Mrs. Grace Averett's Quilt: Unconventional and Unexpected

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

By Marin Hanson
Curator of Exhibitions

What a winner in my book and clearly by the viewers who chose Mrs. Grace Averett’s “String Quilt” as their winner. I am indeed biased as I truly love these everyday quilts, and even better yet, this one is a comforter also called a tied quilt. Everyday quilts that were made to be used could have been made very simply, humbly, and straight-forward---no need for ornamentation or elaborate design.

Why did Mrs. Grace Averett make her comforter this way? Did she make others? Did they all look like this one or did she make a variety of patterns? We shall never know the answers and can only ponder the questions.

Movement is one of the first things that strike me. You can image the waves or ripples from a boat gliding across the water. Start in the bottom lower right corner and follow the fabrics as they snake up to the upper left corner.

Her construction is marvelous in the horizontal layering of printed cottons and feed sack “strings” that create her strips. My gaze had been held primarily by the horizontal lines and the titling movement to the left. Only recently did I realize there is a vertical seam (or line) going down the center of the comforter. I love one printed fabric next to another and another and so on with just the right amount of a solid fabric. What about the solid orange? That’s the “punch” or “pop” for me. What do you think, did Mrs. Averett place those with intention or are they happy accident? Another place she draws my eye is the green printed fabric with 2 red flowers at the center of the quilt: planned or chance? Her ample use of the red ties used to hold the three layers together are visually striking. Why so many and what happened to the blank areas in the center?

Dainty, Elegant and More

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

Red and Green Medallion, maker unknown, probably made
in United States, circa 1850-1870. Byron and Sara
Rhodes Dillow Collection IQSCM 2008.040.0118.

By Joy Shalla Glenn
Membership and Public Programs Assistant

Now why would I pick this quilt to write about??? It certainly is not me! It is dainty, elegant, delicate, refined, and petite. And I unfortunately, possess none of those qualities.

I am usually drawn to stronger, bolder, more geometric quilts. However, there is something about the graceful design that is comforting to the eye. I want to see the applique work up close. Can you even imagine doing all those leaves? And what about those tiny circles?

This was before the day of heat and bond. Yes, I know needle turn looks better, but, honestly, life is too short. So, I also wonder about this quilter. What was her life like?  How did she accomplish that monumental amount of work? I definitely need to see this close up.

Color and Symmetry

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

Patchwork kimono, maker unknown, Japan, circa 1910-1930.
IQSCM 1998.003.0002

By Leslie Levy
Executive Director of Quilt House

The first time I went to Japan, I was 18 years old. I remember the men's kimonos as minimalistic, usually solid grey or black, but at the same time powerful. The women's kimonos were beautiful and complex; elaborate and made of colorful fabric - unlike this piece.

The symmetry and straight lines, emphasized by the long, narrow color blocks, of this kimono appeal to me. It feels modest/unassuming, yet the simplicity, combined with the earthiness of the print and the softness of the fabric give this kimono a quiet, understated authority.

Me, performing a traditional tea ceremony.

Floral Design

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

Witch Hazel: Jelena, made by Ruth B. McDowell in
Winchester, Massachusetts, dated 2005.
IQSCM 2006.011.0001.

By Dean Young
Operations Manager

My career choices have always centered on creativity – whether it involved culinary art or crafts in general. A true hobby of mine is floral design. This quilt is an awesome explosion of great color and style in the form of an unusual floral centerpiece focus, something I like doing anytime I get to play with fresh flowers in creating beautiful arrangements.

The quilter mastered it in fabric and thread!

Star

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

Lone Star, Sioux maker, circa 1900-1925. IQSCM 2010.047.0001.

By Kim Taylor
Collections Manager

This star quilt isn’t actually a quilt and that is one of the most interesting things about it! It might appear as if it is an unfinished quilt top, but lo and behold – the edges are finished so that tells me that it was intended to be one layer of fabric with a giant appliqued patchwork star in the center.

I did research with the Sioux and Assiniboine star quilters in Montana during the 1990s and I never saw a quilt quite like this one. This quilt is one of the earliest surviving examples of a Native American star quilt. It was gifted to prominent photographer Frank Fiske sometime between 1900 and 1920 from someone on the Standing Rock Reservation in North Dakota.

What makes this star quilt so interesting is that it was decorated like a buffalo robe with the beaded rosettes and the feathers. A similar star-like pattern of radiating diamonds was seen on painted buffalo robes on the Northern Plains known as the “Black War Bonnet” design which only warriors were allowed to use, like in this Bodmer painting.

