Those Crazy, Crazy Quilts!

      The term "crazy quilting" is often used to refer to the textile art of crazy patchwork and is sometimes used interchangeably with that term. Crazy quilting does not actually refer to a specific kind of quilting (the needlework which binds two or more layers of fabric together), but a specific kind of patchwork lacking repeating motifs. A crazy quilt rarely has the internal layer of batting that is part of what defines quilting as a textile technique.

      Regular patchwork combines the pieces of fabric into a predetermined and regular design, but crazy patchwork uses irregular pieces of fabric without pattern on a foundation fabric or paper. This may create haphazard-looking and asymmetrical designs, or the designer may use some control in placement. Patches can be hand appliquéd onto a base fabric. This method gives the most variety as every patch is unique. There are also block patterns designed for crazy quilt that can be sewn by machine. Sometimes part of a crazy quilt is haphazard while other parts are placed in a planned pattern. A common example of this the placement of patches is a fan pattern. The patches and seams are then usually heavily embellished.

      Crazy quilting created a stir in the 1880's when it became quite a fad in the United States. The Japanese Exhibit in the 1876 Philadelphia Centennial Exposition inspired the crazy quilt with its asymmetrical art. Articles encouraging crazy quilting, or condemning it, could be found in women's publications. Women could purchase packages of random fabrics, as well as already embellished pieces, to use in their own crazy quilts. During the first several years of the crazy quilting fad, fine fabrics and heavy embellishment were the norm. As time passed quilters began to make simpler quilts in the crazy quilt style. Thrifty housewives used everyday fabrics like wool or cotton and little or no embellishment to create more serviceable quilts than the original fancy crazy quilts with the added benefit of using up small or odd-shaped scraps left over from making clothing for the family or other household sewing projects.

Tamar Horton Harris North. “Quilt (or decorative throw), Crazy pattern”. ~1877. 54 ½ × 55 in. Metropolitan Museum of Art.

An Amish crazy quilt created by Lydia Beachy between 1910-1920, made
 of cotton, measures 80 7/8 in. by 62 1/4 in. Part of Smithsonian
American Art Museum Collection.

Fruit Designs for Quilts, Embroidery and Coverlets

        The following fruit designs by Briggs are free for our visitors to use in their own personal crafts. Although the original designs were intended for embroidery, you can also use them to design applique', quilts, stencils for coverlets, table linens, and even in the painting of furniture!

• Patterns: Waste Paper, Pouncing & Heat Transfer
• More patterns from Briggs from The Antique Pattern Library (PDF)

Briggs apple embroidery design.

Briggs apricots embroidery design.

Briggs black berries embroidery deisgn

Briggs grape embroidery design.

Large gooseberries design by Briggs.

Orange embroidery design by Briggs.

Briggs pear embroidery design.

Briggs pomegranate design.

Red currants by Briggs to use in embroidery.

Strawberries design by Briggs.

A Sampler from 1927 by Helen Grant

        The sampler below by Helen Grant includes: a house, boy and girl, birds, flowers and two peacocks. The text reads "My portion is not large indeed, But then how little do I need? For Nature's calls are few- ''In this the art of living lies: To want no more than may suffice, And make that little do."

More Samplers:

• Stitch a Sampler for Your Colonial Christmas Tree
• Needlework Samplers by Young Girls
• Simple Cross Stitch Patterns for Baby
• Designs for Embroidering Baskets of Flowers

The McKim "Flower Garden Quilt" from 1932 -1933

       I will be uploading the original, historical patterns found in the Montgomery County Sentinel, Independence, MO.  for this famous Flower Garden Quilt before the end of this week. Excluding the picket fence border and the spinning floral quilt patterns that alternate between the floral blocks, all of the designs are made up with embroidery stitching. Below is the original article and the quilt map published in the original newspaper article (Friday, November 18, 1932). I was unable to find the directions in the archives for the tiger lily and the carnations. There were only the holes left by those who tore them from the papers! Those of you who are making this quilt will need to make up your own stitches for these two flower blocks. However, I have since located the patterns (line drawings) for these missing flowers and have also included the remaining 25 patterns with instructions linked below in the index.

