Quilt Care
Straight Talk About Quilt Care Book
Chapter 1A
Display of
Textiles
by Patricia Cummings
photos by James Cummings, et.al.
Focus on Antique Quilts
If you love old quilts and have acquired some, either as family heirlooms or because you have purchased them, sooner or later, you will want to know how to clean them, display them, and store them. The task of care taking textiles is a much more complex one than you first will have envisioned.
If your quilt is damaged, you may want to ask a professional conservator or restorer to give you an estimate for repairs and/or cleaning. The services of a professional can be expensive ($45.-$80. per hour or more), depending on your geographical location and the skill and experience of the professional. If your quilt is valuable to you for any reason, seriously consider asking for the help of a professional.
One Choice: Save “As Is”
Some people who collect antique quilts prefer not to alter them in any way. So far, that has been my decision in the case of a full, bed-size, Hexagon Charm Quilt that was collected in Maine.
The hexagon quilt pattern that
originated in England became known as “Hexagon Mosaic,” and
regained popularity in the Victorian Era of the late nineteenth
century. The design was reactivated again during the first part of
the twentieth century. With the use of predominantly pastel colors,
the quilt was renamed,
“Grandmother's Flower Garden.”
Early Dyeing: A Word About Iron as a Mordant
A few of that quilt's brown fabrics are
almost totally shredded due to the oxidation of the iron that was
used as a mordant. By leaving the fabrics in place exactly as they
are, at least we can get an idea of what the original prints looked
like in the late nineteenth century.
In past centuries, mordants were crucial to the success of dyeing. They functioned by assisting the dye to permanently bond with cotton, a surface for which dye has no natural affinity. The word mordant comes from the French verb, mordre, which means “to bite.” Literally, the mordant allowed the dye to “bite” into the fabric.
Today, none of the commercial dyes for cotton require mordants. Alternative processes have been discovered. The book From Fiber to Fabric by Harriet Hargrave (California: C&T Publishing, 1997) discusses the various dye and pigment coloration methods used to colorize today's cotton fabrics.
Down by the Old Millstream: Quilts
in Rhode Island, a book edited by Linda Welters & Margaret T.
Ordoñez (Kent, Ohio: The Kent State University Press, 2000),
provides an overview of early means and methods of dyeing cloth, as
practiced in Rhode Island, and features a great deal of wonderful
information about Rhode Island's early textile industry, earliest
populations, quilts and quilters. In my opinion, this is the finest
state quilt documentation book to have been published to date.
Wool Too Short to Spin
In the nineteenth century, wool pelage was commonly used for batting by rural New England quilters. On farms, the goal was to waste nothing. Pelage fibers can be seen where the brown fabrics are self-destructing on the surface of the old Hexagon Charm quilt. Pelage consists of short staple fibers that grow closest to the sheep's skin, and are fibers that cannot be spun. Two layers of cheesecloth are in place, in the hexagon quilt, to keep the fibers from shifting within it.
Being able to see this unique batting
within a one hundred twenty-five year old
quilt, and being able to
show it to other people who like quilt history, accounts for my
current disinterest in replacing the brown patches whose
deterioration allows this viewing. If the quilt were going to be
shown at numerous speaking engagements, certainly it would then be
appropriate to stabilize the damaged areas. The very act of
transporting the quilt might cause further tearing. If one is not
sure about whether to actively intervene in repairing an old quilt,
it is probably better to do nothing at all.
A quilt that has open breaks such as that one, needs to be monitored more closely than others due to the chance of infestation by carpet beetles or other insects, particularly if the batting is wool, as is the case here. If you are using open shelf storage in a closet, vacuum the area frequently.
The “Whisker Guard”: A Unique Invention
A protective covering graces the top edge of the Maine quilt. This long, white piece of cloth, called a “whisker guard,” is sewn shut at both ends and is slipped over the top front and top back edges of the quilts, and is then tacked on with a loose appliqué ladder stitch, placed at distant intervals. Sewing the guard on, in such a manner, facilitates its removal for laundering. This “whisker guard” was intended to shield a bed quilt from contact with skin oils or mustache wax. Alternative names include “chin guard,” “beard guard,” and as suggested on an eBay discussion list, “retour de drap” (in France), and “parade laken” (in Germany).
