Scrap Quilts are quilts, usually pieced, that are made from a wide variety of fabrics, in various colors and designs. The quilt may be made from one Bloc design or different designs. Scrap Quilts can be carefully planned by color and design or improvisational in design.Hand stitched single bed patchwork quilt with a series of patchwork squares made from scrap materials, including clothing. Each square has a central point with narrow strips arranged in the form of a maze. Viewed at an angle and highlighted when photographed, a diamond pattern appears. "Autumn tones dominate the the quilt. most of the pieces appear to come from men's clothing (browns, tweeds, checks). Most squares include a red strip and some pink or lilac pieces from women's clothing or home furnishing fabrics. The backing is a heavier linen fabric (possibly curtain fabric) with predominant colours of green, red, pink and green in a floral design. At the top of the quilt several cotton tabs have been attached to allow the quilt to be hung. These have not discoloured so may be a more recent addition, A gathered border (6cms wide) is on all sides in the same fabric as the backing.linen, scrap quilt, patchwork quilt

The quilt was made by Ada Maud Allen, the grandmother of the donor. Mrs Allen was from a Queensland wool growing property and was a prolific wool quilter. She was noted for her quilt making and also made items such as dressing gowns. She exhibited at many country shows and with the Queensland Country Women's Association. The wool used in the quilt was from her own property. The quilt was made in the 1930s and subsequently used by Mrs Allen's children, grandchildren and great-grandchildren.Wool quilt made by Ada Maud Allen, c.1930s. Detail of woollen quilt made by Ada Maud Allen, c.1930s. The woollen contents of the quilt and aspects of its construction can be seen. Conservation report and treatment proposals prepared by Abigail Hart, Textile Conservation, 19-1-01, for quilts 430 and 4053. Conservation treatment proposal prepared by Abigail Hart, Textile Conservation, 19-4-2001, for quilt 430. Report on the conservation treatment undertaken on the quilt by Abigail Hart, textile conservator. Country Women's Association pamphlet 'Use More Wool' Letter to Miss Ruth Lane, 30 November 1991 Letter to Mrs Allen from Margaret Travill, 22 March 1934 Letter to Mrs Allen from S.J. Rayment, 23 March 1934 Letter to Mrs Allen from E. Maitham, 21 April 1934, page 1 Letter to Mrs Allen from E. Maitham, 21 April 1934 page 2 Instructions on making woollen quilts page 1 Instructions on making woollen quilts page 2 Allen family photos from Queensland Museum page 1 - stud lambs Allen family photos from Queensland Museum page 5 - 'Nalemba', Sept. 1918 Allen family photos from Queensland Museum page 2 - at 'Stanbroke', early 1942 Allen family photos from Queensland Museum page 3 - 'Stanbroke', 1936 Allen family photos from Queensland Museum page 4 - Mr Marsh, Shearing Contractor Allen family photos from Queensland Museum page 6 - Mrs A. M. Allen c.1937 with grandson Allen Photos taken before conservation treatment March 2002quilting handicrafts, allen, mrs ada maud, quilting, handicrafts

The apparently haphazard arrangement of fabric pieces in a quilt made of scraps doesn't always preclude a conscious sense of design. The pieces in this quilt have been carefully arranged according to size and colour, possibly indicating that it was intended to go on a bed as a spread without a cover. Placed in a room that may not have been adorned with many other decorative items, this quilt would have been a colourful and inexpensive home furnishing solution.Patchwork quilt made from large pieces of wool suitings, colourful clothing off cuts and woollen blankets. The quilt has been hand stitched together with stitches that hold the front and back sides together. Either a large single bed size or small double bed size.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

Winner of "Expressions 2006: The Wool Quilt Prize". Artist statement: 'Dressed in Memories IV is my continued exploration into contemporary quilting by looking back to the history of women, the quilts they made and the memories their work holds. Layered on the wagga of recycled materials is embroidered a dress that my mother made when she was in her teens. This contemporary quilt celebrates women's domestic work through the generations in Australia.'W7183 'Dressed in Memories IV' Detail of 'Dressed in Memories IV' (full photo in W7183textilefibreforumarticle2007.pdf) CV of Michele Eastwood Article 'Stitched and Bound' by Alvena Hall in "Textile Fibre Forum, vol. 21, issue 1, No. 65 2002. Article 'What is a Contemporary Art Quilt?' from "Popular Patchwork, April 2002, England. Article 'Quilt winner dressed for success' from "The Weekly Times", January 3, 2007 Article 'Expressions 2006: The Wool Quilt Prize' from "Textile Fibre Forum" no 85, 2007 Catalogue worksheet page 1 Catalogueworksheet page 2Dressed in Memories IVquilting textile art wagga, eastwood, ms michele, quilting, textile art, wagga

