Wholecloth Quilts, Trapunto, and Boutis
History and Techniques
by Patricia L. Cummings
August 15, 2005
Section III: American Wholecloth Quilting Traditions
Section IV: Trapunto and Its Techniques
This resource was compiled in conjunction with members of the British Quilt History List, who will be thanked individually, later on in the manuscript. We welcome any additional photos, comments, or suggestions.
Foreword by James Cummings
This article, "Wholecloth Quilts, Trapunto, and Boutis," is written in a way that defies common web usage. Common thought has it that internet readers do not want to read lengthy, in-depth articles but would rather scan headings to look for pertinent factoids.
Pat and I, being bookish people, have never been quite able to relate to this concept. We willingly read and analyze lengthy articles on favorite subjects. We believe that all dedicated enthusiasts of this subject will do the same.
We take advantage of common web usage to present links to other resources for study, and links to purchase books on the subjects discussed. This is a very long article, divided into linked sections, each having its own web page so that is will load faster.
The final section is written by Lisa Evans, and is one to especially savor. I needed the dictionary and online encyclopedia to satisfy my piqued interest in her historical references. So bookmark this article and read it slowly, taking the time to enjoy the details.
Introduction
We will begin by looking at early quilt history, and will consider examples of wholecloth quilting in Europe. We will consider the first trapunto quilts of Italy, and then the wholecloth traditions of Great Britain and Wales. We will discuss Marseilles quilts, Jacquard-loomed spreads, and boutis work of France, and we will briefly mentions the quilt traditions of the Netherlands. We will show examples of contemporary wholecloth quilts from Germany, a country without a strong history of the art, a fact that is changing today! We will also look at wholecloth quilts in America over time and discuss present day trends.
A wholecloth quilt is a wholecloth quilt whether it is stuffed, corded, decorated with quilting stitches alone, or whether it is blue, yellow, brown, green, or "glazed worsted" (calimanco). The quilt can be fashioned from elegant silk, or from cotton sateen, or have pieces of a silk petticoat in the center. A wholecloth quilt can be white all-over, or made from printed cottons like indiennes or toiles. The common element that wholecloth quilts share is that the top of the quilt is comprised of all of the same fabric, pieced or not, and the only motifs on the surface are fashioned with needle and thread, by hand or by machine.
Brief Overview of Early Quilt History
The very earliest surviving example of a layered textile that is quilted is a funereal carpet that was found in a tomb in northern Mongolia. Scientists date it to 100 B.C. to 200 A.D. The piece is currently held by the Institute of Archaeology in Leningrad.
There is documentary proof that quilted apparel was used in connection with military endeavors in western Europe from 750-1400 A.D.
The tradition of wholecloth quiltmaking dates back to the Middle Ages. Three quilted panels were constructed to commemorate the legend of Tristan and Isolde, two doomed lovers. Two of the quilts were destined to be given as a wedding gift to Sicilian aristrocrats, Pietro di Luigi Guicciandi and Laodamia Acciaiuli in 1395.
The other panel is thought to have been made for the royal house of Anjou, according to Averil Colby. In her book, Quilting, (London: B.T. Batsford, 1972), Colby states that all three quilts, including translations of medieval script contained therein, are discussed at length in a book entitled, Arthuran Legends in Medieval Art by Roger Loomis (London, 1938)
All three panels commemorate the legend of Tristan and Isolde. That tragic tale ends with the description of how two trees sprung up from the graves of the illicit couple. Even though the tree branches were repeatedly cut down, they would spring up again and would intertwine as symbols of endless love, even to eternity.
This important medieval legend of courtly love was oft repeated, and actually, was re-written a number of times after first being introduced in the twelfth century by troubadour poets. The spellings of the names of the two protagonists in the epic tale depend on who modified the story. The name of Tristan is sometimes modified to Tristram or Tristrem, The love of his life, Isolde, has seven other variations of her name, including Iseult, Isolt, and Ysolde, to name three distinctly diverse ones. To read the complete legend online, please visit this website:
Two Tristan legend quilted panels are now in the custodial care of the Victoria and Albert Museum. The 122" x 106" two-layer panel, includes an all-white linen top, and motifs that have been stuffed with cotton. Brown thread and white thread were the thread colors chosen to quilt the work. Among the motifs are human images, a boat, and raised letters, executed in the Italian style of quilting called trapunto, which creates three-dimensional motifs by stuffing quilted areas with cotton. Today's designs often use polyester fluff or batting for this purpose.
Close-up photos of the Tristan and Isolde Legend Quilt Panel are offered at the V& A Museum website: http://tinyurl.com/cc93e Once at this site, key in "Tristan Legend," and click on the first image that appears on the screen to see close-up views.
The third panel is located in a private collection in Bargello, Italy.
