Quilt Care
Straight Talk About Quilt Care Book
Chapter 1B
by Patricia Cummings
photos by James Cummings, et.al
Antique Quilt Fabric: “A Burning Experience”
Dangers to textiles abound. The following story concerns an antiques shop incident. At the time, I was collecting examples of Redwork for my book, Redwork Renaissance (Concord, NH: Quilter's Muse Publications, 2002/2004.) The shop owner greeted us at the door and asked if we wanted anything in particular. My response was simply, “Redwork.” To that, she replied, “I don't think we have any “Redware,” but look around! You never know what you'll find here!”
Well, there was neither Redwork, nor Redware (pottery), in sight. However, I did spot folded yardage of a Victorian-looking fabric that has a large scale print of red roses on a beige background. This looked perfect for the back of a twin size antique quilt top that I had been thinking about finishing.
Large scale print fabric of heavy cotton that sustained fire damage in a shop.
Carrying the cloth to the front of the store, I asked her to measure the yardage and to tell me the price per yard, inasmuch as this information was nowhere in sight. She announced that she did not have a tape measure. Instead, she said that she would determine the number of yards by measuring “nose years.” I was amused as I had never heard that expression before.
I stood in amazement and watched as she ran lengths of fabric through her
fingers, determining each yard by the distance between her nose and
the end of her hand. After I had reached home, my own measuring tape
told me that her method was not too exact! This may have been the
result of short arms, or of not stretching them outward far enough.
The
best (or worst) is yet to come! She told me that she could put the
cloth on the counter while I continued to shop. Taking her advice, I
was horrified when a passing glance back revealed black smoke
billowing from the vintage cloth! Preoccupied, she had placed the
folded fabric bundle directly on top of a burning votive candle!
Snatching the cloth from the flame, she held it up for inspection. As she assessed the still-smoking hole that looked similar to a cigarette burn, she stated that it was “nothing,” and would probably “wash out.” I knew better. The damaged area, which had occurred a foot and a half from one end of the piece, would have to be cut off. Thankfully, even though there was not as much fabric there as anticipated, I was happy that there would be enough cloth for the intended purpose.
One way to prevent fires is not to have open flames, especially around textiles! There is an imminent danger to the public when shop owners burn candles. In this case, the damage could have been much worse. We can only hope that this experience was a wake-up call for the dealer.
"Regular” Push Pins
While on the subject of dealers, it seems imperative to mention the use of common push pins, those sturdy and truly wonderful inventions used to post business cards on bulletin boards. Some uninformed antique store owners think that is is perfectly okay to hang textiles and quilts with push pins. A few years ago, we visited an antique store only to notice a gorgeous Crazy Quilt that was hanging on the wall, in direct sunlight. The weight of this exquisite textiles was being supported by seemingly hundreds of push pins, placed in very close proximity along the top.
Push Pins and Finished Textiles Do Not Mix!
These
pins do irreparable damage to any textile by leaving big holes and by
stretching or even tearing the fabrics. If left in place for a long
time, regular push pins can cause rust, particularly in damp
conditions. The fragile silks, satins, and other fibers that were
used in Victorian Era Crazy Quilts are ruined by stabbing them with
any thick object.
What a
shame to unintentionally diminish the value of a quilt for the mere
reason of expediency in displaying it. The high asking price of the
quilt in question indicated that the seller was clueless that
significant damage had been done to this antique textile. I would
never consider purchasing a quilt that had been so mistreated,
regardless of the gorgeous colors or beautiful embroidery. In a
flash, the quilt had been de-valued completely for any serious
collector.
Stainless
Steel Push Pins Have Their Place
Stainless steel push pins are sometimes to “block” new needlework that has been washed. One can place a special order for these non-corrosive push pins at a stationery supply store. To block your completed piece, prior to framing, lay it on an acid-free, foam core board. Stretching the needlework slightly as you work, place the push pins about one-half inch apart around the perimeter of the textile. Pierce only the edges that will be enclosed later, within a frame. When the piece is completely dry, remove the pins and frame the work.
