Lessons from an Old Ohio Star Quilt
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Join me as I take a closer look at a stunning antique Ohio Star quilt, sharing its intricate details, craftsmanship, and the secrets (and surprises!) it might hold. From the vibrant fabrics to the unique piecing, this quilt is a treasure trove of inspiration for quilters and history lovers alike. I will examine the materials, discuss the possible time period it was made, and highlight the small quirks that make it truly one of a kind. Whether you’re a fan of classic quilt patterns, enjoy learning about quilting history, or just love the Ohio Star design, this is for you!
Ohio Star—A Little History
The Ohio Star quilt block is a timeless classic with roots that stretch deep into American quilting history. This nine-patch block, featuring a central square framed by four smaller triangles forming a star, has captured the hearts of quilters for generations. But where did this iconic design come from, and how did it get its charming name?
The Ohio Star is believed to have originated in the early 19th century, gaining popularity among quilters in the Midwest, particularly in Ohio—hence the name! Its simple yet striking geometry made it an ideal choice for hand-piecing, a labor-intensive process that demanded precision and patience. The design’s versatility also meant it could be created using scraps from old garments or leftover fabric, making it a practical choice for thrifty homemakers. [1]
Legend has it that the Ohio Star’s popularity soared during the 1800s, a time when quilts served not only as bed coverings but also as tools of communication. Some historians suggest that certain quilts, including those featuring the Ohio Star, were used to convey coded messages along the Underground Railroad, guiding enslaved people to freedom. While this theory remains a topic of debate, it adds an air of mystery and intrigue to an already beloved pattern. [2]
Fast-forward to the 20th century, and the Ohio Star became a staple in quilting books and patterns, solidifying its status as a go-to design for both beginner and experienced quilters. Its enduring appeal lies in its adaptability—you can make it traditional with reproduction fabrics, modern with bold solids, or whimsical with novelty prints. Whatever your style, the Ohio Star is like the little black dress of quilt blocks—it never goes out of fashion!
So, the next time you stitch an Ohio Star, take a moment to appreciate its rich history and the countless hands that have brought this beloved design to life. It’s a reminder that even in a world full of trends, some things remain forever classic.
References:
[1] Brackman, Barbara. Encyclopedia of Pieced Quilt Patterns. Kansas City Star Books, 2009.
[2] Tobin, Jacqueline L., and Raymond G. Dobard. Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad. Anchor Books, 2000.
THIS Old Quilt
Details-At-A-Glance:
Size: Approx. 75” x 75”
Age: 1960 (I think—the date may say 1980, however)
Acquired: I got this at an auction for $60.00
Quilt History: Unknown
Blocks Size: 10.5” (finished)
Number of Blocks: 20 (Five rows with four blocks each); also includes setting squares since this quilt is set on point.
Setting: On point (diagonal)
Construction Technique: Everything is done by hand
Quilting: The quilting is 100% by hand.
Fabric: Mostly cotton with some other fabrics in it.
Batting: Cotton
Binding: Added separately; small floral fabric
Condition: This quilt is in great condition with some minor stains. There isn’t any tears or holes.
A Closer Look
Quilt Blocks
There are a total of 25 Ohio Star quilt blocks in this quilt, with setting squares between them. Each block is approx. 10.5” square (most are very wonky) and each star has the same fabric in it. The fabrics used are mostly bright prints and solids, with the exception of a few blocks that are darker colors. I think this adds to the overall quilt having those “surprises” in there. It adds interest and texture. What do you think?
Quilting
The quilting is not exactly small or even, but it is quilted! It goes to show that it doesn’t have to be perfect to be beautiful. Another cool feature is that you can see the pencil lines where the maker marked the quilt. I just love to see that! The quilting is mostly done in a grid pattern and around the blocks (shadow quilting or echo quilting). All of the quilting is done by hand.
Wonky Blocks
I would be remiss if I didn’t talk about the elephant in the room—the wonky blocks! It is true that many of the blocks aren’t what people would call perfect, but isn’t that part of the charm? I love that the maker didn’t give up (haven’t we all been there, ready to give up when things don’t come together perfectly?). Here’s proof that we can still make beautiful quilts with imperfect blocks.