Quilting before 1600
Martha Rice, a.k.a. "Her Ladyship, Caitlin nic Raighne," from Leavenworth, Kansas has been researching early quilting designs from before 1600 and has recently published a book called Historical Quilting, available from her website:
http://caitlinsclothing.skylara.com/quilting.html
An 1809 Wholecloth "Study" Quilt from Pennsylvania
Tandy Hersh, an avid quilt historian from Pennsylvania was able to purchase a wholecloth "study" quilt at an auction in that state. She proceeded to map all of the different designs that are quilted into each on-point square, delineated by quilting stitches. In a presentation to the American Quilt Study Group in 1982, she revealed the types of motifs that acomprise the surface stitching on the quilt. Just from glancing at her clear diagram, one can see clamshell motifs, spirals, cross-hatching designs, "rose petal" designs, and fans in various configurations.
Quilt diagram courtesy of Tandy Hersh
Please click on the image to see a larger view
Her detailed study of othe glazed wool quilt, dated 1809, was published in Uncoverings, 1982, Volume 3 of the Research Papers of the American Quilt Study Group, Sally Garoutte, editor (CA: Mill Valley), 3-12. At the time of the writing, the author concluded that m ore research was needed to determine the origins of the design elements in the quilt but stated that she believed that the designs were similar to those of the British Isles.
Wholecloth Quilts from England
Typically, quilting was enjoyed by the well-heeled and merchant class who had more leisure time and wherewithal to purchase large pieces of fabric for the purpose.
There is no evidence to suggest that quilting started out as a scrap/salvage operation.
North East England was the site of much wholecloth quilting, especially during the 1880-1960 period, according to Dorothy Osler in "The Quilt Designers of North East England," written for Uncoverings 1998, Volume 19 of the Research Papers of the American Quilt Study Group, edited by Virginia Gunn, 37-69.
A cottage industry that consisted of marking wholecloth quilt tops for customers was begun by draper George Gardiner. He later took on an apprentice, Elizabeth Sanderson, who became even more famous than he. At the time, she was the most prominently known quilt designer of the area, and in later years she took on an apprentice of her own.
This was a thriving industry. Nonetheless, Osler points out that save for locating one business card of a designer, she found no other news reports or documentary evidence of the known vigorous trade. Advertising seems to have been done by word of mouth.
Many extant quilt examples from the time period prove that marking quilt designs was a lucrative business. Similarities exist between the quilts in the choice of line patterning, i.e. design motifs chosen, (which are diagrammed, named, and described by Osler). The quilts were all made of the same fabric (cotton sateen) and pastel colored cloth was selected.
Portion of a North Country Quilt. Photo courtesy of Pat Faunt, Jill Kane's mother, in England.
Why was there no mention of this quilt trade in public records or in the media? Osler offers some ideas at the end of her essay, which is well worth reading in its entirety. I will leave you in suspense, and just add that Dorothy Osler is the foremost authority on the subject of British quilting. Her book, Traditional British Quilts was first published by BT Batsford, Ltd., in 1988, and was reprinted by Trafalgar Square Publishing in 1991. In 2000, she wrote another book, North Country Quilts: Legend and Living Tradition, a book that is now out-of-print, and difficult to find. Several other books that she wrote are mentioned elsewhere in this manuscript.
Amy Emm: Highly Regarded Quilter
Amy Emms' Story of Durham Quilting by Amy Emms, MBE (Great Britain: Search Press Limited, 1990) is a book about wholecloth quilting done in an area on the northeast coast of England. Through its many color photos that illustrate techniques and examples of Emm's fine work, the book is a total inspiration. One photo shows a doll in a blue quilted dress and she is wearing a veil. The caption suggest trying quilting on a small scale first. What good advice!
Quilting experienced a revival in Durham, England and Wales in 1921 with the establishment of the Rural Industries Bureau. At a time of economic depression, the goal of the Bureau was to help locate work for the one hundred seventy registerered quilters. By 1928, the Bureau had set up an exhibit of quilts in London, which they counted as a great success. Quilters were paid by the square foot, a standard that some quilters still use today.
Photo of white North Country wholecloth quilt shown above is provided courtesy of Pat Faunt, Jill Kane's mother.
Close-up of same wholecloth quilt is shown above.
To see some examples of antiquie English wholecloth quilts online, please visit the Beamish Museum site. There are no less than five pages of wonderful examples.
Other examples of wholecloth British quilts sometimes show up on eBay.
Welsh Quilts: Traditional and New
The Essential Quilter Project Book by Barbara Chainey, (UK: David & Charles, copyrighted in 1997), is now out of print. On pages 127-133, the book offers a pattern for a "Red Welsh Quilt" which is based on an antique Welsh wholecloth quilt. This book contains a gorgeous array of projects which offer a wide mix of techniques ranging from trapunto and cording to (Japanese) sashiko, and (Indian) kantha stitching, and more.
