When Americans first tried their hands at quilt making back in Colonial times, it was already a long practiced craft in England. Despite the delayed start, the women (and sometimes the men) who worked on quilts on these shores are credited with developing the art to its finest degree. All of this was done with a frequent lack of formal education or artistic background.

During the beginning years, the many hours needed to design and sew were scarce. Even when yard goods were available the cost could be prohibitive, for farming and village folk had little or no money to spare. Before the American Revolution, the colonies were banned from manufacturing better materials, which forced their import from England, and at even higher prices, France. In fact, in the late 18th century, quilts were for the most part whole cloth quilts that required costly yardage that could be afforded only by well-to-do women along the Eastern seaboard and on Southern plantations. It is a popular impression that scraps from outworn garments have always been incorporated into quilts, but this is hardly the reality. Into the early 19th century, it was a rare cupboard that overflowed with clothing, especially among farm women. Wardrobes were severely limited and the few garments owned by women and children were usually worn to unusable shreds. .

By the mid-1830s, American mills were annually producing about 120 million yards of printed cottons, about one-third of Britain’s production. The vast majority were utilitarian commodity cloths…Many were small patterned block and roller printed dress prints in two or three colors that did not match the quality of English imports. As a result, Americans in search of high-quality printed textiles had no choice but to turn to European fabrics. Prices were high. In 1841, a Hartford (Conn.) merchant advertised American, English, and French calicos ranging from 6 cents to 37 cents a yard. The French fabrics…were too expensive.

“Drabs” that emphasized the brown family and dull greens, were an even more prominent choice for quilts in the mid-19th century. The drab colors reflected the great modesty of the period and the dark shadow cast by the coming Civil War (and hid the dirt to boot).

The name of a quilt frequently reflects a phase of life. Here is a sampling

• The Presentation, or Friendship Quilt –used as a gift for a bride, departing friend or clergyman. Each block was completed by another person, and often included embroidered or written signatures or verses. Quilts of this design are also referred to as “Album Quilts.”
- The Bride’s or Marriage Quilt –It was considered bad luck for the bride to make her own quilt, so friends frequently completed it with signed blocks. Doves, love knots, hearts and cupids were the favored embellishments.
• Memorial or Memory Quilts –bordered with dark, somber colors and fashioned from the clothing of a deceased loved one.
• Commemorative Quilts –bring topical subjects to the fore. Flags, patriotic symbols, commemorative handkerchiefs or other printed materials are common motifs. The designs could be scattered over the quilt, or a single, large symbol, surrounded by several borders, was centered on the quilt. (Sometimes called a “Medallion” Quilt.)
• Sampler Quilts –a mix of many patterns frequently made as a reference, or to spark fresh ideas.

Claudia Hudson (Isis)
Claudia has written articles for some of the biggest and brightest on the Internet. Prior to being a professional copywriter, Claudia’s career was that of a public school teacher. For more information on

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