The Fiske star quilt has blood smeared on the upper center part of the blanket and that really adds some intrigue. Maybe Frank Fiske received this star blanket as a warrior’s gift on his return from serving in WWI or maybe after some dangerous and daring feat. Mr. Fiske lived near or on the Standing Rock Reservation for most of his life and was married to a Sioux woman.

Thousand Pyramids of the Past and Present

Editor's Note: "Getting to Know You" is on display at Quilt House through February 6. To celebrate this show's run, International Quilt Study Center & Museum team members are sharing their impressions on select pieces from the exhibition. 

Thousand Pyramids, maker unknown, possibly made in Pennsylvania,
circa 1890-1910. Jonathan Holstein Collection IQSCM 2003.003.0137.

By Leslie Levy
Executive Director of Quilt House

I love the Thousand Pyramid pattern; I never tire of looking at its quiet and soothing pattern. In fact, I debated a long time whether I would hang a Thousand Pyramid quilt in my office. It is a timeless and classic pattern as evidenced by a trip to QuiltCon in Austin, Texas.

I was absolutely delighted by these pieces and the quilter’s unique twist or interpretation of a classic pattern to make it fresh and modern for today’s audience.

I love the splash of color coupled with the soft greys!

I think this is a sweet, versatile quilt. Its color pallet makes it the perfect addition to a child’s room, a casual living  room or one’s favorite reading spot.

This quilt echoes the Thousand Pyramids pattern but with a fresh, modern twist. The colors are fantastic!

Traditionally, the myriad of fabrics in a Thousand Pyramids quilt give the quilt interest and color as evidenced by the quilt in our exhibition, but at the same time, there is a subtlety to the quilt. Not this one! I love the bold, bright pyramids at the bottom, and the contrasting black and white at the top. This quilt makes me want to have a room done in shades of grey with this bright, bold, beautiful quilt hanging on the wall for all to admire.

Tush Kiiz Envy

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

IQSCM 2011.040.0039

By Marin Hanson
Curator of Exhibitions

As I thought about why I love this Kyrgyz tush kiiz so much, I looked around my house. And it suddenly became obvious: I have tush kiiz envy.

When I travel internationally, I always bring home something to hang in my house – on the wall, sometimes, but particularly on the ceiling or in a doorway. I love the concept of welcoming people into your home space(s) with beautiful textiles or other decorations. I also like passing under them myself on a daily basis – they serve as a reminder that beauty is everywhere, even in our most commonplace spaces.

These pieces are mostly from India – which undeniably has some of the most beautiful textiles in the world. At top left is a mango and chile pepper fabric ornament that is a quintessential symbol of Mumbai; at top right is a toran, or Indian door decoration with symbolism rooted in both Buddhism and Hinduism; and at bottom right is a beaded hanging from Kutch, in Gujarat. At bottom left are two pieces from China. They were made by a famous artisan from rural Shaanxi Province and they are both loaded with auspiciousness (on the right-hand piece, stacked from top to bottom, are the symbols for fu (a bat), good luck, lu (coins), wealth, and shou, longevity – for those of you who love your Chinese symbology!).

So I guess this just means that I now have to go to Kyrgyzstan and get my own tush kiiz – I have the perfect spot for it: the dramatic portal between my living room and dining room!

Bold Design

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

IQSCM 2014.027.0012

By Dean Young
Operations Manager

Blocks of bold and colorful designs, arranged in perfect symmetry have great appeal to me in the form of this quilt.

I can envision a quilter conceptualizing each block and putting them joyfully together to form a beautiful collection of texture and design!

Purple Love

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Center Diamond, made by Melinda King,
United States, circa 1910-1930. Ardis and Robert
James Collection IQSCM 1997.007.0063.

By Joy Shalla Glenna
Membership and Public Programs Assistant

Red + Blue = Purple! Purple is my favorite color. I love this quilt. I look at it and see purple. It draws me – the straight lines, the simplicity, how austere and clean it is. It is comforting and yet hard.

I wonder about its maker. Wouldn’t it be wonderful to have a chat with her? What was her life like? What was her family like? I doubt it was simple. This makes me want to know more!

A Rabari Ralli

Editors's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Ghodiyun Cradle Cover, made by the Rabari People,
Kutch, India, Circa 1975-2000. IQSCM 2012.001.0007.

By Marin Hanson
Curator of Exhibitions

I know I've written about India lately, but I just can't help it – I want to keep going back.