Sandie Lush lives near Bristol, England. Inspired by Amy Emms, Sanie began making wholecloth quilts in 1994, and now designs wholecloth quilts in the style of Welsh quilting, and Durham (England) quilting. Her quilts have won numerous awards.
One of her designs, "Sandie's Blue Quilt," is included in Chainey's book, The Essential Quilter Project Book, mentioned above, on pages 42-45. Lush offers patterns and other beautiful photo images of her work on her website:
In addition, her amazing bed size quilt, fashioned in the shape of a man's V-neck vest for "cricket," is a finely wrought masterpiece that is highly detailed in its construction. A full page view of the 40" x 70" (100 x 175 cm) quilt that she calls, "Slip One, Knit One," can be seen in the book: Quilting Masterclass Inspirations & Techniques from the Experts by Katharine Guerrier (first published by That Patchwork Place, 2000), 28-29.
Welsh Motifs Highly Stylized
Certain motifs are favored in Welsh quilts, including stylized leaf patterns that are "infilled," hearts, spirals, trefoils, and "flatiron" shapes with various fillings. These shapes can be seen in the book, Quilt Treasures of Great Britain: The Heritage Search of the Quilters' Guild by Janet Rae, et.al. (TN: Rutledge Hill Press, 1995), 127. The following page in the book shows typical "North Country and Scots" quilting motifs, and the reader can appreciate the distinct differences between Welsh and North Country English quilt motifs.
In Quilting Design Sourcebook by Dorothy Osler (WA: That Patchwork Place, 1996), ISBN 1-56477-152-0, the author reveals that the "ubiquitous" Welsh spiral design has been found in pre-historic stone carvings. The meaning of this spiral symbol is anyone's guess.
On pages 64-67 of Quilting Design Sourcebook, Osler offers a quilting pattern for "Welsh Tulip." The book, now out-of-print, is a wonderful resource for those who like to design their own quilting motifs, particularly those designs that are in-filled
Celtic Spirals and Other Designs by Sheila Sturrock (East Sussex: Guild of Master Craftsman Publications, 2-000), ISBN 1-86108-159-6, is a terrific resource for those who want to learn to graph their own Celtic designs. The book provides a brief history, but extremely detailed information about tools, and how to draw designs. The stylized symbols used in Celtic art reflect the oral traditions of the Celtic people themselves, over many centuries. Some of these symbols have secular meaning while others are religious in orientation.
Welsh Quilts by Jen Jones is a thin book but one that is full of good information about traditional quilting in Wales. One can purchase a copy directly from the author, at her site: http://www.jen-jones.com/book.htm
Marjorie Horton is an American who loves Welsh quilts. She has shared information on the subject in Better Homes and Garden's Patchwork and Quilting magazine, in addition to writing a book entitled, Welsh Quilting: Pattern and Design Book. She has also prepared some patterns such as tea cozies, based on traditional Welsh designs. Her book and patterns are available from:
http://columbiariverquilting.com/marjorie_horton_welsh_quilting_pattern_design_book.html
A wonderful gallery of Welsh style quilts is shared by Marjorie Horton at:
http://www.britishheritagequilting.com/gallery.html
In October 2005, Krause Publications released a new book: Making Welsh Quilts by Mary Jenkins. ISBN 0896892549. Purportedly, the 128 page book provides information about the Amish-Welsh connections in quilt making.
To see a Christmas table runner that I enjoyed making, which is based on a Marjorie Horton pattern, please see:
http://www.quiltersmuse.com/welsh_quiltiing.htm
The following list of books was provided by Ady Hirsch of Israel. These titles are pertinent to our study of these topics. I have deleted certain books from her original list as they are listed elsewhere in this manuscript.
British and Welsh Quilts
Allan, Rosemary E., North Country Quilts and Coverlets from Beamish Museum (1897).
Lodge, Diana, Quilting (1995 (how-to-book).
Marchbank, Brenda, Durham Quilting, (1988).
Martin, Muriel, A Collection of Durham Quilts, 2000, (how-to-book).
Osler, Dorothy, British Quilts (1987).
Stevens, Christine, Quilts (1993) - quilts from the Welsh folk museum.
This concludes Section I. of this five-part article on wholecloth quilts.
To continue reading, please click on one of the links below:
Section III: American Wholecloth Quilting Traditions
Section IV: Trapunto and Its Techniques
©Copyright 2005, Patricia and James Cummings, et. al., Quilter's Muse Publications, Concord, New Hampshire. All Rights Reserved.
Inquiries may be sent to: pat@quiltersmuse.com
All copyrights to photos, text, designs, graphic images and individual text submissions presented in this five-part series, continue to be owned by those individuals who have shared them here.