Gallery of Quilts

Here is a sampling of my quilts.

 Garden Delights   60″ x 60″. 2016.

Made especially for John C. Campbell Folk School, 2017. The quilt is a combination of techniques and created for a week-long class instruction. The center square is a Carolina Lily (Y-seam construction), the Butterfly block is a block that I designed in 1996 (pattern drafting and making templates), the Orange Peel flower with dragonflies block and corner triangles (machine appliqué and individual design).


 Love is Spoken Here    80″ x 60″. 2016.

Quilted by Lori Kennedy, free motion on a BERNINA Q20.

Love Is Spoken Here is a memorial quilt to my maternal Granny, Gertrude Cantell Smith. She was my most favorite person on the Earth until I met my husband. She was, in short – amazing – and I wanted to be like her when I grew up.

The quilt is completely symbolic of our relationship. I designed the top section of the quilt in a workshop at Empty Spools Seminars at Asilomar in 2002. It was meant to be a border for a quilt that I hoped to design in Gran’s honor. My vision of what that quilt was going to be is very different from the one you see here. And, I could never quite get the design of the quilt just the way i wanted it to be, so I just kept putting it off.

Here is a photo of the original design, Gran’s Border:

This piece is a great “sketch” of how I feel about her. It has flowers from her patio garden, arranged in heart-shape. I stayed with her a lot during my childhood, at our family ranch which sat in the midst of a 13 acre cherry orchard. The garden, the cherry trees, and animals all created any idyllic setting to the atmosphere of my happy childhood.

Fast-forward now to 2016 and an invitation to curate a thread collection for Aurifil. I wanted to use an image that people were familiar with, and because I use Gran’s Border as my business logo, I felt that it would be perfect for my Aurifil Collection. The downside was that I had only made the banner/border piece. Now, I had to make a whole quilt to showcase the thread collection.

I spent an agonizing week trying to create the rest of the quilt that would blend with Gran’s Border, add symbolic designs that would complete (and complement) my original idea and pay loving tribute to my sweet Gran. In order to design something that was true and not just any old design, I had to look at family pictures and listen to the music that she used to sing. I had to try to get as close to her as I could and feel her spirit as I worked. If something was wrong, I felt it and removed it. When it was right, I felt like she was in the room with me.

The house on the quilt is the ranch house, and where I spent the happiest times of my childhood.

The hands – Gran’s and mine – making us a perfect pair.  She married a Smith. When I married a Smith, I felt like I had become who I wanted to grow up to be. She was my Gran — now I am Gran to my grandchildren. I was with her when she passed away, holding her hand.

The red roses represent the rose trees that my Grandpa planted along the horseshoe-shaped driveway.

The violets represent my Mom, Joyce, who was Gran’s only daughter and living child.

The multicolored roses in the center that connect the house and Gran’s Border are my siblings: Yellow – my oldest sister Susan, Orange – my brother Mike, White – my younger sister Judie, and Pink – my youngest sister, Wendy.

The cluster of California poppies represents the five generations of women born in California: Rosie Cantell, Gertrude, my mom, me and my daughter, Kirsten.

That’s just a little of the symbolism of the quilt.

When I finished the quilt top, I hung it on the design wall and stood back and looked at it. I was instantly overwhelmed with the realization that I had created a truly tribute to my Gran and our relationship. I couldn’t have done it without her help.

Lori Kennedy added her incredible expertise with machine quilting to the quilt. We met in December of 2015 and Lori suggested that we collaborate on a quilt — my machine appliqué and her machine quilting. Little did we know that a few months later, we’d be working on this quilt together! This quilt would not be what it is without Lori’s talented quilting.

 West of Baltimore   80″ x 80″  2004.

Blocks designed by Annie Smith. Corners and border designed by Aneda Phillips.

Constructed by Aneda Phillips.

Free motion quilting by Melodee Wade.

The West of Baltimore is the most well-known of all of my quilts. It was:

•  featured in the Keepsake Quilting catalog for 2 1/2 years

•  selected to be in Elly Sienkiewicz’s Baltimore Album Revival II exhibit at Quilt  Festival in Houston, 2009. It traveled around the world with that exhibit.

I designed this quilt for a group of students who wanted to do a block of the month with me. I would design a block and teach them, then have the next block ready for the next month.

It was made with Kona cotton solid black background with appliqué created with Cherrywood Hand-dyes.

 Quilter’s Palette ©Annie Smith  1998

The Quilter’s Palette is a sampler of techniques and was created for group of students who wanted a challenge after studying with me for several years.

This quilt was originally  designed as a ten week class that I could only teach locally. When several quilters approached me at a retreat and suggested that I create it as an online class, I decided to produce it with my husband. In 2009, we released the online class to huge success and quilters around the world.

The quilt incorporates the following quilting techniques:

•  three ways to do machine applique

•  five ways to paper-piece a block

•  how to draft a pattern and create templates (when you don’t have a pattern)

•  Y-seam construction and Y-seam construction on steroids

The quilt is unique in that it has point and curve edges – not straight edges. When it’s sewn together with the sashing, it’s ready to be quilted. The body of the quilting makes the top edge stand straight up and it doesn’t flop over.

Color Sense and the 1:10 quilts

Knowing how to choose the fabrics for your quilts is the most essential and important part of quilt making. If your fabrics aren’t right, the quilt won’t be either – no matter how good your workmanship is.

Here are the quilts:

  the Red and Black   2005

Quilted by Melodee Wade, Sunnyvale, CA

 Cherries, Buttons and Bows   2007

Quilted by Melodee Wade, Sunnyvale, CA

  Black and Brite     2009

Quilted by Pamela Schoessow. Chicago, IL

  the iQuilt sample     2016

Quilted by Mark DeSerres, Chapel Hill, NC

  the Susan Branch Picnic quilt   2007

Quilted by Suzan DeSerres, Chapel Hill, NC

  the Monochromatic quilt    2016

Quilted by Mark DeSerres, Chapel Hill, NC

  the Kona Modern quilt    2012

Quilted by Annie.

  the Civil War quilt   2012

Unquilted. Twenty blocks = twenty fabrics