Antique Quilts: Are They Good Candidates for Display?
The answer to the question posed above is “maybe.” Antique quilts are fragile. Whether or not you want to display an old quilt will depend on its condition. Is all of the stitching intact? Is batting visible or bearding through the surface? Is the thread weak and will a strain be put on the seams by hanging it? Does the quilt need some restoration work or conservation work before it is displayed? Do you have a safe place to hang the quilt, away from direct light? Kitchens, and bathrooms with showers, are not good choices for displaying any wall hangings, Those room contain either too much humidity. In addition, kitchens have airborne grease particles, as well as dangerous fumes that are the result of cooking with natural gas or wood heat.
Drape
a Favorite Quilt over the Back of a Couch
Unless you have a rambunctious set of pets who hang out on the furniture, pulling textiles off the back of the couch to make little “nests” for themselves, it may be safe to display quilts on the back of a (little used) couch. Quilts shared with any animals will require cleaning and will always have a short life.
Poor Grandma's Quilt!
A
student in one of my Crazy Quilt classes offered to bring a late
nineteenth century Crazy Quilt to class. The quilt was made by her
great, great grandmother. Clearly, the embroidered textile was never
meant for anything other than decorative purposes. When asked how she
was “storing” the quilt, she replied,
“Oh, My family uses it
all the time!” While it is wonderful that they are enjoying the
very old Crazy Quilt, children can be rough on quilts by spilling
beverages on them and imparting food stains.
My recommendation would be to display the quilt in a safer manner, and to not ask “heavy duty” of it. After all, Victorian Crazy Quilts were not meant for warmth but to satisfy the decorative aesthetic of the times. Generally speaking, they have no batting and were composed entirely of “fancy fabrics.” Did you know that they are considered to have been the first “Art Quilts”? The countless hours that were spent in their production should be honored. Whoever made that quilt in the 1880s or 1890s will surely never make another.
Stephanie
Hatch has a standard answer ready when people ask her how to hang an
antique quilt. She inevitably replies, “If you wouldn't do it to
your grandmother, don't do it to her quilt.” Her fear is that old
fabrics will be prone to more damage when a quilt is hung. Other
hazards to quilts are ultraviolet light, fluorescent light, and
increased exposure to dust. All of these hasten the aging process.
Quilt Racks
Free-standing wooden quilt racks are the easiest and most logical way to display quilts, old and new. Quilts look nice on them and are available for easy retrieval and use. A rack provides a handy repository for placing a (new) quilt if one wishes to have it on the bed during the day, but not subject it to the rigors of sleeping under it at night. Why? All of the normal twisting and turning that sleeping folks do, can place a tremendous strain on quilt seams.
Always wrap quilt rack dowels or slats with aluminum foil to help prevent acid migration onto your textiles.
In the late nineteenth century, after the Jacquard-loomed, white, Marseilles spreads had become so popular, Victorian women made “bed toppers.” These were smaller than bed-size, square Crazy quilts that would be placed, on point, to cover just the center of the bed. As they were just for daytime decoration, these Crazy Quilts would be removed at bedtime.
If you have a very special quilt that has taken a long time to make, such as the queen size, appliquéd, hand-quilted, scalloped-edge, “Country Bride” quilt that I worked on while watching CNN News, during the Desert Storm conflict, you may want to take extra precautions to keep the quilt in fine condition. To do this, follow the Victorian tradition of removing the quilt from the bed while you sleep.
By the way, the book The Country Bride Quilt by Craig N. Heisey and Rachel T. Pellman (PA: Good Books, 1988), provides the pattern for the quilt mentioned.
