In the 1920’s and 1930’s programs were promoted through the Rural industry Bureau, to revive the craft of quiltmaking in Wales and north-east England. This program helped create markets for small quilted items, articles of quilted clothing and bed quilts, to help increase income in these economically depressed areas. The works were sold through galleries in London. Through the program, quilts were made for such important London hotels as The Dorchester, Grosvenor House and Claridges, and even quilted garments such as dressing robes were produced for the royal household.
The program required exacting standards, the patterns were more precisely drafted and the layouts more rigid and standardized. The goal was to increase the standard of work and it succeeded. Some of the most exquisite examples of quilting can be seen in quilts from this program. While there were fresh ideas introduced into old motifs and patterns, these newer designs lacked the originality and individuality of the quilts from previous era.
A combination of change in tastes and desires in the late 30’s and the second world war saw the end of the program and this quilting revival.
Be sure to click through to the museum website for more details.
Golden Yellow Quilt, Penybont, Cwmfelin Mynach, Whitland, Carmarthensire, c. first quarter 20th century, Made by Anna Davies. From the Collection of Jen Jones, Object no. cq279.
Exhibition Notes: “This double sided golden yellow whole cloth/patchwork was made by Anna Davies of Penybont, Cwmfelin Mynach, Whitland, Carmarthenshire. Born in 1895, she never married and remained at home after the death of her mother to look after her father who was the village blacksmith. I feel certain that although she was somewhat younger, her quilting was definitely influenced by that of Bariah Adams Lewis, Fanny Lewis and several other exceptional quilters all living in the immediate environs of Whitland. A keen photographer who developed her own films, she was shy by nature and refused to be photographer herself.”
The complexity of the design of this quilt is creating by the subtle use of colour in the piecing with the juxtaposition of the “overlay” of the quilting design. The quilting design is not symmetrically placed, but to no ill effect in my opinion. The restrained use of quilting motifs and the repetition add to the strength of the design. The overall impression of the quilt is simply delightful and engaging
Geometric Welsh Central Bow Tie Quilt, Salem New Llandeilo, Carmarthenshire, c. 1880, 68” x 87”, Maker unknown, From the collection of Jen Jones, Collection no. cq082
“Its stark simplicity is simply breathtaking.” Do we really need to say more? The addition of phenomenal quilting designs seals the deal.
Stunning large geometrics like this one are typical of Welsh flannel quilts. It is backed with mustard wool flannel and has a typical edge finish sometimes referred to as knife edge, tucked in or butted. This method turns in both the top and the back to finish the edge and then the edge is quilted.
From the exhibition notes:
“When Jen found this quilt, it had been bin bagged and relegated to a cow shed, considered to be a ‘heavy old thing.’ Luckily no harm had befallen it. Having once overheard it being compared to one by two exhibition viewers, we tongue-in-cheek refer to it as our ‘Rothko’. But in all seriousness, these bold geometrics can be referred to as abstract art.”
What sets this quilt apart is that there is no defining double rows of stitching to form a square or rectangle that you might normally see around the centre circle medallion in a Welsh quilt. Instead the centre circle mingles with the adjacent motifs, lending a certain playfulness to the design without this usual expected structure.
I love the random row of spirals that just wander across the quilt (you can find them right above the lower row leaves).
Most Welsh quilts, such as this one, were made by professionals quilters. Itinerant quilters would go from farm to farm in remote rural areas, and stay for two weeks to a month quilting, repairing and maybe evening sewing. The farm provided all the materials: fabric, fill and frame. In the villages the dressmaker was often the quilter as well, and only the fabric would be provided. Quilting was a profession where widows could have an income as there were no pensions.
During quilting survey projects almost 80% of the quilts surveyed in Wales had wool batting. There were plenty of small woolen mills in Wales so it was easy to obtain fleece for quilts. Sometimes a wool blanket was used for the batting, or another worn quilt. Going through so many layers made good stitches hard to achieve. The batting in this quilt is wool which helps accentuate the quilting. The fabric for the front and back of this quilt is Welsh wool flannel. It is not the type of fine flannel that we think of being used in a man’s suit, but a little coarser, more resembling homespun. The quilting stitches measure 3 – 4 stitches to the inch and this is not surprising given the thickness that was being quilted through.
The primary motif used in the stitching patterns in this quilt are leaves, but if you look closely some of the leaves in one of the borders have been “bent” slightly to form tulips. Do you see the different fill lines used in the leaves.
Jen likes the sophistication of the stitching patterns in this quilt and I couldn’t agree more. I appreciate how instead of fans in the corners of the central rectangle, that the quilter instead used leaves on an angle and then filled with a loose spiral in the corner. Delightful.
Jen also thinks the centre piecing represents the face of a cat! Now I can’t un-see that. Sorry if you can’t either now!
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.