A Riot of Color and A Dream of Beauty

       "Today, due to the fact that more people are forced through economic conditions to spend their leisure hours at home, the "quilting fad" is even more general than in 1931. It is sweeping the country like a cyclone, and bringing genuine enjoyment and profitable employment of spare time to thousands of women.
       Recognizing this, this newspaper has closed a contract with the celebrated McKim Studios, designers of the world's most beautiful quilts, whereby their latest creation - finished by them within the last few weeks - will be given to the women of this territory. Wherever quilts and quilt patterns are known, the name "McKim Studios" is as famous as the name Tiffany is famous in the diamond world. Other designers and syndicates have offered this newspaper quilt patterns, but we have declined all offers. Nothing but a "McKim" quilt will do. And now the world-famed MicKim Studios have come forward with their crowning creation in quilt designing - the "Flower Garden" patterns. The illustration below gives but a faint idea of it's beauty. But women who know quilts will be quick to realize what beauty can be wrought through these blocks; they can picture it as a riot of color and a gorgeous dream of beauty."

Here's The Plan… Here's How To Get The Quilt

       "All the charming variety of color and form that nature weaves into her flowers have been captured and conventionalized by McKim artists in designing these blocks for the "Flower Garden" quilt.
       The quilt combines applique and outline stitch most effectively, yet it is easily made by following the detailed instructions which are to be printed with each and every block. There are 27 blocks in the quilt, each block a separate and distinct unit.
       When these 27 blocks are set together they form a top about 66"x83" inches. The borders can be varied to make the quilt all that is necessary is to secure a copy of this newspaper each week, starting with the issue of December 2, clip the patterns, lay it on your choice of material, trace the lines through a sheet of carbon paper - and then finish the block, amount of material needed and helpful suggestions as to the most attractive material to use, will be printed beneath each block etc…"

 27 Quilt Blocks Appearing In the Montgomery County Sentinel:

1. The Lilac Embroidery Block
2. The Daffodil Embroidery Block
3. The Tulip Embroidery Block
4. The Iris Embroidery Block
5. The Nasturtium Embroidery Block
6. The Poppy Embroidery Block
7. The Canterbury Bells Embroidery Block
8. The Rose Embroidery Block
9. The Lily of The Valley Embroidery Block
10. The Carnations Embroidery Block
11. The Chinese Lantern Plant Embroidery Block
12. The Bleeding Hearts Embroidery Block
13. The Daisy Embroidery Block
14. The Sweet Peas Embroidery Block
15. The Tiger Lily Embroidery Block
16. The Cosmos Embroidery Block
17. The Water Lily Embroidery Block 
18. The Hollyhock Embroidery Block 
19. The Geranium Embroidery Block
20. The Delphinium Embroidery Block
21. The Trumpet Vine Embroidery Block
22. The Petunia Embroidery Block
23. The Zennia Embroidery Block
24. The Chrysanthemum Embroidery Block
25. The Pansy Embroidery Block
26. The Quilted Spinning Floral Design - for quilting
    
27. The Picket Fence Block - for piecing
    

The historical "Flower Garden Quilt" map by Ruby McKim, 1932.

Evening Primrose Patch

        This geometric design is without a name as far as I know so I've decided to call it "Evening Primrose." I found it in a collection of designs dating prior to 1910. If any of my visitors know the old name for this patch, please write about it below in the comments. I've included a quilt map for those of you who would like to try working out some coloring for the arrangement before sewing the blocks. This is a unique patch in that the flower is first pieced and then appliqued directly onto a block. It seems as though most quilters like to either piece or applique. I enjoy both methods so I suppose that is why I find this design appealing.

The Evening Primrose Patch quilter's map.

Evening Primrose Template.

Origin of the Name: Oenothera caespitosa or desert or tufted evening primrose is native to western and central North America. This native flower is drought resistant, has white cup shaped blooms and grows in poor soils.

Traditional Quilt Maps

        Add and subtract blocks to size the quilt according to your needs. Jpg. Is copyrighted by Kathy Grimm 2012. For private use, map should not be resold. Shopkeepers and/or teachers may distribute copies for students or recopy for educational purposes or note taking inside of an actual classroom or store, but not online.

Basic square patchwork quilt map.

A diamond patchwork quilt map.

A square patchwork with alternating circles or medallions.

A patchwork including narrow borders.