Quite simply, I love this quilt because it reminds me of the time I was fortunate enough to be able to go to the part of India where it was made – Kutch, which is a region in the state of Gujarat in the far West of the country. In fact, I was there when this piece was acquired on our behalf – by our good friend Geeta Khandelwal. Isn't it magnificent? The stylized peacocks, flowing trees of life, and triangular temples are surrounded by seemingly endless applique borders that reverberate and ripple outward. Clearly, this quilt would have added color and beauty to life in this arid part of India.

Rabari tribeswomen have made these quilts for generations. The Rabari family from whom we acquired this piece are no longer nomadic like their ancestors – in fact, they welcomed us into their home where the husband has a shop of Rabari crafts for sale.

Here I am – wistfully wishing I could stay longer in this wonderful country!

Little Log Cabin

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Log Cabin, maker unknown, made in United States, circa 1890-1910.
Ardis and Robert James Collection, IQSCM 1997.007.0114.

By Laura Chapman
Communications Coordinator

I grew up with fairly limited exposure to quilts. My mom and grandma knitted and crocheted, so most of my knowledge about quilts came from the Little House books and the Dove in the Window quilt Laura worked on throughout the series.

I’m truly lucky to work alongside a great team of co-workers at such a beautiful building that houses such amazing treasures. Like this one. There really is something about a Log Cabin quilt that is wonderful. Maybe it’s that connection to the Little House books. No, they didn’t make any in the series, but Laura was born in a log cabin in the woods.

Yeah. I've been there. Or at least to the replica cabin that was built on the site where the one she lived it in used to exist.

Or maybe I just like these quilts because they're versatile and can look so different based on how you put them together. This great animation created by University of Nebraska-Lincoln shows featured in our exhibition, "Design Dynamics of Log Cabin Quilts," shows those different settings.

A Mix of Old and New(ish)

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Whole cloth, maker unknown, circa 1890-1910,
made in Turkey. IQSCM 2010.045.0012.

By Carolyn Ducey
Curator of Collections

I love fabrics. I love quilts too, but it is the fabric themselves that call to me. This piece is block printed with a turquoise design reminiscent of an early Indian paisley. The fact that it was made in the twentieth century, with a technique that has been used for centuries is amazing. It tells me that traditional ways still have life and are still appreciated in their communities. This Anatolian variation is done in two halves that, when sewn together, make a whole cloth quilt.

Maybe that’s a part of the appeal of this quilt as well… I never could make seams match or corners sharp. I like the idea that the medallion, in its contrasting blue and yellow colors, the paisleys printed in the body of the quilt and the design of the outer border are complete – the only thing needed is to stitch the batting and backing together and you have a striking, warm, beautiful quilt. That’s my kind of piecing!

Triangles, Triangles Everywhere

Editor's Note: To celebrate the grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Patchwork, maker unknown, Thailand,
circa 1980. IQSCM 2008.012.0006.

By Marin Hanson
Curator of Exhibitions

Repeating triangles. It's a thing with quiltmakers everywhere. This quilt from Thailand inspired me to look through the International Quilt Study Center & Museum's collections and find some other examples of the obsessive triangles phenomenon. Enjoy!

UNITED STATES. c. 1850, probably Pennsylvania,
Holstein Collection, 2003.003.0305

UNITED STATES, c. 1890-1910,
possibly Posey County, Indiana,
James Collection, 1997.007.0085

UNITED STATES - AMISH,
c. 1975, L. Miller, Probably Wayne County,
Ohio, James Collection, 1997.007.0501

UNITED STATES - AFRICAN AMERICAN,
c. 1975-1985, Dennis Jones, Pickens County, Alabama,
Cargo Collection, 2000.004.0051

KYRGYZSTAN, c. 1930-1940, 2011.040.0016

PAKISTAN, Sindh,
c. 1970-1990, 2000.003.0004

CHINA, c. 2010, He Xiuxian (maker),
Jialiang, Guizhou Province, 2014.027.0010

British Mania

Editor's Note: To celebrate the upcoming grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Medallion, maker unknown, probably made in Allendale region,
England, United Kingdom, circa 1830. IQSCM 2007.014.0001.

By Laura Chapman
Communications Coordinator

I have been a bit of an anglophile since middle school, when I watched Sliding Doors and Notting Hill. That was about the same time my dad introduced me to Monty Python's Flying Circus, and I watched a multi-part documentary on Beatlemania with my parents. That probably prompted me to spend high school reading everything by Helen Fielding, Lisa Jewell, and Jane Austen. By the time I went to college, I knew I was a bit obsessed.

