The 19th Century Patchwork Divas
Pinwheels by Divas member Carol Staehle
I once read a book about the Swiss Expressionist artist, Paul Klee, who was famous for paintings that distorted reality through use of vibrant colors and nonrepresentational shapes. Despite his reputation as a thoroughly “Modern” artist, Klee was first and foremost an expert draftsman. He felt strongly that it was necessary to study and master traditional techniques in order to create the sort of abstract work that eventually became his signature.
It can sometimes seem as though traditional quilting techniques have been forgotten. The sheer number of art quilts being made and exhibited can lead to the impression that traditional quilts have been relegated to quaintness: admired—even cherished—but no longer actually produced as an artistic end in themselves. In the past decade, however, a number of traditional quilters have made it their mission to reverse that trend.
The 19th Century Patchwork Divas is one such group. Formed ten years ago by Betsy Chutchian and Carol Staehle, two longtime friends and quilters who worked together at a quilt shop in Arlington, Texas, the Divas is a block exchange group that insists on highly proficient use of traditional techniques in replicating antique quilts. With a shared love of intricate pieced and appliquéd quilts made between 1800 and 1899, admiration for the skill and precision required to make those quilts, and a passion for reproduction fabrics, the Divas now has 23 members in several states.
The Divas’ motto is, “What you give in quality, you will receive in quality,” referring to the underlying expectation that each person who participates in a block exchange will execute the given pattern in an expert, accurate manner. With such high standards, membership is definitely an earned honor. Marilyn Mowry, a Diva from Dallas, laughs, “For two years I practically stalked Carol, begging her to let me join. When I found out I was ‘in’ I was thrilled!”
Wild Goose Chase by Divas member Annette Plog.
The group tries to carry out at least two exchanges each year and the way the exchanges work is fairly straightforward. Members meet to select a 19th century quilt to be reproduced. Most ideas come from books (state quilt search books are a prime source) and selections are voted on by the whole group. More often than not, the chosen quilt has no existing pattern, so co-founder Carol Staehle does the math, drafts the pattern and figures out how many blocks will be needed to complete the quilt. Members can opt in or out of the exchange. Once the number of participants has been decided, then Carol determines how many blocks each one must make. If, say, 18 members opt into the exchange and the chosen quilt requires 144 blocks, then each participant must create eight blocks for every other participant, as well as herself.
Every effort is made to use reproduction fabrics that faithfully replicate those made during the time period in which the original quilt was created. Carol and Betsy are both serious students of 19th century fabrics, and they examine the chosen quilt to determine those that adhere in color and style to the era of the quilt. Only reproduction fabrics up to and including the date of those in the original quilt are allowed, because a quilt is dated by the most recent fabric it contains. Other characteristics of the original quilt, such as size, border type, or background fabrics, are also carefully considered.
Once the ground rules are established, however, individual creativity is given full rein. With each participant executing the pattern using fabrics of her own selection (whether purchased specifically for the exchange or taken from her own stash), the resultant blocks are as different as their makers. Once the blocks have been made and exchanged, each participant can put them together into a top as she sees fit. Each is then responsible for having her own top quilted. The finished quilts end up being wonderfully scrappy, and while all contain elements of the others, each is unique.
Diva Signature Blocks 2006 by Divas member Betty Edgell.
The group has produced 43 exchanges. Many of the finished quilts have been featured in magazines and in a number of high-profile exhibits, including the Houston International Quilt Festival in 2004 and 2008. The quilts featured at the 2008 Festival will continue to be exhibited at upcoming International Quilt Festivals/Markets in Chicago, Pittsburgh, and Long Beach in 2009. Others are currently on display through April 25, 2009 at the Eugenia Mitchell Gallery of the Rocky Mountain Quilt Museum in Golden, Colorado.
Viewers are always amazed to learn that the blocks in the quilts are made by different people. It is hard to believe that the overall uniformity and consistent high-caliber of the workmanship can be maintained throughout the piece when more than one quilter is involved. And yet, such is the case with the 19th Century Patchwork Divas. Paul Klee would no doubt agree that such mastery of traditional techniques has provided a strong basis for modern creativity.
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Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
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Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
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Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery
Column 92: The Ballerina Quilter
Column 91: Grandmother's Flower Garden Comes Alive at Texas Quilt Museum
Column 90: Leitmotif for a Lifelong Love Affair
Column 89: Quilting in The Bahamas
Column 88: Joan of Arc: A Quilter's Inspiration
Column 87: Home Demonstration Clubs and Quilting
Column 86: Linzi Upton and the Quilted Yurt
Column 85: A Bounty of Quilts
Column 84: Desert Trader
Column 83: Quilts and the Women’s Liberation Movement
Column 82: Replicating the Past: Reproduction Fabrics for Today’s Quilts
Column 81: Why So Many Quilt Shops in Bozeman, Montana?
Column 80: Southeastern Quilt and Textile Museum
Column 79: 54 Tons of Quilt
Column 78: Ollie Steele Burden’s Quilt Blocks
Column 77: Quilting with AMD
Column 76: Maverick Quilts and Cowgirls
Column 75: The Modern Quilt Guild—Cyberculture Quilting Ramps Up
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Column 73: Maximum Security Quilts
Column 72: Author: Terri Thayer
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Column 70: New Mexico Centennial Quilt
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Column 67: Righting Old Wrongs.
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Column 65: Arizona Centennial Quilt Project
Column 64: Capt. John Files Tom’s Family Tree
Column 63: The Fat Quarters
Column 62: Quilt Fiction Author: Clare O’Donohue
Column 61: Louisiana Bicentennial Quilt
Column 60: The Camo Quilt Project.
Column 59: Thread Wit
Column 58: Ralli Quilts
Column 57: Preschool Quilters
Column 56: The Story Quilt
Column 55: Red and Green Quilts
Column 54: On the Trail
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Column 52: True Confessions: First Quilt
Column 51: Quilted Pages
Column 50: Doll Quilts
Column 49: More Than a Quilt Shop
Column 48: Las Colchas of the Texas-Mexico Border
Column 47: Literary Gifts
Column 46: A Different Way of Seeing
Column 45: Sampling
Column 44: Hen and Chicks
Column 43: A Star Studied Event
Column 42: Shoo Fly Pattern
Column 41: Awareness Quilts
Column 40: Tivaevae
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Column 37: Quilted Vermont
Column 36: The Labyrinth Quilt—A Meditative Endeavor
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