Textiles and the Triplett Sisters

I recently attended a lecture given by Barbara Brackman at the MOKA Quilt study group on the links between Kentucky and Missouri quilts. Shortly after, I attended an exhibition curated by Leah Zieber and Arlene Stevens at the Pasadena Museum of History which featured a group of quilts made of fancy goods (silk, satin, and velvet.) It was wonderful to see the actual textiles, to see in person some of the lessons learned from Brackman’s and others’ research. Fancy Goods Quilts can be made in a typical pattern such as log cabin or in a disorganized collection of shapes known as a crazy quilt. Crazy quilts frequently have embroidered details, which some have commented, the quilter went crazy with all the embroidered designs. However, that may not have been the case. Instead, she may have simply...

Founded in 1984, the California Heritage Quilt Project was to engage in research and educational activities regarding California Quilts. Their initial project was to research quilts made and brought to California before 1945. More than four thousand quilts were documented during the hunt for these quilts, a treasure trove of legacy. Another project the organization tackled was the California Sesquicentennial Quilt. A logistical feat of harnessing 230 quilt artists to create a single masterpiece. Board Member Helen S. Powell agreed to be coordinator of the project. Instead of dividing up the project into individual quilt blocks to be assembled later, lead quilt artists Zena Thorpe and Ellen Heck decided to create a pictorial style quilt. One artist took charge of “Northern California”, the other artist took “Southern California” and they “joined” it around Santa Barbara. Quilts...

My sister informed me, “everyone knows what it is when you call it the Bible Block like from Baltimore Album Quilts.” (BTW, if you don’t have a sister or friend to discuss quilts and quilt history, find one. I’ve truly learned so much from our discussions and hopefully my sister has learned some from me too…more than if I only went on hunts that I instigated.) Yes, most people do know what it is when you call it a Bible block, but what if in fact it is an autograph book in the quilt, not a Bible block? A real clue that you might need to explore another answer is when the quilt has more than one “Bible block” contained in it. Or if the known quilt makers have used previous books to represent an autograph...

This past weekend I gave a presentation on these glorious applique quilts to the American Quilt Study Group. Every time I speak on the quilts, I ask for anyone to let me know if they are aware of a quilt that I haven’t talked about or shown. Huge thanks to Lorie Stubbs, Leah Zeiber, Peggy Norris, and Susan Morrison who contacted me with quilt images and information. Each one of these quilts that gets discovered, adds to the body of information and understanding of this particular style. I’d already planned this week’s blog to write on whether there were area styles within this regional style. I’m still collecting data, but I have noticed the red setting strips in the mixed albums seem to be found in the New York area. Peggy Norris wrote to me that...

Bannister Hall Printworks, famous for several bird chintzes, was founded in 1798 by Richard Jackson and John Stephenson. Located near Preston, Lancashire, it was the leading printworks for woodblock furniture chintzes during the 19th century. In 1804 Jackson and Stephenson would bring Charles Swainson into the company, eventually completely selling the company to him in 1809. Between 1809 and 1825 it was owned by Charles Swainson, and from 1825-1856 it was known as Charles Swainson & Company. The Swainsons would open a second “big mill” called Fishwick Mill, with John Birley & Sons. People still referred to the company by various names including Bannister Hall, The Big Mill, Birley & Sons, Swainson & Sons. Eventually, in 1892, Edmund Wright Stead would purchase the blocks, machinery, and more than 9,000 designs of Bannister Hall for the competitor...