Chin-Guard in place to protect top edge of quilt
A surprising feature of the particular whisker guard on my antique hexagon quilt is its Drawn Thread embroidery. Was the quilter an accomplished needleworker, too? Or, did someone else prepare this feature? We shall never know. The chin guard appears to have been fashioned from a portion of a factory-woven sheet.
These “whisker guards” are often seen on Maine quilts, according to Stephanie Hatch, quilt appraiser. One would think that more people would want to make them today. They could also prevent a quilt from being bleached by contact with certain acne creams and anti-age creams and lotions that contain benzoyl peroxide. That useful point is mentioned in, “New Thoughts on Care and Conservation,” a paper by Virginia Gunn that appears in a collection of symposium papers entitled, Pieced by Mother, edited by Jeannette Lasansky (Lewisburg, PA: Oral Traditions Project of the Union County Historical Society, Court House, 1988), 115-119.
Probably, the Maine quilter decided to add the whisker guard when she logically concluded that it would be easier to clean than washing an entire, wool-filled, cotton quilt. While it is a major undertaking to wash any quilt properly, today there would be less concern about washing a quilt that contains a commercially-made wool batting. New wool battings can withstand being washed in cool water and will not shrink.
No Color Loss Underneath the Whisker Guard
Notice the color change in the green fabric of this late nineteenth century quilt, representing light damage.
photo James Cummings
What a surprise! When the white whisker guard was removed to “freshen it up,” the portions of the hexagons that had been hidden underneath the guard were immediately noticeable for their brightness, in contrast to those that had been exposed to light. Over time, exposure to any daylight or fluorescent light will fade the colors of cotton fabric. This principle is no secret.
Miniature Reproduction
In honor of the Maine quilter's assembly of 1,039 hexagon prints, with only two alike, I embarked on making a miniature version of the larger quilt. My goal was to match the color and the prints of the original quilt, insofar as possible. This proved to be quite an undertaking. The hexagons for my miniature are only 1/2” when finished, as compared to the 3 1/2” size of the original pieces. In order to track down print fabrics with similar themes and designs, it was necessary to visit many fabric stores. Selecting fabrics was half the fun of the process!
Reproduction of Maine antique quilt, using both modern and antique fabrics. Made by nationally certified EGA master craftsman in quilting, Patricia Cummings. The quilt is composed of 1,039 one-half inch hexagons, only two of which are the same print, as in the original. Reproduction quilt pictured is 25 1/4” wide x 28” long.
Generally speaking, the recommendation is to avoid mixing old and new fabrics, either in a new quilt, or when repairing an old quilt. Breaking the rules and throwing caution to the wind, I decided to include some authentic nineteenth century fabrics from salesman's samples in my collection. Recklessly, I gave no consideration at all to the fact that these same fabrics will probably deteriorate at a faster rate than the newer ones in the quilt. I just wanted to give the quilt a little more charm and character.
The little quilt includes several colors that are a sure clue to a twentieth century provenance. These fabrics, like a late twentieth century, bright, lime-green fabric, were included purposely. Should the quilt label ever be removed, the fabrics would help a collector to date the quilt, were no other information available. Remember, historians always look at the LATEST fabric in a quilt, when assigning a date. This is important to know, if you are ever considering adding new fabrics to patch an old quilt. In antique circles, using new fabrics to repair an old quilt is a “no-no,” and instantly devalues the textile.
We have to wonder where a rural quilter in Maine acquired 1,037 different pieces of fabric for this Charm Quilt? Maybe she was a frugal dressmaker, as many quilters were. Perhaps she exchanged pieces of cloth with the ladies sewing circle at her church, the only major social outlet for many women, in the nineteenth century. As an overview, we need to consider the fact that by the end of the nineteenth century, fabrics of all kinds were available in abundance to home seamstresses and quilters. A thriving mail order industry was also in place for silk fabrics and other cloth.
We can only speculate about the quilter and her life, inasmuch as no known information is available about her. Whoever she was, her placement of colorful patches and “conversational prints” show an awareness of design and a leaning toward whimsy. We can only surmise that she may have entered the quilt into local agricultural fairs in Maine. If so, this quilt is sure to have been a “hit.”