Winner of Expressions 2008: The Wool Quilt Prize Artist Statement: 'My friend Vriginia named this quilt for me and I thought "of course". A ladder is a means of rising or climbing and I began this work woth a sense of freedom. In this case freedom from entrapment of thought, feeling and creativity.'W7184 'Green Ladder' Catalogue for 'The New Quilt 2003: an exhibition of contemporary quilt textiles' Jo Steele's entry in 'The New Quilt 2003' catalogue Jo Steele's Curriculum Vitae Photocopy from Quilters Guild Magazine, 1998. Jo Steele's 'Eggshells & Iron Bars' Photocopy from catalogue '2002: One step further marvellous minatures', including Jo Steele's entry. Photocopy from '2007 Australian Cotton Fibre Expo'. Jo Steele entry 704. Includes first prize certificate for Section 7: Contemporary Quilting and Patchwork. Certificate awarded to Jo Steele for 'Chill Out!' 2004. Winner 'Fashion Extravaganza' Category. Photocopy from catalogue for 'Territory Craft 30th Alice Craft Acquisition'. Jo Steele entry 133. Photocopy from catalogue for 'The 29th Alice Craft Acquisition'. Jo Steele entries 143 and 144.Jo Steel 34 Neale Street Katoomba 2780 NSW 0413 074 604 'Green Ladder'quilting textile art, steele, ms jo, quilting, textile art

Quilt made from pink patchwork curtain cloth, machine stitched and patched at a later date by hand. Part of the Wagga collection.Quilt made from pink patchwork curtain cloth, machine stitched and patched at a later date by hand.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

A silk patchwork quilt in a hexagons pattern originally owned by the Denbigh family of ‘Wimba’. The Denbigh family is recorded as living at ‘Park Villa’ ‘near Kew’ in 1856. John Denbigh was at this stage the superintendent of the local Baptist school. By 1869 they are listed as residing in Cotham Road. John Sharp Denbigh’s death in 1875 resulted in the sale of Wimba. This is an important early English silk hexagons quilt with outstanding technical workmanship, and is well-provenanced.The quilt is constructed in the popular hexagon pattern of silk off-cuts of an earlier period. Hexagon patchwork quilts were typically constructed of individual hexagons, which were formed using paper or card templates. Where these are visible, it would indicate that writing paper was used to form the templates. The quilt is unlined and has a green silk border, added at a later date. Early 19th Century patchwork quilts tended to use cotton to create the hexagons, whereas silk became the preferred medium mid-century. The quilt has been dated to the middle decades of the 19th century due to the colour range, and the exclusion of black silk hexagons. Most of the silk used in the quilt has a sheen, however there is some use of velvet in one or two larger hexagons. The exposed reverse of the quilt includes a large amount of very fine hand stitching.An unlined quilt was typically used as a summer spread. patchwork quilt, hexagon pattern, denbigh family, wimba, cotham road, kew, john denbigh, helen johnston, quilt, patchwork, textiles, migration to australia

Hand made quilt commemorating the Vietnam WarHandmade quilt with hand stitched map of Australia, a cross with metal Vietnam badge and a slouch hat on white cloth boarded by camouflage and green material.In hand stitch - Lest We Forget quilt, vietnam

Origins are unknown, however it may be possible that since the creator of this quilt has used larger than usual pieces of suiting material, they may have worked as or knew of a tailor for their fabrics.Quilt made of large strips of men's suiting fabric. Machine stitched. Red flannel backing.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

Commercially made quilt, c.1930s. Maker unknown, found in Ballarat. The Country Women's Association of Victoria had been active during the Depression in promoting the use of wool in domestic items and handcrafts in its "Handcrafts and Home Industries Committee". In 1933 during "Wool Week", a train jointly sponsored by the Wool Board, toured the state demonstrating amongst other crafts, the making of wool quilts and mattresses. Commercially made quilts much like this one marketed as 'Kosy Quilts', were used in these demonstrations.Quilt, plain light blue cotton cover with lambs wool filler. Machine sewn. Evidence of a label can be seen at one corner, however it has been removed.quilting history, textile mills, running stitch group, running stitch collection, ballarat, quilting - history