Colors
There is this tip I learned a long time ago from Fons and Porter, I believe. The tip is to always give scrap fabrics a “friend,” meaning always have at least two of print in a scrap quilt. For the most part, the maker did that in this one. There are also a mix of prints (12 blocks) and solids (8 blocks). As always, I love the mix of prints and solids in quilts. Oftentimes, we don’t think to do that in quilts, but it is a wonderful way to add interest and texture.
Different Background Fabrics
There are few places where the background fabrics are different. I first thought this was from repairs but on further examination, it looks like it is original to the quilt. This makes me wonder if it all looked the same when it was made and the different fabrics aged at different rates, OR it was originally different fabrics (and the maker knew this) and it is what they had. What do you think?
Batting and Backing
The backing is all one piece, which tells me it could be a sheet or just a large (very large) cut of cotton fabric. I just love how you can see the quilting on the back of this. It may be one of my favorite features of the old quilts. I can just envision the maker sitting in front of a fire (in my imagination—they could have been on the porch or even at their table or something) with this quilt on their lap (in a frame?) and quilting this, meticulously following the pencil lines. As for the batting, I believe it is a cotton batting, but I am not 100% sure, especially considering it may have been constructed in 1980 (see below).
Binding
This small floral-print binding on this one is interesting because of the width. On the front, there is 1” of reveal of the binding and on the back, there is 1.5” of reveal. This binding is double fold binding, meaning the actual binding piece, before it was attached, is at least 5.25” wide (1 + 1.5 = 2.5 x 2 = 5” + seam allowance). The quilt is approx. 75” square, so that would mean the binding is about 5.25” x 300” or 25 feet (at least!). It works out to be about 1.5 yards of fabric needed for just the binding. It certainly wasn’t made from scraps. ***Note: standard fabric widths varied then.
Signature?
In the bottom corner of the quilt, there is this small mustard-colored embroidered letters/symbol motif. I can’t quite figure out what it is, but my guess is it is the maker’s initials and possibly the year it was made. Could it be 1980? Although the fabrics suggest it is from the 1960s, I am wondering if it was actually made in 1980, or at least put together then. Or could it be a floral? These clues are fascinating!
Lessons We Can Learn
Here are a few things we can learn from this stunning embroidered quilt, although there is so much to talk about!
Setting Blocks on Point: Setting quilt blocks on point (on the diagonal) has so many advantages! Not only does it give a quilt a really cool look, it also changes the look of the blocks, often even highlights the blocks, and if used with setting squares (the squares in between the blocks), it offers a wonderful place to quilt.
Mix of Prints and Solid Fabrics: **disclaimer** I realize the maker probably had a limited amount of fabrics to choose from and used what they had. I still think it is interesting to note the balances in the fabric choices. I have talked about this before, but it is worth mentioning again. Mixing solid and prints is something we all should bring back! Prints, in my opinion, add interest while the solids give a soft place for your eye to land. When makers put both in a quilt, the magic happens with a wonderful balance.
Perfection is Overrated: Oftentimes quilters (myself included) get hung up on perfection—perfect points, perfect quarter inch, perfectly square blocks—but here is yet another example of it just not mattering! This is a beautiful finished quilt and it certainly is not perfect. Let’s embrace this idea of imperfection, shall we? We can release ourselves from the oftentimes self-imposed “rules” in the quilting world. Beautiful quilts can be made with imperfect blocks and imperfect quilting.
Wide Binding: I am not sure I love this, but it definitely worth talking about. I am a skinning binding type of gal. I typically use single fold binding that is 1.5” BEFORE it is attached, so using wider binding would be hard for me. That said, it does give it a beautiful frame. I love that the reds in the binding print pick up some of the bright tones in this quilt, too.
Signing with Embroidery: One of the coolest features in this quilt is the embroidered “signature” (or what I think is the signature). Do you think the maker did this on all the quilts they made? It would be cool if they did, wouldn’t it? Wouldn’t this be a neat component to add to our quilts? This is a great element we can use in our own quilts.
Thank you so much for reading about this beautiful old quilt.
Kris