Labels Important
If that quilter had only created a label for the back of her quilt, we might have been given a chance to know more about her and her life. With even just a name and location, more information often can be traced via public records. Unless you, too, would like to be “Mrs. Anonymous,” please remember to create a label, whenever you finish a quilt.
Document Your New Quilts
For new quilts, most quilters prefer to create their own label, using a piece of muslin and a #3 or #5 Sakura Micron Pigma Pen. To stabilize the muslin before writing on it, press store-bought, freezer paper, shiny side down, onto the back of the cloth. Write your name, full address, and phone number, if you will be mailing the quilt to a show, and add any other details, as desired. Then, heat set the ink with an iron for 15-20 seconds on a medium heat setting. The freezer paper will easily peel off.
Your label can be as plain or as decorative as you desire. If you wish, you may include inking, stamping, stenciling, Calligraphy, or embroidery.
Press under 1/4” around the perimeter of a cut muslin square, and appliqué down the turned edges after pinning the label in place, positioning it near the side and the bottom and at equidistant intervals from both edges. Use a running stitch, a hemming stitch, or Buttonhole Stitch to affix the label.
For a less permanent label, another option is to pink the edges of a fabric label with pinking shears. Gingher brand pinking shears are perfect for this task. Use a running stitch around the perimeter of the label, hiding your knots at the beginning and end of the stitching line.
Commercially-printed quilt label detailing particulars of a quilt made by Patricia Cummings
Sometimes, manufacturers of quilt battings provide a free label with purchase. These are nice, but usually have room only for the name of the quilter and her location. The advantage of creating your own label is that you can build in more space to include additional information such as the dimensions of the quilt and the inspiration for making it. Be sure to include the name of the machine quilter, if you have hired this work done.
Label Collected Quilts
Document your own collected quilts by creating a label that has as much information as you know about the quilt. This could include the quilter's name, when and where the quilt was made, and for what occasion. If known, list any awards the quilter has won, year purchased, and/or how you acquired the quilt. Note your name, city and state, purchase price, and any other information that is pertinent. Use the same methods for making a label for a new quilt, using freezer paper to stabilize the back, and a permanent-ink Pigma pen. The pens are sold at your favorite art or craft store in a variety of colors and pen nib sizes.
Instead of using close appliqué stitches on this label, you might consider basting it on with a running stitch to make it easily removable. To create such a label, pink the raw edges of a piece of muslin so that they will not ravel. Baste it onto the back of the quilt, for handy reference.
In a separate file box, keep a photo of the quilt, the sales receipt (which officially is considered to be the value of a purchased quilt, for a year), plus any official paperwork from an appraiser, or a copy of state quilt documentation papers. Keep this collective pile of documents in a bank safety deposit box, or in a fireproof document storage box at home. In case of fire or natural disaster, you may need detailed information about your quilts to claim a loss with your insurance company.
This simple label was cut in the shape of a heart with pinking shears and applied with a simple running stitch. This is a quick way to add a label to a collected quilt.
Trick the Burglars
Some quilters have been known to appliqué a label to a new quilt's backing before the quilt is assembled. The edges of a square label are turned under 1/4”, pressed, and appliqué down with close stitches all around. The the backing fabric underneath the label is carefully cut away, to within 1/4” of the sewing line, using flanged appliqué scissors. This way, if the quilt is stolen and someone tries to remove the label, there will be quilt batting staring them in the face, a potential deterrent to a thief who wants to quickly sell your quilt.
Most quilts are unaware of the number of quilts that are stolen each year. Quilts are being taken from vehicles, hotel rooms, and quilt shows. Traveling teachers are sometimes a target. One instructor made the mistake of going to lunch and leaving the class sample hanging in the instruction room. When she returned, her teaching model had disappeared. This happened at a major New England quilt show that has security, and the building had been locked. That quilt was never recovered. Maria Elkin's website offers information about lost quilts: http://www.lostquilt.com
Document, Appraise, Insure
Before mailing a quilt anywhere, always be sure that you have photographed it and have written down as much information about it, as possible. Consider having the quilt appraised.