House Template for Quilting

        There are countless possibilities and examples of neighborhood patchwork quilts. These may be collected and reconfigured either as a kind of a rhythmic design or in a border or included in a album quilt with every patch a different design. However you choose your neighborhood quilt to look, follow the 3 important hints: include a consistent exact 1/4 inch seam, iron open the seams as you piece and clip the excess corner material. Below is just one simple example of a neighborhood quilt map, plus the templates for the house depicted in the map and six different tree appliques for those of you who would prefer to include a bit of nature as well.

A quilt map for a simple neighborhood house patch design.

Click to download the largest available size.

Tree appliques for your neighborhood quilt designs by kathy grimm.

More Quilted Neighborhoods:

• Log Cabin Houses Quilt Pattern 
• 100 Houses Quilt Pattern
• "My Kinda Town" by Peggy Larson

The Sphragida Star or 7 Seals Star Patch

Sphragida Star Patch Pattern Pieces.
Click to download the largest file size.

        The Sphragida Star Patch is made from a seven pointed star known in geometry as a septogram or a heptagram. The diamond pattern for the star is not a true diamond, one end has a narrower angle! It also has seven radiating square pieces and it is set inside of a circle, surrounded by a square. This is a difficult patchwork primarily because those who attempt it, cut the shapes out on the bias, causing the piecing to stretch and warp the dimensions of the patch slightly.

       You may choose to piece it together with half triangles, eliminating the squares altogether. Although I think this would be kind of a crazy thing to do, making a difficult piecework even more difficult? English paper piecing to assemble this patchwork may keep the fabrics from stretching too much.

       Don't forget to add a 1/4 inch seam allowance to your templates, to iron open seams as you go and to clip the corners as well. Piece the star first before sewing in the other shapes. Then applique the entire patch onto square backgrounds or applique the final resulting patch directly onto a whole quilt top.
       I have seen the Sphragida or Seven Seals Star patch most frequently in album quilts. I think the reason for this is obvious; it is a frustrating star for some quilters to piece, and they soon tire of working it. If you find an entire quilt made with this patch in a consignment shop or bazaar buy it, because it likely was fashioned by an expert quilter!

Download, print and color to help imagine the color palette you would like.

Origins of The Pattern's Name: The Seven Seals of God from the Bible's Book of Revelation are the seven symbolic seals (Greek: σφραγῖδα, sphragida) that secure the book or scroll that John of Patmos saw in an apocalyptic vision. The opening of the seals of the document occurs in Rev Ch 5–8 and marks the Second Coming of the Christ and the beginning of The Apocalypse/Revelation. Upon the Lamb of God/Lion of Judah opening a seal on the cover of the book/scroll, a judgment is released or an apocalyptic event occurs. The opening of the first four Seals releases the Four Horsemen, each with his own specific mission.

Little Boy Blue Applique

Classic "Little Boy Blue" applique.

       The pattern above is my version of a "Little Boy Blue" figure I found on an early 20th Century crib quilt. Remember to add an additional 1/8 inch seam allowance to the pattern above after tracing each shape separately. This is a early nursery rhyme figure that predates the farmer boy patterns designed to compliment Sunbonnet Sue. His shoes and skirt-like shirt are from the 1800s fashions of peasant children. By the time the farmer boy designs were being drafted, overalls, cowboy inspired straw hats, and square toed boots were the common attire of boys working on Midwestern farms.

 

        Origins of The Pattern's Name: "Little Boy Blue" is an English language nursery rhyme, often used in popular culture. The earliest printed version of the rhyme is in Tommy Thumb's Little Song Book (c. 1744), but the rhyme may be much older. It may be alluded to in Shakespeare's King Lear (III, vi) when Edgar, masquerading as Mad Tom, says:

"Sleepest or wakest thou, jolly shepheard? 

Thy sheepe be in the corne; 

And for one blast of thy minikin mouth 

 Thy sheepe shall take no harme." 

 It has been argued that Little Boy Blue was intended to represent Cardinal Wolsey, who was the son of an Ipswich butcher, who may have acted as a hayward to his father's livestock, but there is no corroborative evidence to support this assertion. The most common version of the rhyme is:

 Little Boy Blue, 

Come blow your horn, 

The sheep's in the meadow, 

The cow's in the corn; 

Where is that boy 

Who looks after the sheep? 

Under the haystack 

Fast asleep. 

Will you wake him? 

Oh no, not I, 

 For if I do 

He will surely cry.