Alternatively, the quilt could be folded and placed across the bottom of the bed, if you do not mind the extra weight on your feet! You could also lay the quilt across the top of a cedar chest at the end of the bed. Yes, quilts are to use and enjoy, but they will not stand up to abuse. If you are considering passing down your quilts to a future generation or even securing their longevity in this life, then please do not sit on them, allow animals to nap on them, or bring food and drink into the bedroom, that could accidentally stain a quilt. Of course, these choices are yours alone!
Always
Protect Your Quilt from Untreated Wood Surfaces
Many
unfinished furniture stores sell quilt racks. Paint or stain the
quilt rack in any color to suit your décor. Then, add three
coats of clear polyacrylic to make the quilt's surface more
safe for contact with textiles.
Quilt
business owner, Nancy Kirk, suggests that heavy duty aluminum foil be
used to wrap the wooden dowels of the quilt rack. Her
informative DVD sets, “Quilt Restoration Workshop,” (2002), and
“Restoring Crazy Quilts: The Advanced Quilt Restoration Workshop,”
(2005) are available from her website. See:
http://www.kirkcollection.com
Foil was an excellent choice for lining a modified version of an old pie safe, designed and made by Jim Cummings.
Wide, heavy duty aluminum foil can be found at various locations. Baking supply stores are one possibility. Another source is Sam's Club. “Food Service Foil” is sold in 750 square foot rolls that are 18” wide x 500' long. Aluminum foil is the product currently recommended by professional conservators for use in lining shelves of closets where quilts are kept. Foil is a barrier that prevents acid migration.
The tall wooden unit has two front doors, each of which feature a total of ten, tin-punched, motifs taken from antique hand quilting designs. One source for some of the patterns is the book, ...ask Helen more About Quilting Designs, by Helen Squire (Paducah, KY: American Quilter's Society, 1990.) The punched areas on the doors are not only decorative but useful. They also allow air to circulate to the interior of the cabinet, even when the doors are closed, a desirable feature when storing quilts.
What is the Best Way to Hang a Quilt?
There are various ways to hang new quilts. One favorite method among quilters is to sew a “sleeve” at the top back of the quilt. When a thin, flat board is run through the sleeve, the weight of the quilt is distributed more evenly than other ways of hanging quilts. The board can be suspended from decorative hooks or molding hooks. Knot together two ends of two separate 6"-8” pieces of ribbon. These ribbon circles will be looped over the board, and again the over the hooks to hold the quilt in place on the wall.
Of course, the board needs to be longer than the quilt so that it extends outside the sleeve on the back of the quilt. Again, please remember to apply three coats of polyacrylic (not polyurethane) to any wood surface that will come into direct contact with a quilt or other textile. The reason for avoiding the use of polyurethane is that it is a substance that will continue to emit fumes that are unhealthy for textiles.
How is a Sleeve Made?
Making a sleeve is easy. Cut a piece of muslin, or cotton fabric of choice, 12 1/2” tall, and the width of the quilt. Begin by turning fabric over 1/4” on each side toward the “wrong” side of the fabric. Press it with an iron. Repeat, turning fabric under 1/4” again on each side, press, and sew very close to the turned edge.
Then fold the 12 1/2” in half lengthwise, with the edges turned under at both ends, and right sides facing. Pin and sew the raw edge all the way across the expanse, using a 1/2” seam. This seam will be pressed open, using an iron and a small ironing board, or sleeve board.
Turn the “sleeve” inside out. Press again. It is now ready to pin onto your quilt, just under the top edge of the binding (or close to the edge, if there is no binding.) Place the sleeve so that it is located 1/2” in from each side of the quilt. Pin across the top, down the sides, and across the bottom. Using an appliqué needle, hem the sleeve onto the quilt back, tacking down only the bottom edge on both ends.
To attach a sleeve to a new quilt, use an appliqué stitch. To hang an antique quilt in a museum setting, for short term display, add a sleeve by tacking it onto the back of the quilt with the Herringbone stitch, broadly spaced. In doing this, bring the needle all the way to the front (and through all layers of the quilt) for better support and stabilization.
