Twelve Quilts of Christmas 2019 – #9

Rolling Stone, LaGrange County, Indiana, c. 1925, 42″ x 50″, Maker Unknown. Indicated as from the collection of Pat and Kemp Beall.
I love this variation on the rolling stone block. The square within a square in the middle. The larger proportions of the side squares. And the delight of it all on point. All of these together make for a splendid interpretation. Sometimes I look at it and it feels flower like in a graphic way. Other times I look at it and see a snowflake.
We saw similar colour combinations in the quilts on day 6 and yesterday, but those quilts had extra bits of zip and zing. Here the colours are more clearly and simply presented. It is this straightforwardness of the colours that really enhances this lovely block and makes the whole quilt visually enticing.
In the layout of the quilt, the black rolling stone blocks mirror the red rolling stone blocks. There is something wonderful and calming about this arrangement even though the colour combination is rather vibrant.
The fact that the borders are not of equal width on all sides emphasizes the orientation and presentation of the composition and visually helps expand the quilt horizontally. The quilt on day 5 also used this technique with the borders to do the same thing.
I look at this quilt and see not only the beauty in it’s current design execution, but I also see loads of potential.
What do you think of this one?
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A quiltmaker, fabric designer, teacher, and speaker, Mary Elizabeth is also co-author of two best-selling books, “Small Blocks, Stunning Quilts” and “Small Pieces, Spectacular Quilts“. She has been a featured guest on The Quilt Show with Alex Anderson and Ricky Tims. And her work has been shown at international quilt shows and featured in many international quilting publications.
Mary Elizabeth believes in “Quilting With Abandon”, stretching traditional boundaries and creating quilts with a subtle salute to the past. She is enthusiastic about our quilting heritage and the lessons to be learned from the antique quilts she studies and collects. Her recent work examines the interpretation of traditional quilt designs through “gestured appliquéd lines” and the quilting stitch.
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So lovely! Do you think it was intended for a child, or perhaps it was made as a small lap quilt for an older person. Either way, it’s beautiful. It’s difficult to see on my small screen, but does it really have a white binding?