Little Bo Peep Applique

My draft of the classic "Little Bo Peep"

       The pattern below is my version of a "Little Bo Peep" figure I found on an early 20th Century crib quilt. Remember to add an additional 1/8 inch seam allowance to the pattern above after tracing each shape separately. This is a early nursery rhyme figure reminds me of the Sunbonnet Sue patterns. 

 
        Origins of The Pattern's Name: "Little Bo Peep" or "Little Bo Peep has lost her sheep" is a popular English language nursery rhyme. The earliest record of this rhyme is in a manuscript of around 1805, which contains only the first verse. There are references to a children's game called "Bo-Peep", from the 16th century, including one in Shakespeare's King Lear (Act I Scene iv), but little evidence that the rhyme existed. The additional verses are first recorded in the earliest printed version in a version of Gammer Gurton's Garland or The Nursery Parnassus in 1810. Older inhabitants of Ninfield, East Sussex (a former smuggling center) will tell you that Bo-Peep was its most famous resident. The story goes that her sheep were walked across the shore to disguise smuggler's footprints. The valley to the south of the A269 in Ninfield joins the Pevensey Level marsh area and was small-boat navigable until the Late Middle Ages. As with most products of oral tradition, there are many variations to the rhyme. The most common modern version is:

Little Bo-Peep has lost her sheep,

And can't tell where to find them;

Leave them alone, And they'll come home,

Wagging their tails behind them.

Little Bo-peep fell fast asleep,

And dreamt she heard them bleating;

But when she awoke, she found it a joke,

For they were still a-fleeting.

Then up she took her little crook,

Determined for to find them;

She found them indeed, but it made her heart bleed,

For they'd left their tails behind them.

It happened one day, as Bo-peep did stray

Into a meadow hard by,

There she espied their tails side by side,

All hung on a tree to dry.

She heaved a sigh and wiped her eye,

And over the hillocks went rambling,

And tried what she could, as a shepherdess should,

To tack each again to its lambkin.

Snowflake Applique Pattern

This snowflake applique pattern was inspired by an old quilt pictured below. It pattern may also be turned into a floral wreath pattern by adding small buds to the tips of the design. Remember to add a seam allowance to the pattern of 1/8 inch before cutting into your fabric.

Origin of the Pattern's Name: The snowflake is often a traditional seasonal image/motif used around the Christmas period, especially in Europe and the United States, representing the traditional White Christmas. During this period it is quite popular to make paper snowflakes by folding a piece of paper several times, cutting out a pattern with scissors and then unfolding it. Snowflakes have also been incorporated into many 20th century American Quilts by a wide variety of people who celebrate winter holidays or who just enjoy the infinite design potential in snowflake motifs.

A very old snowflake quilt.

More Pictures of Snowflake Quilts:

• Sisters Quilt Show
• Snowflake Quilt by Beth Brandkamp
• Snowy Snowy Night
• Snowflake quilt by Emily Breclaw

Pink Rose Applique Pattern

       Cut and sew the pattern pieces in numerical order. There are no seam allowances made in the drafted pattern above. The rose part of this pattern is made by layering little individual floral motif on top of each other. By these means, only the outer edge of each scalloped motif is actually appliqued to the quilt. In other words, the inside edges of the rose are created by each motif's outer edge.

The rose motif is created by stacking four design elements.

       Trace and cut each shape of the rose separately and then stack these on top of each other in order to create the motif correctly. Don't forget to add an additional 1/8 inch seam allowance to your patterns before drawing around them onto your selected fabric. 

Note how reds and pinks increase in value
towards the center of the rose.

Choose fabrics that have the same effect visually
for maximum visual aesthetic.

       I recommend choosing a monochromatic color set of calico prints for this applique. Make sure that a single color choice varies significantly in value in order to maximize the visual impact of your design. I would not choose calico that has giant printed images for this design, if I were to quilt a historically accurate pattern. Many rose quilt patterns similar to this one were often quilted with solid cotton textiles. A finished quilt with a similar design may be seen below.

Origins of The Pattern's Name? Our use of the English word "rose" comes from Old French and Latin languages. Rose is a general term used to refer to any shrub or vine of the genus of Rosa. There are literally hundreds of "rose" patterns used in applique. Some of these are very stylized and others realistically portrayed. The stylized rose patterns are typically much older in origin. The most popular names for rose patterns in both Colonial America and later years were the Whig Rose and The Rose of Sharon.

