Florence Peto began collecting quilts long before she became dedicated to quilt making. One cannot go to the Shelburne Museum in Vermont without seeing her name related to the textile and quilt collections. A few weeks ago when I was there, they were having a special exhibit of her hand made quilts along with the story of her influence at the museum.
Florence was born in 1882 and grew up in Brooklyn. While very young, her grandmother taught her to sew, and by the time she was a teenager, she had become the family seamstress. I think this was a common practice for a young woman of this era.
A quilt made by Florence.
After marrying Joseph Peto, she began collecting many things in her home that reflected her discerning and artistic eye. In the early 1950′s, the notable quilt author and teacher, Virginia Avery met Florence at a needlework exhibit in NYC. At this time Florence had a collection of 85 quilts. When Virginia visited her in her home, Florence revealed quilts stored in closets, boxes, and on beds. Her treasure trove must have been amazing.
Another quilt by Florence.
Her husband had been a cotton converter, and at one time had a mill in Holyoke, MA. She studied his samples and became very knowledgeable about early printing and dyeing methods. She was constantly searching for old textiles and once brought home a whole carton of scraps, none over 2″ square, many of the old copperplate and wood-block prints. (This would have been my dream come true!)
Florence’s artistic technique in her quilt making was distinguished by her signature floral vine appliques, borders, and elaborate broderie perse work and fussy cut flowers in revival style. She also used homespun as her base or background fabric because its looser weave lended itself to trapunto (stuffed work). Her vast collection of antique textiles allowed her to use wonderful copperplate and roller printed calicoes, chintzes, and toiles. Many of her quilts were small and the framed medallion was a favorite of hers.
This last photo is actually a crewel bedspread of cotton and wool that she made in the 1960′s. She also made crewel draperies and valances for her dining room windows using homespun as the base. She renewed her interest in crewel in her later years. When I first saw this piece I gasped because the work is so exquisite and the colors and artistic merit of her design truly remarkable.
In part II of Florence, I will cover the collection of quilts she acquired as well as her assistance in helping Electra Havemeyer Webb form the basis of the vast collection at the Shelburne. It is quite an inspiring and worthy story. Florence was simply a woman of many interests, enthusiasm, knowledge, and artistic expression.
Thank you so much for taking and sharing these photos on your trip! I may never get to the Shelburne, so you’ve brought a little bit of it to me. I also have a crewel project that I have been working on for 7 years now, on and off. It is a pair of full length wool drapes with a wool crewel work tree of life pattern. I am almost finished with the first panel. One more panel (and 7 more years) to go! But it is nowhere near Florence’s skill. Julia
I am very impressed that you too are taking on such a vast crewel project. No wonder it is taking a long time to finish because you have so many other things that you are doing as well. I love the tree of life pattern so I am sure it is exquisite.
thank you for sharing this with us
I wanted to go see this exhibit and it did not work out.
I absolutely love her quilts and wish I could see the fabrics up close in the second picture.
the first picture of her did you get to see the quilt that is behind her?
amazing quilt wonder if it was in reds and greens ?
thanks again
Kathie
I will do a little research and find out more about her quilts that she made and give some information when I write Part II. I have a book on the quilts in the Shelburne and I think there is further explanation in there. Glad you enjoyed this the way I did.
These are so beautiful. The top one is my favorite. I just love the way the colors work together and the mixture of a consistent pattern repeat and the variety of the other blocks. The crewel work is amazing….
I will post the names of the quilts later on today. I think that is one of my favorites too. It is absolutely gorgeous in person as you can imagine.
While I was reading, I was wondering if you went into hyper-ventilation as you looked at the magnificent quilts. And then you answered my question. How could one not have an asthetic attack when confronted with such understanding and capacity? You are doing a great service by speading the word about amazing women.
Actually, I was panting the whole way through ( as I usually do). I was taking so many notes off the cards that one of the volunteers gave me a copy of the article by Virginia Avery on Florence that had been published in Quilter’s Newsletter magazine. That was very generous of her because I had not idea how I was going to get my hands on a copy, and she just appeared before me holding it out to me. I copied it and returned it to her promptly. If anyone wants a copy of this I will gladly make copies and share it. Thanks for your appreciation!
What wonderful quilts! You’ve captured the wonder and beauty of them with your words!
You do describe the lovely quilts and crewel work of Florence
Peto so beautifully. I have had the opportunity to visit the Shelburne Museum on occassion and view the quilts of women, and to see the work “in person” is amazing. It is wonderful that you are sharing in words and pictures your experience. The 2nd picture of the quilt is so amazing to me.
So many tiny pieces. What patience! Thanks again!
Hi, Thank you for the biographical details about Florence Peto. I am shortly to commence a Certificate course for Quilting, using some designs from Florence Peto’s book as a base for an idea. I would like to use your biographic details about Florence in the histroy section. Do I have your permission to copy your notes, and citing you and your blog in my bibliography?