Quilts Q to
Quilt: A coverlet
or blanket made of two layers of fabric with a layer of batting
in between, all stitched firmly together, usually in a decorative
A large, freestanding floor apparatus made from wood or plastic
pipe that holds the layers of a quilt together during quilting.
Roberta Jemison, Greene County, Alabama
84" x 74"
International Quilt Study Center, Robert and Helen Cargo Collection,
[Purchase made possible through James Foundation Acquisition
fund, partial gift of Robert and Helen Cargo]
Raw Edge: The un-sewn edge of a piece of fabric used in
a quilt block.
Repeat: The number of inches between a repeated pattern/motif
in a piece of fabric.
Reverse Appliqué: Designs made by sewing fabric to the underside
of a block and then cutting away and turning under areas of the
Rocky Road to Kansas
Alternate name: Kaleidoscope
Mary Rosenbaum, probably Virginia
83" x 72"
Nebraska State Historical Society, Source: Ollie Rosenbaum,
Mary Rosenbaum, the groom's grandmother,
made this quilt for the wedding of Josephine Clemintine Falke
and William Henry Rosenbaum. They were married August 30, 1895,
in Marian, Virginia. William was a blacksmith and farmer and
he and his wife came to Nebraska and farmed near Kennard. It
has been said that this pattern name was indicative of the difficult
travels one would have to endure to get to Kansas in the early
to mid nineteenth century. Although it may be impossible to determine
what inspired this evocative name, there is some credibility
to its attribution having derived from the hardships of life
on the trail. Other popular pattern names are Rocky Road to California,
Dublin, Oklahoma, and Jericho.
Alternate name: Prairie Rose, Prairie Flower
Mary Wright Comer, McMinnville, Tennessee
99" x 80"
Nebraska State Historical Society, Source: Charles Phillips,
This quilt illustrates two important trends
in nineteenth-century appliqué quilting: the predominance
of red and green and the reliance on simple shapes found in nature.
Many early appliqué quilters looked to nature for their
influence as floral shapes and designs were prevalent. It was
not until the late eighteenth to early nineteenth century, however,
that these shapes began to look more and more like identifiable
flowers and plants. Additionally, appliqué quilters, for
numerous reasons including aesthetic trends and available fabrics,
favored red and green color schemes. Technological advances throughout
the late nineteenth and early twentieth centuries, however, led
to abundant fabric choices and, in turn, abundant use of color
and pattern in quilts. Mary Wright Comer in McMinnville, Tennessee,
made this quilt around 1875. Mary's family, which settled near
Gordon, Nebraska, used this quilt and her grandson, Charles Phillips,
donated it to the Nebraska State Historical Society.
A hand-needlework technique in which the needle accumulates several
stitches before being drawn through the cloth. The running stitch
is used in both piecing and quilting.
Alternate name: Turkey Tracks
Thomas Washington Dyas
91.5" x 78"
Nebraska State Historical Society, Source: Mrs. Edwin Voll,
This quilt is atypical in that a man made it, uncommon but certainly
not unheard of. The maker was Thomas Washington Dyas, the donor's
great-grandfather. Dyas was born in Kentucky in 1823, was a private
in the Illinois Infantry during the Civil War, and eventually
settled in Nebraska, passing away at Mascot in 1891. His family
called this quilt Bear's Paw.
term sandwich is sometimes used to describe a quilt because it
contains a top, a bottom, and a filling.
Border strips that divide the blocks.
Nellie M. Jones, Lincoln, Nebraska
88" x 72"
Nebraska State Historical Society, Source: Roberta Jones Estate,
Nellie M. Jones of Lincoln spent three
years embroidering the forty-eight state blocks of this quilt
and the Ladies Aid of Bryan Methodist Church quilted it. Nellie,
an invalid, entered this quilt in the Lancaster County and Nebraska
State Fairs and it won prizes at both. To complement the quilt,
Nellie completed a thirty-nine-page booklet detailing the history
of the state flower movement and information on each state's
Stitch-in-the-Ditch: Stitches sewn in the "ditch" created
by the joints of the pattern
The number of stitches quilted per inch of fabric. When hand
quilted, only the stitches appearing on the top of the quilt
Swallows in the Window
Mother of H. A. Burrill, possibly Connecticut
Nebraska State Historical Society, Source: Mrs. James P. Vance,
Made by the mother of Fremont, Nebraska,
resident H. A. Burrill. According to the 1910 census, Burrell's
parents were natives of Connecticut.
A cardboard or plastic shape used as a pattern for tracing either
piecing or appliqué patches or for tracing lines to be
The process of basting the quilt sandwich by means of using long,
hand-sewn stitches that are removed after the final quilting
has been completed.
A type of quilt in which yarn or thread ties are used to secure
the layers rather than quilting stitches.
Maker unknown, possibly made in Ohio
90" x 69"
International Quilt Study Center, Ardis and Robert James Collection,
Usually when this style of star, made of
diamond-shaped pieces and arranged so that the color seems to
be radiating out from the center, is large and found as the centerpiece
of the quilt it is known as a Lone Star, Star of the East, Star
of Bethlehem, Rising Sun, or Morning Star. However, if similar,
smaller, versions of this star are repeated on a quilt it may
be known as a Blazing Star and if the points of these stars are
touching, as they are on this quilt, it may be called Touching
A dimensional design in a quilt where closely sewn lines of stitching
are stuffed with batting to make them appear three-dimensional,
or raised from the surface. A common style to use in Whole Cloth
Trip Around the World
Katherine Enevold Grunwald, Omaha, Nebraska
70" x 68"
Nebraska State Historical Society, Source: Berno Marie Anderson,
This popular quilt pattern, with many small
pieces arranged in a manner very pleasing to the eye, takes advantage
of the light pastel colors so popular in the early twentieth
century. Katherine Enevold Grunwald, the maker of this quilt,
was born in Germany in 1870 and immigrated to the U.S. in 1889
to live in Omaha with her sister. She married Bernhard Grunwald,
who had emigrated from East Prussia about the same time she did.
Katherine and Bernhard lived in Omaha all their married life
and had three children and one grandchild, Berno Marie Anderson,
who inherited and donated this quilt. Katherine was known for
her handwork skills and excelled at tatting, needlepoint, and
93 1/2" x 70 1/2"
Nebraska State Historical Society, Source: Irene Sibert,