This photo shows the sleeve that was applied to the back of the “Gossips” reproduction quilt made by the author. A sleeve may be made in any size desired, but if you are planning to enter your quilt into a show, at least a four inch sleeve is necessary.
Of course, the size of the sleeve will vary with the size of the quilt you are making. For large wall hangings and bed size quilts, if one makes a six inch sleeve, the quilt will be able to hang in any show that has portable board frames. Most quilt shows have a minimum size requirement for sleeves.
If a quilt is a square shape or would be pretty hung by a sleeve attached to other sides, it is possible to add more than one sleeve. In this way, you can hang the quilt from a different side each time, thereby combating the effect of gravity.
In our guest bedroom hangs a quilt called, “Dahomey Revisited: A Tribute to Harriet Power.” The family of Harriet Powers came from the Benin-Dahomey area of Africa. Harriet loved the Bible and in her lifetime created at least two Biblically-inspired appliqué quilts. Those are now in the hands of the Smithsonian Institution and the Boston Museum of Fine Arts.
This particular quilts has a sleeve that was sewn onto the cotton backing. The board that fits through the sleeve was stained and then treated with three coats of polyacrylic varnish. The board is suspended on two wrought iron, gazelle head, decorative hooks.
The quilt re-creates animals that are symbolic in nature, according to the book, Always There: The African American Presence in American Quilts, by Cuesta Benberry (The Kentucky Quilt Project, 1992.) She states that these types of designs “represented battles and heraldic devices, illustrated proverbs, and transmitted subtle messages.”
To create the designs, that were formerly used as motifs on tribal banners, I utilized the line drawings in the wonderful book, Quilting the World Over, by Willow Ann Soltow (whose last name now is Sirch). The book was published by Chilton Book Company, 1991. The motifs and black background are both felted wool, and the backing, which comes forward to the front, is a polished cotton from Senegal. The quilt is tied and can be seen suspended by a treated wooden slat that is held within a sleeve at the top of the back. The piece of wood hangs from two African gazelle head brackets which are iron, and were purchased at Pier 1 Imports.
Another Method: Museum Mounting
To better support quilts and textiles for exhibit, museums often mount them onto a wooden frame by using a Velcro attachment system. The hook side of Velcro is stapled onto a wooden frame, and the (flatter) loop side of the Velcro tape is sewn by machine onto a tubular muslin strip. Both ends of the tubes are turned inward and tacked closed.
At least three, if not four sides of the textile are securely fastened with Velcro to the frame. In some galleries, hanging units tip slightly forward, to it is best to secure all four sides of the quilt if you are framing for a gallery show.
On the back of the quilt, the non-hook side of the Velcro tape is sewn on with a running or hemming stitch, a distance away from the edges. Exact measurements for the muslin strip and for placement of Velcro will vary. The rule of thumb is: the larger the quilt, the wider the Velcro and the wider the muslin tube strip. Two inch wide “industrial” Velcro is available at Walmart.
Artist's stretcher bars with mitered corners (45 degree cuts) are versatile. By mixing different lengths, one can create a rectangular frame in the size needed. The bars just slide together, but can also be glued together with Carpenter's Glue, if more permanent construction is desired. Of course, three coats of polyacrylic should be applied to the stretcher bars to prevent acid migration into the textile.
This Velcro/frame assembly method provides the quilt with even support for display. This method is ideal for museums because it facilitates the changing of displayed quilts. In case the need arises to take down quilts in a hurry, large quilts can be removed more easily. Aesthetically speaking, this method is great because no frame edges are in view, as the quilt overlaps the edges of the frame.
After applying the Velcro to both the frame and to the quilt, just screw in eye hooks about 1/3 of the way down from the top of the newly-created frame, and run a length of picture wire across the back, going through each circular eye hook, in turn, and wrapping the wire onto itself at both ends, heading in the direction of the middle. Hang the wire from a nail, or better yet, an L-shape screw.
