary Women of Color Quilters Network was founded in 1985 by a documented quilt maker on the Quilt Index, Carolyn L. Mazloomi. |
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Themes for Educators: African American History and Culture Sikarskie, Amanda Grace The Quilt Index houses a wealth of knowledge that is useful in all learning settings. African American History and Culture is just one of the topics that quilts can help bring to life. |
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Themes for Educators: Animals Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding animals. |
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Themes for Educators: Architecture and Buildings Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding architecture and buildings. |
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Themes for Educators: Children's Literature Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding children's literature. |
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Themes for Educators: Food Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding food. |
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Themes for Educators: MSU Quilts Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding MSU quilts. |
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Themes for Educators: Music Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding music. |
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Themes for Educators: Nelson Mandela and the Struggle Against Apartheid in South Africa Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding Nelson Mandela and the struggle against Apartheid in South Africa. |
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Themes for Educators: Outer Space Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding outer space. |
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Themes for Educators: Sports Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding sports. |
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Themes for Educators: Trees Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding trees. |
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Themes for Educators: U.S. History Sikarskie, Amanda Grace Using quilts in a classroom setting can be a beneficial tool for teachers and students. Listed here are quilts regarding U.S. History. |
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Understanding Quilt-Specific Colors: Bubblegum Pink Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Butterscotch Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Cadet Blue Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Cheddar Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Chocolate Brown Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Chrome Green and Yellow Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Claret or Wine Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Double Pink Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Indigo Blue Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Lancaster Blue Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Madder Brown Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Madder or Cinnamon Red Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Manganese Bronze Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Nile Green Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Prussian Blue Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Understanding Quilt-Specific Colors: Turkey Red Sikarskie, Amanda Grace Each of these color galleries represents a color given as a value for “Quilt-Specific Colors” in the Quilt Index Comprehensive Fields. Very specific “quilty” colors often reveal specific fabrics, a specific historical time period, or a particular quilting method. The quilts pictured in these galleries range from the late eighteenth century to the 1940s, and illustrate a wide variety of fabrics and techniques. Some quilts contain examples of more than one of these colors and thus appear in more than one gallery. In addition to these galleries, a good reference for learning more about quilt-specific colors is Eileen Jahnke Trestain’s book, Dating Fabrics: A Color Guide, 1800-1960. |
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Unusual Pattern Names Sikarskie, Amanda Grace The Quilt Index houses thousands of different pattern names. Some of those names are quite unusual and are featured here. |