Imagine my excitement when the summer before my senior year, I had an opportunity to travel to England with the University of Nebraska-Lincoln College of Journalism and Mass Communications.

Not only did I get to see amazing things like Platform 9 ¾ at Kings Cross Station…

Hogwarts bound!

And tour London…

My classmates and I before attending Sunday
service at Westminster Abbey.

But I also saw a lot of quilts. UNL sent us to England as part of a depth reporting project on the international scope of quilts and quiltmaking. We were working on a magazine and documentary to be released in conjunction with the grand opening of the International Quilt Study Center & Museum at Quilt House in spring 2008.

We went to England, because there were excellent sources for us to interview at the Victoria & Albert Museum and British Museum in London. We were also fortunate enough to meet with Bridget Long, an IQSCM associate fellow, and one of her friends in Ashwell, near Cambridge.

The main elements of our research took place at the International Festival of Quilts in Birmingham. While our friends at the IQSCM, who are now my colleagues, told us the festival would be bigger than we could imagine, I wasn't prepared for the frenzy of activity that would meet us. We saw hundreds of quilts, including a mixture of historical, contemporary, and art quilts. And we also met wonderful people, both in our interviews and by mingling in the crowd.

Though this British quilt looks different than any of the pieces I saw during that trip in 2007, it reminds me of the festival and of one of the greatest experiences in my life.

Black and Blue

Editor's Note: To celebrate the upcoming grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Checkerboard, maker unknown, made in United States,
circa 1800-1820. IQSCM 1997.007.0376

By Carolyn Ducey
Curator of Collections

This quilt calls to my heart. There is something so dramatic about the blue and black squares on point that I love. Rich, dark, pulsing… But then, you notice the candy cane outer border. The turquoise blue is just the right shade lighter than the center blue, so it adds a flash of color. The pale pink, in parallelograms that point upward, literally pushes your eye back to the quilt – a remarkably effective design element. Then, when you think you’ve seen it all, look – the maker brought the three border colors used together in the bottom center. Aaaaah, it just literally makes my eyes happy.

And, if you are lucky enough to have worked with this quilt, you know that is it composed of wool, some loosely woven but fused to create a luscious shine. The light plays with the designs the quilter used to join the layers… carefully crafted floral patterns.

I want to hug this quilt  – even though it is a bit stiff and scratchy. I want to wrap myself in this particular woman’s vision and just feel her creative  spirit for a moment. Wow.

Game Boards, Old and New

Editor's Note: To celebrate the upcoming grand opening of the newly expanded Quilt House gallery, International Quilt Study Center & Museum team members are blogging about pieces in the gallery's inaugural exhibition, "Getting to Know You."

Kantha, maker unknown, made in Bangladesh,
circa 1900-1925. IQSCM 2012.001.0004.

By Marin Hanson
Curator of Exhibitions

For many reasons, this kantha piqued my interest as soon as I saw it. I love the Hindu gods Krishna and Radha in the center; I can never resist an elephant; and the British cavalry soldier clearly references India's colonial past (and I was a history major, after all). But obviously, the snakes are the showstoppers here. Every time I look at them, they remind me of board games – Chutes and Ladders, Candyland, even Life. Those were the games I liked as a child, the ones where you seemed to be going on an adventure – linear, yes, but definitely twisty and turny.

So I started poking around online and found out that Chutes and Ladders, a Milton Bradley board game first released in 1943, was simply a version of an old Indian game called Snakes and Ladders. In the game, you roll a die to move through the numbered squares on the grid; if you land on a square with a ladder, you ascend one or more rows, but if you land on a snake, you descend, sometimes all the way back to the beginning.

Snakes and Ladders, India, 19th century

Chutes and Ladders, c. 1952. ("Cnl03" by DASHbot.
Licensed under Fair use via Wikipedia)

In the Indian game, Hindu ideas of morality were abundant: "The ladders represented virtues such as generosity, faith, and humility, while the snakes represented vices such as lust, anger, murder, and theft. The morality lesson of the game was that a person can attain salvation (Moksha) through doing good, whereas by doing evil one will inherit rebirth to lower forms of life. The number of ladders was less than the number of snakes as a reminder that a path of good is much more difficult to tread than a path of sins" (Wikipedia). In the Western version, much of this morality is absent, but the fun of seeing who can make it to the top first is still there.

I now want to figure out if I could turn this kantha into a board game of some kind. How would you do it?