Alternate Way to Hang Quilts
Displayaway brand Quilt Hangers can accommodate quilts of all sizes, from small quilts to very large wall hangings. The quilt is suspended by sliding the top into a wooden groove at the bottom of the hanger. Then, weighted metal balls are slid into the groove, behind the quilt and placed at even intervals to hold the quilt in place. I have liked this system.
At the present time, I am using a small Displayaway quilt hanger for a South American textile called an arpillera entitled, “Cosechas,” (which means “harvests,” in Spanish.) This small appliquéd piece has many stuffed motifs, and a crocheted edge all around.
Arpilleras depict gentle, pictorial scenes from daily life in Venezuela andPeru.
In Chile, arpilleras are called “cuadros” and are
sometimes sewn by the wives of political prisoners, or men (los desaparecidos) who have
mysteriously
“disappeared.” These textiles are not antiques, but
the result of current protests. They provide a much-needed source of
income for women.
For more information about these quilt hangers, please write to the company at Zellerwood@aol.com , call (888) 487-7233, or visit the company's website. http://www.displayaway.com
"Hang Ups”
"Hang Ups” is the trademark name of a product marketed by Keepsake Quilting, a quilt shop in New Hampshire, http://www.keepsakequilting.com These are small hardwood hangers that have a base that is affixed permanently to the wall with pieces of hardware. The top wooden part slides onto a toggle bolt that has a nut that will be screwed on to temporarily compress the two wooden pieces together. This holds the quilt in place.
The number of “Hang Up” units needed will depend on the width of the quilt. They should be placed 9”-12” apart. They are sold as a set of four and are marketed in two sizes: 1” wide, or 1 3/4” wide.
"Hang Ups” are used to display, “On Windy Whispers,” a wall hanging designed by the author for an Appliqué Society challenge in 2003. The quilt was inspired by “Redbird's Wing,” a song written by New Hampshire folksinger, Bill Staines. With his permission, the words of the song have been printed on a panel that has been appliquéd to the back of the quilt. The song speaks of nature themes and flying over the wilderness in a small plane, the “Redbird.”
The need for sewing on a sleeve is eliminated with the use of “Hang Ups.” Exchanging the quilt décor in a room is easy. Just loosen the toggle bolt, remove the current quilt on display, and replace it with another quilt of the same size. The hangers themselves are very attractive and simple to install.
If a quilt hangs in place for more than several months, you may notice that gravity has begun to distort the top edge, pulling the unsupported portions downward. Think about making quilts the same size and rotating them often, especially if you use this attractive method of displaying wall quilts.
Wrought Iron Quilt Hangers Sold
A nice option for hanging large quilts are wrought iron quilt or blanket hangers. Their shape resembles that of towel racks. Both ends of the hanger screw into the wall and the hanging bar extends far enough away from the wall to accommodate a large folded quilt.
Without much fuss, the quilt can be easily draped for quick display and removal. Wrap the iron bar with aluminum foil and lay several sheets of acid-free paper, although I am not sure whether or not the surface of wrought iron would adversely affect textiles. Better safe than sorry Before hanging the quilt, lightly pad the areas where it has been folded.
One particular antique quilt in my collection is a "Log Cabin" quilt. The red centers of each of the blocks are hanging in strings. Yet, from a distance, this problem does not detract from the overall aesthetic beauty of the quilt's old madder prints, the reason the quilt was purchased. Folded just right, so that the torn border along one edge does not show, the quilt looks lovely hanging on a wrought iron bar on the wall of the guest bedroom.
Next section: Chapter 1C
This book was originally copyrighted in 2005. We are publishing it here on our educational website for your enjoyment. Please do not reproduce it for your own commercial gain. All of the text and photos are under copyright law protection. Thank you.
e-Book copyright 2007. Patricia and James Cummings, Quilter's Muse Publications, Concord, NH. Questions or comments: pat@quiltersmuse.com