      The Whig Rose, named after a political party, has a large blossom at it's center with additional "spinning" or trailing branches of buds, leaves, and or additional flowers growing out of it's central motif.

      A Rose of Sharon "rose" pattern is typically styled after a crocus bloom that is referenced in The Song of Solomon in the Bible. This design does not have long spindle-like branches but short leaves or buds directly connected to it's central flower.

      Many, many applique patterns have since been drafted and misnamed after these classic pattern/ motifs without any consideration for their former design distinctions. In fact, this has become so much the case that one can never rely upon the name of a rose pattern to actually reveal it's design characteristics any longer. You must actually look carefully at the designs to make a distinction between the motifs according to early artistic prototypes while simply ignoring the names given to rose patterns in general.

Sample of the "Pink Rose Applique" with a swag boarder. 

Daisy Applique Pattern

       Cut and sew the pattern pieces in numerical order. There are no seam allowances made in the drafted pattern below. I have based this pattern upon a daisy quilt appearing in the American quilt below. You can move the motifs around, add leaves and multiply the blooms in order to produce a similar version of this quilt yourself.

 

Color swatch for the daisy quilt.

Origin of The Pattern's Name? "The name of the daisy flower comes from the medieval English 'daies ie', meaning day's eye. This is because of the similarity of the central portion of the flower to an eye, and the fact that the petals close the 'eye' at night, opening it only in the daylight." answers.com

A unique interpretation of daisies in a field of stripes for this quilt.

More Pictures of Daisy Quilts:

• Daisy Quilt from pieceful kwilter
• Baby Kate's Daisy Quilt
• Daisy Patchwork Quilt

Poppy Applique Pattern

        I have designed this Poppy applique pattern for those of you who would like to create a quilt similar to the one shown below.  Remember to add a 1/8th inch seam allowance before cutting out your fabric pieces. Below, on top, is a color chart showing the original color combinations of the older version of the quilted Poppy pattern.  However, I think that it would be just as nice to quilt in a Chinese red version as well so I've included those color combinations in the second chart.

Original color combinations for a poppy quilt.

Chinese Red color combinations for a poppy quilt.

Origin of The Pattern's Name? "Poppy is a feminine given name derived from the name of the flower "poppy", derived from the Old English popæg and referring to various species of Papaver." It could be linked with a family name originating in Yorkshire, England. "Some of the first settlers of this family name or some of its variants were: William Popley, who came to Maryland in 1660; Richard Popley, who arrived in Maryland in 1669, and William Popley, who arrived in Virginia in 1675." houseofnames.com

This is applied patchwork and therefore much more easily made than pieced work;
very simple quilting gives prominence to the design.

More Poppy Quilts by Amazing Textile Artists:

• Amazing Applique
• Poppy Quilt at Ruth Powers Art Quilts
• Modern Poppy Baby Quilt

Sunflower Applique Pattern

       Cut and sew the pattern pieces in numerical order. There are no seam allowances made in the drafted pattern above. The petals of this floral pattern need not be quilted one at a time. Simply trace all of these together as one flower and then applique the center of the sunflower on top of the first motif. Add a few stray petals of a golden or brown calico here and there for texture and interest.

Classic color swatch for a sunflower quilt applique.

Origin of the Pattern's Name? The translation of "sunflower" comes from Latin. "The Latin name for sunflowers is Helianthus, which derives from the name Helios who was the Greek god of the sun. The suffix –anthos mean flower. It rarely happens that the Latin name for a plant and the vernacular name for a plant come together as it does in the case of a sunflower. Clearly, there is no better name for a brilliant yellow flower that seems to worship the sun." suite101.com

Rose of Sharon Applique Pattern

        This pattern draft of a Rose of Sharon dates from the mid 1920s Farm Journal. Add a 1/8th inch seam allowance to it prior to cutting your fabric.

Traditional colors used in a Rose of Sharon quilt top.

Origins of The Pattern's Name: Rose of Sharon is a common name that applies to several different species of flowering plants that are highly valued throughout the world. The name's colloquial application has been used as an example of the lack of precision of common names, which potentially causes confusion. Rose of Sharon has also become a frequently used catch phrase in lyrics and verse.  There are countless variations of this favorite old flower in quilt making. 

Traditional Rose of Sharon quilt map. Happy to see this quilt
made up at St. Anne's Quilters for charity!