Stephanie Hatch, a member of the New England Appraiser's Association believes that appraisers should have high standards of behavior. She points out that it is unethical to base the cost of an appraisal on the value of a quilt. Her prices range from just five dollars for a verbal description of a quilt, to twenty dollars for a more involved written appraisal that includes historical information. If a quilt owner brings her multiple quilts to be appraised, she charges twenty dollars per quilt, or forty dollars per hour, whichever is the lesser amount. There is no charge at all for quilts valued at under $200.
The Massachusetts resident appraises only quilts “from the pre-polyester era,” in other words, “true antiques.” Hatch has been doing appraisals for twenty years and shares her expertise in talks about antique quilts She has spoken at The Quilter's Gathering Sampler, and Maine's Pine Tree Quilt Show, and is available to speak to small groups. To reach Stephanie Hatch, please see her contact information in the reference section.
This is a colorful 100% polyester bed quilt from the 1970s, collected in northern New Hampshire. Appraisers such as Stephanie Hatch would avoid appraising a quite as modern as this one.
The American Quilter's Society offers a training program for individuals who would like to become AQS certified appraisers. The candidates must pass various tests to qualify for the title they are seeking.
Appraisers must be re-certified on an ongoing basis, and also agree to comply with a stated code of ethics. AQS certified appraisers charge forty dollars per quilt for written appraisals.
There are certified appraisers in every state. To find an appraiser in your area, please write to: American Quilter's Society, P.O. Box 3290, Paducah, KY 42002-3290, or call (270) 898-7903.
Without a written appraisal in hand that was prepared before something happens to a quilt, insurance companies may refuse to make a settlement. Considering the number of quilts that are sent through the mail every year, it is surprising that more quilts do not become “missing,” or damaged in transit. A rider can often be added to your existing homeowner's insurance policy to cover a quilt (or needlework piece) that is being kept at home, is on public display, or is in the process of being shipped.
Christine Johnston, CIC, of Milne Scali & company, will insure quilts anywhere in the United States and Canada, including quilts in quilt shows and quilts in transit. She holds a master policy for quilt artists through the Hartford Company, to which she is able to add names. She says, “I will insure quilt collections, quilt dealers, and basically anyone in the quilt world who owns quilts.”
She
urges quilt artists to obtain written quilt appraisals by a certified
appraiser, whenever possible, and to keep photos of their work, along
with records of sales. In the case of loss, proof of comparable works
made by the artist,and recent selling prices may come in handy for
establishing the lost or damaged quilt's value for insurance
settlement purposes. Without adequate documentation, the quilter will
be reimbursed the cost of materials ONLY. To reach this insurance
agent, you may write to her at:
Christine Johnson, 1750 E. Glendale Ave., Phoenix,
AZ 85020, call her toll-free at (800) 688-7472, or send an e-mail
to: cjohnston@milnescali.com
Of course, it is always a good idea to purchase shipping insurance when mailing a quilt. However, keep in mind that often the shipper's “settlement” amount for a lost for a stolen quilt will be only the cost of the raw goods (fabric, thread, embellishments) used in making the quilt. Even that small amount must be “proven,” so keep your sales slips. For most quilters and needleworkers, their time and creativity are really of more value, but these are not taken into account, in this instance. To protect yourself, document, appraise, and insure your quilts with an insurance agent.
A sensible reminder that has been shared, time and again, is worth repeating. To help prevent theft in the mail, NEVER, EVER write the word “quilt” on the outside of the package. If you must write something about the contents of the package, be vague. For example, “wall covering” is preferable to “award-winning art quilt, valued at $50,000!” Don't go out of your way to flag the item being shipped as “valuable.” Instead, list it as a “textile,” “fabric creation,” “conjoined fabric pieces”...or any other creative description you can manage. You will think of something!
If you are shipping a quilt, try to send it (C.O.D.), “collect on delivery.” The United States Post Office will pick up both payment of the item and shipping cost from a designated recipient, and return those payments to you. This method requires the signature of the person accepting the package. This prevents an item from being dropped off when no one is at home, and avoids the additional risk of having a valuable item stolen from a recipient's doorstep.
We will be adding chapters or sections until this book is fully loaded. Please check back, from time to time, for additions. Thank you!
Copyright 2005/ 2007. Patricia and James Cummings, Quilter's Muse Publications, Concord, NH. The text and the photos of this volume are copyrighted. All rights reserved. Comments? Questions? Please write to: pat@quiltersmuse.com