
Today the top I’m pulling from the quilt top cupboard is a Cut Glass Dish pattern, also known as Crystal Honeycomb.
The top is hand pieced and is made up of indigos, mourning prints, shirting, and a cardinal red print for the setting squares.
This top is hard to date. The fabrics used to piece the Cut Glass Dish units appears to be quite a bit older than the red fabric used to set the blocks together into a top.

Some of the fabrics in this top were dyed with a fugitive dye which was once a very dark blue. It’s now faded out to a tan color.

As you can see, the quilter had to piece fabric together to get a piece of fabric big enough to piece her design. These joins are called “poverty patches”. I find them very endearing, and a sign of determination to make do with what one has..and to make something useful and pretty from it. When this poverty patch was pieced both of the fabrics would have been the dark blue indigo color.

Here you can see another fabric that had a fugitive dye.
It’s a real shame that the dyes didn’t hold, because I love the pattern of this quilt. It’s one that you don’t see very often. IMO the graphic look is spoiled by those lighter sections.
It also looks like the blocks may have been pieced and set aside or our quilter was using fabrics from a scrap bag that dated to a much earlier date than the setting squares used to put this top together.

I would guess the blocks date to around 1880-1910 and the red fabric to 1910-1940.
I wonder if the quilter inherited the blocks from a relative who was a quilter? That would explain the time span represented here.
The side setting triangles have the bias at the edge which allows the fabric to stretch. It’s always better to cut the fabric so the straight of grain is at the long outer edge piece.

This top could be straightened by a bit of good pressing with a light starch or sizing ( I like Best Press). The addition of a border or a row of stay stitching at the edge of the top would stabilize the edges too.
The blocks are a pieced elongated hexagon shape. If the quilter would have set the blocks together a little differently she would have an Ocean Waves top.
I don’t think I’ll ever quilt this top, but I do like the design and at some point may recreate the quilt top?












The quilt I’m pulling from the quilt top cupboard today is one of my favorites. It’s a Railroad Crossing top. It’s not a common pattern. It dates to 1860-1880. This top contains shirting, reds, madder prints, mourning prints, pale aqua, and one of my favorites..cheddar. The quilt top is hand pieced with nice tight stitches. The fabrics in this top are crisp and unwashed. It does have a couple of small spots, which I think will wash out? They don’t concern me and I display it as is.
The block is pieced with the cheddar running across it forming an X. The blocks were then sashed with the cheddar as well. The blocks are 9.5″ finished.
The outer corners of each block has a shirting print and the same print is used as corner stones. This use of the same fabric throughout forms a small churn dash where the blocks meet.
Here you can see where the tiniest of pieces were sewn together to form a piece of fabric big enough to cut the piece needed for the patchwork. This was a common practice and is affectionately known as a “poverty patch.” I always like to point them out, because I just love them!
Here is another example of a poverty patch. As you can see, a small 1/4″ strip was sewn to the edges of the block to make it the right size. This is the only block like this and makes me wonder if the maker cut a few pieces too small..and then added the red..or did she only have scrap bits and this was the only way to piece this portion? Oddly enough, it is placed right at the center of the quilt rather than in a corner or edge where it wouldn’t be as noticeable.
Most of the blocks have high contrast in the piecing..but not this one. Did the maker run out of lights/shirtings? When I see an odd block like this one it always makes me wonder…”why”? On the right hand side of the quilt, four rows down and second from the edge, there’s a block that’s mostly light. If the maker had switched her fabrics a bit..these two blocks would be more like the others. A common term for a block that’s different from the rest is a “renegade block”. I always like those too!
Here you see more poverty patches in the aqua, and one of the two small spots on the top. I suppose I could put a little spot lifter on and rinse with water..I just haven’t bothered.
Here you can see a couple of the mourning prints and a gorgeous madder print. Madder dyes produced a wonderful copper brown that always looks so warm and rich.
Here you can see how I display this top. I may quilt this beauty some day, but for now I enjoy it as is.