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Additional Artworks

From San Jose Museum of Quilts & Textiles

  1. Kimono Quilt by Therese May, Image 1.

    Therese May

    Kimono Quilt, 1996

    Synthetic fabrics, acrylic and puff paint

    47.5 x 47 in (120.65 x 119.38 cm)

  2. “Revelations” Saints and Sinners Quilt by Natasha Kempers-Cullen, Image 1.

    Natasha Kempers-Cullen

    “Revelations” Saints and Sinners Quilt, 1996

    Tule, cotton, metalic, beading, variegated metallic thread

    48 x 48 in (121.92 x 121.92 cm)

  3. Tibet Quilt by Suzan Friedland, Image 1.

    Suzan Friedland

    Tibet Quilt, 1996

    Linen, beads

    48 x 48 in (121.92 x 121.92 cm)

  4. Labyrinth Quilt by Dorle Stern-Straeter, Image 1.

    Dorle Stern-Straeter

    Labyrinth Quilt, 1995

    Various fabrics, satin, cotton

    47 x 48 in (119.38 x 121.92 cm)

  5. Floating Quilt by Joan Schulze, Image 1.

    Joan Schulze

    Floating Quilt, 1994

    Synthetic blend, paper quilted

    49 x 48 in (124.46 x 121.92 cm)

  6. Moving On Quilt by Nancy Herman, Image 1.

    Nancy Herman

    Moving On Quilt, 1994

    Cotton

    48.5 x 48.5 in (123.19 x 123.19 cm)

  7. Santa Clara County Centennial Quilt by Rosemary Eichorn, Image 1.

    Rosemary Eichorn

    Santa Clara County Centennial Quilt, 1976

    Cotton, cotton polyester

    104.5 x 86.25 in (265.43 x 219.08 cm)

  8. Red and White Star Quilt by Unknown Artist, Image 1.

    Unknown Artist

    Red and White Star Quilt, c. 1940

    Cotton

    69.5 x 67.5 in (176.53 x 171.45 cm)

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About the artist

Judith Larzelere

Judith Larzelere began her artistic career in textiles with embroidery as a seven-year-old. She learned to knit from her fifth grade teacher and continued her love of art by earning an MFA from Rutgers in 1966 with specific training in painting. Her love of color and working with textiles drew her to quilting. She began making abstract quilts full-time in the late 1970s, in conjunction with the art quilt movement.

Rather than working with traditional geometric designed squares, Judith developed a technique of strip piecing. She selects her solid colored cottons, rotary cuts them into specifically chosen widths, sews them together, and cuts them again into fine, uniform strips. She orders these strips on her design cloth, a mapped muslin. Though it may appear that the piece is not actually quilted, the completed strips are individually sewn through batting to the back as she goes; a technique known as flip and sew quilting.