This quilt was produced by Wooltara (Australia) Pty Ltd for the Sydney Olympic and Paralympic Games in 2000. Over 24,000 similar quilts were distributed throughout the athletes village and given away to athletes, international media and officials.Quilt, wool, single bed size. Quilted cotton cover in various shades of blue, filled with wool. Housed in a white cotton drawstring satchel printed with logos.Wording: SYDNEY 2000 / WOOLMARK; Method: Printed; Location: Frontwoolmark company wooltara (australia) pty ltd, sport, sydney 2000 olympic games, quilt, wooltara, athletes

Mrs Florence Holbrook Giles, mother in law of Gwen Giles, obtained the fabrics for her quilts from her sons' upholstery business in Chelsea, Victoria.Square floral linen and cotton quilt with damask centre lined with raw cotton and filled with kapok. Ruffled edge.quilting history, running stitch group, running stitch collection, giles, mrs florence holbrook giles, mrs gwen, quilting - history

The Otways Quilt is believed to have originated with the Perkins family, landholders in the Beech Forest area. Some of the names or initials on the quilt have been tentatively identified with other farmimg families in the same district.A rectangular quilt hand embroidered in white on 20 square panels, with the names or initlals of settlers in the Otway district, and surrounded with an edging of floral embroidery. It is made of polished cotton backed with cotton sheeting.quilt, beech forest, otway, needlework, perkins

The quilt was made by Maria Ann Knight, born in England in 1829, died in 1908. She was buried in Castlemaine Cemetery. She came to Australia in 1855. Married to Henry Lancelot Goldsmith, born 1826 died 1912 and also buried at Castlemaine Cemetery.Large patchwork quilt, multi-patterned and multi-coloured. Made of large oblong and square pieces.manchester, bath linen, handcrafts, needlework

Invitation to view historic quilt exhibited at Heidelberg Historical Society some Sundays during 2019 and 2020Card, printed in colour both sidesheidelberg historical society, quilts, scots church heidelberg

The quilt, alternatively known as a wagga due to its improvised nature of creation, was made by Harry Walter Hewitt Wilton (great grandfather of donor), b.1872, d.1950. Harry joined the Essex Regiment and served in the British Military in India, as well as seeing action in the Boer War. Married wife Mary Elizabeth in India in 1895, she was a seamstress. Harry was injured during a battle and made this quilt as part of his rehabilitation. Quilt was made using woolen army singlets. Harry and Mary moved to Victoria, near Orbost, in 1914. Patchwork style quilt with coloured pieces of dyed woolen singlets stitched together over a backing. Features feather stitching between pieces and around border edges. Size of a double bed.wagga, harry walter hewitt wilton

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

Portland Quilters Exhibition, 1-28 February 2006, Portland Arts Centre.Hand and machine pieced and appliqued quilt. Central depiction of the Portland bay with jettie, breakwater and Port. Scene includes fishing boats, ships, tug boats, a whale, foreshore with several buildings and a bluff with a lighthouse. Central image edged in blue fabric quilting. Surrounding this are 20 printed images of old buildings taken from sketches contained in 'The Portland of Jack Adamson' by Joe Wiltshire (book). Outside boder is blue quilted fabric. Back top contains folded and sewn area for mounting/hanging beam.Front: (no inscriptions) Back: (no inscriptions)needlework, local history, quilting

The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A brown quilt made from woven samples of woollen striped fabric in browns and olive greens. The pieces are machine stitched together. It has an off-white backing which is machined and hand sewn into place.handicrafts, returned soldiers and sailors mill, wagga, anderson, mr robert anderson, mrs lucy, geelong, victoria

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

The quilt was made by members of seventeen Soroptimist International clubs across Victoria to celebrate the Year 2000. The quilt squares illustrate some of the projects initiated, funded and supported by Victorian Soroptimists as well as illustrations of broader affiliations and responsibilities, including to the UN. Examples include the S.I.A.M. (Soroptimist International Aids Mediation) project by SI Berwick in Northern Thai villages which established industries and health programs for women and girls as viable alternatives to the sex industry. Revegetation of woodlands, wetlands and cleared land by SI Deakin. Donation of toiletries to women's shelters, police lock ups and church emergency centres in the western suburbs of Melbourne by SI Cut Paw Paw. Founded in 1921, Soroptimist International is a global volunteer movement with a network of around 72,000 club members in 121 countries. Advocating for human rights and gender equality, at the heart of Soroptimist International’s advocacy is its work across seven UN Centres, where UN representatives ensure that the voices of women and girls are heard. Memberships work on grassroots projects that help women and girls achieve their individual and collective potential, realise aspirations and have an equal voice in communities worldwide. It has a flourishing Club in Geelong. The quilt was displayed from 2001 until 2023 in Soroptimist Headquarters Victoria at 383 Toorak Road, South Yarra (Soroptimist House) since touring the State of Victoria in 2000. Soroptimist House has been sold with the funds raised to go to furthering the objectives of Soroptimism.Cream patchwork quilt with 31 squares depicting various scenes and motifs. The Soroptimist logo features in the bottom right corner.quilt, women, soroptimist, victoria, community, clubs, human rights, gender equality, united nations

