Historic Austalian Quilts

by Celia Eddy
published: 16/07/2001
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Historic Australian Quilts
By Annette Gero

Last year (2000) a landmark exhibition was held at Old Government House, Parramatta, in Sydney, New South Wales. It was curated by Annette Gero, who wrote this book to accompany it.
Although it might sound a strange thing to say, this book and the quilts it illustrates and describes have a very great deal to tell us about British patchwork and quilting, particularly of the period beginning about 1817 when transportation was at its height.

Annette Gero's book is beautifully produced and lavishly illustrated.

Most of us are familiar with the work of Elizabeth Fry, who, with the support of the British Society of Ladies and wealthy Quakers merchants, ensured that each convict woman was supplied with the necessary fabrics and sewing equipment to make patchwork which could be sold on arrival, this ensuring that they would not arrive destitute. Although only one of these patchworks made en route is known to have survived, it is clear from what survives from later periods when settlers arrived to establish themselves on farms or to seek gold, that the patchwork and quilting skills which the British women took to their new home were put to good use.
Soon the making of patchwork quilts was regarded as a desirable occupation for ladies and were displayed at fairs and exhibitions.
In looking at these quilts, one cannot avoid noticing the strong influence of British styles and patterns and the way in which that tradition persists. This in contrast to the development of patchwork and quilting in America, where the crafts developed in distinctive ways.
After an extended Introduction in which Annette Gero places the exhibition in its social and historical context, each item is illustrated with explanatory text and, where known, the date and provenance. The illustrations are magnificent and include many details and black and white photographs of makers and their families. Although the first impression is of looking at an archive of early British quilts, there is a wonderful concluding chapter about that quintessentially Australian production, the Wagga Wagga, in which thrift and ingenuity unite to create essentially utilitarian objects, many of which look uncannily like quilt art to contemporary eyes.
Altogether, a book I’m very grateful to own and one which I shall be enjoying and referring to for years to come.
(I'm still finding out if it this book is available in UK yet and will make that information known as soon as possible.)

© Celia Eddy