The Whig Rose quilt was made by Mary K. Clark in 1854. The grape in the white fabric was made using the trapunto or “stuffed” technique. This technique utilizes at least two fabric layers, the underside of which is slit and padded, to create a raised pattern. The quarter of a million stitches contained in this quilt makes it remarkably stable, even after all these years.
One of the most comforting parts of winter is unearthing warm bed covers from storage. In the past, the Museum has celebrated this change in season by showcasing some of the collection's most popular quilts. There are a variety of styles, and each has a unique history and link to its maker. In addition to quilts, the Museum also has a small collection of coverlets, another bed covering that is exciting and intricate in a very different way.
The first colonists brought the skills and styles of their homelands to the U.S. in the early 1600s. Quilts were luxury items made of expensive imported cloth and were designed to showcase a lady's fine handiwork. In the early 19th century, the U.S. cloth industry began producing cheap, washable cotton fabric, and patchwork quilting became a popular pastime. A quilt top was usually pieced by one woman, but quilting bees became common as a social means to finishing it.
From 1840-1860, women began using quilts to raise funds and make political or social statements. As a result, many quilt patterns from this period have political names, an example being the Museum's Whig Rose quilt, the name of which was inspired by the 1828 presidential election. During the Civil War, women often made quilts for soldiers or to raise money for the war effort, trends that would be repeated during both World Wars.
“Many of the quilts and coverlets in the museum’s collection have recorded histories attached to them, we know who made them and where and when they were constructed. For other examples, their stories have been lost to time, and we may never know how they came to be (though in some cases we can guess the general age or time period of construction). If you have these types of heirlooms, don’t forget to record their history. Use these tips to keep them in good condition for the continued enjoyment by future generations.”
A detail of a Victorian-era crazy quilt, which showcases an array of fine embroidery work on sumptuous silk and velvet fabrics.
The 1880s gave rise to the crazy quilt, and Victorian ladies created elaborately embroidered silk fabric quilts to adorn their parlors. While the patterns look haphazard and random, they require much skill and planning. An 1884 Harper’s Bazaar article estimated a full-sized crazy quilt could take 1,500 hours to complete. Over time, these quilts were made with practical materials that allowed them to transition from ornamental to functional items. Crazy quilts remained popular into the 1920s when published quilt patterns became common. While electric sewing machines were available, the hardships of the Depression meant many women were relearning to sew by hand.
World War II encouraged women to take up quilting, especially reusing old clothing and fabric scraps because of cloth shortages. Quilts were sent to Europe for soldiers, and Red Cross groups used quilts as fundraisers. Conversely, a post-war decline in quilting resulted as women took jobs outside the home and had little time for craft.
Coverlets, on the other hand, require very different tools and skills for creation. While quilts are created using assembled pieces of pre-made fabric, coverlets are woven on a loom, creating a single piece of cloth. Many coverlets were produced on the East Coast, from New England to Appalachia, and also in the Midwest. This craft came to the U.S. in the 18th century by way of male European weavers, trained professional artisans who brought their looms overseas and set up businesses.
This coverlet of deep, rich indigo with contrasting undyed wool creates a striking geometric design throughout. It is thought to have been woven some time in the 1830s.
While some families had their own looms, those who did not could purchase woven cloth or even bring their own wool to these weavers to create textiles, including coverlets. The coverlets were usually woven from blends of linen or cotton and wool. The pattern is visible on both sides of the cloth, making it reversible. Popular dye colors were indigo, red, brown, and light blue. "Figured and Fancy" patterns contained complex motifs of flowers, animals, and figures. These coverlets were created by skilled weavers and often contained the weaver's name and details like the date, location of where the weaving was made, and the name of the person for whom it was woven. Home weavers were generally able to create simple geometric patterns in coverlets made for personal use.
This detail of an 1850s coverlet features a complex floral pattern in white, navy blue, light blue, and rose dyed wool. The name Samual Hicks is woven into one corner, who was likely the recipient.
This changed with the invention of the Jacquard machine in the early 1800s, which made it possible for complex patterns to be manufactured by any weaver. This made ornately patterned cloth affordable to most consumers. Woven coverlets remained popular until after the Civil War when railroad expansion made these mass-produced goods readily available to consumers anywhere in the country. Many of the quilts and coverlets in the Museum's collection have recorded histories attached to them—we know who made them and where and when they were constructed. For other examples, their stories have been lost to time, and we may never know how they came to be (though in some cases, we can guess the general age or period of construction). If you have these types of heirlooms in your family, don't forget to record their history. Use these tips to keep them in good condition for the continued enjoyment of future generations.
The museum has plenty of space to roll quilts and coverlets, cover them with a protective cotton barrier, and hang them in a climate-controlled repository for preservation. There are many ways you can preserve your own items at home as well.
General tips for caring for your heirloom quilts and coverlets
Storing
If you’re able, freeze the item for a week (ideally in a chest freezer) to kill any bugs before storing.
Storing flat is usually best—the top of a spare bed can be a great option if it is not exposed to light.
Rolled is a good alternative—roll with the top-side out and cover with white cotton fabric.
If you must fold, do so in thirds—most historic quilts are weakest in the center because of the half fold.
Remember to refold/reroll in the opposite direction every two years.
Dealing with creases/ wrinkles
Ironing/steaming are damaging: only treat the item enough to remove significant wrinkles and ensure the item is completely dry before storing.
Consider rolling instead of folding.
Do!
To best protect the item, cover it with cotton fabric or a cotton sheet.
Store the item away from light—UV and fluorescent cause the most damage.
Only clean the item if it is soiled. Use distilled water and sparingly.
A few hand stitches to stabilize degrading fabric may be a good idea, but minimize re-sewing if possible.
A fine net cloth can be used to stabilize degraded fabrics.
Consider using cotton or nitrile gloves while handling the item. Oil from the skin can degrade fabrics.
Don’t!
Never pack the item in materials containing acids, especially newspaper.
It’s best not to store the item in an area with fluctuations in temperature and humidity, like an attic or basement. Possible rodent activity in these areas can also endanger your item.