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

Created for and entered in the 2008 ‘Expressions: The Wool Quilt Prize’- “The quilts connect us to our past and to our future, by interpreting Australian themes and telling our stories.”- Judy Hooworth, Quilter and Judge of the Prize. Donated to the National Wool Museum after the conclusion of the exhibition.Eucalyptus dyed woolen blanket base with salvaged fabrics hand sewn to create a patchwork effect. The eucalyptus dye has been used to create different tones of brown and red throughout the design with further dyeing used to create leaf imprints on the fabrics. A running stitch has been used to quilt the wagga, the stitching is imperfect, in places tied on the surface of the wagga.On reverse: INDIA FLINT RED BLANKET WAGGAexpressions: the wool quilt prize, quilt, india flint, wagga

Made for Chris Neyland by Rene Densham when he was born in 1953 and later given to Running Stitch by Lois Densham who is Chris Neylands aunt. The quilt was made from scraps of woollen fabric from clothing used in the family. It was used in Chris' cot or pram when he was an infant. Lois can remember the dark green fabric coming from a jacket she once wore and the blue tartan pieces from a skirt worn by Rene, her mother. Lois also remembers her mother being "a better piano player than a cook or a sewer" and " made in the tradition of making do from a family who knew how". The family structure is as follows: Rene married Bob Densham and had three daughters: Doreen (Saunders), Betty and Lois Densham. Betty married Bob Neyland and they have a son, Chris.Quilt, child's coverlet made of woollen squares from suits and jackets. Colours are greens and browns.quilting history, running stitch group, running stitch collection, densham, mrs rene elizabeth neyland, mr chris, quilting - history

‘By Wagga Design’ is the winner of the Art Quilt Australia 2019 Expressions: Wool Quilt Prize. Barbara Mellor, of St Helens in Tasmania, made this quilt after researching the history of waggas and was fascinated by this early form of recycling. ‘By Wagga Design’ is her contemporary take on the traditional wagga that was born out of hard times and limited resources. Barbara wrote the poem below while thinking of the workers who used waggas while travelling: Black night campfire night sheep in the shadows dreams on the track a comforting wagga stitched with love for a homesick heart. The wagga was made in 2017 and was first submitted into the Bay of Fires Art Prize. In 2018 the wagga was submitted into the Break O’Day Stitchers Quilting and Embroidery Exhibition, where it won the Hanger’s Prize. Barbara sourced the fabrics used from a variety of places. Some are from her personal collection while others were given to her. She purchased a woollen three-piece suit from a local op shop and decided to incorporate it into the design, making some unique and distinctive shapes. Another distinctive feature of the quilt is the patch labelled ‘Parkside’. Barbara noted that it was cut from a blanket she purchased from a garage sale from a property that had once been a caravan park titled ‘Parkside’ in the 1960s. The filling of the wagga contains the rest of the Parkside blanket.Quilt made from various woollen garments and bedding in cool tone colours. Patches mostly cut into square and rectangle shapes. Three patches made from a second-hand woollen suit, showcasing the arm with cuff buttons, pocket flap on a hip pocket containing a pocket square and front of vest with buttons. wagga, art quilt australia, expressions: wool quilt prize

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the modern day.Colour photograph of two seated women quilting and patchworking with a display of quilts hanging on the wall[catalogue number written on reverse in pencil]churchill island, photograph, blacksmith, salty, hank

Coloured Photo of Quilt, usually on display in Cottage, hung at Embroiders' Guild in 1999 for Photo to be taken for inclusion in 'Australia's Quilts' by Jenny Manning- a Catalogue of Australia's Historical Quilts.manning, jenny, australia's quilts

Part of the Running Stitch collection. Possibly made in the Ballarat area."Camel hair" quilthandicrafts quilting quilting - history, running stitch collection, running stitch group, handicrafts, quilting, quilting - history