Studio Journal: Conserving History
- SamanthaBoot
- 3 days ago
- 3 min read
Unrolling the cotton-wrapped package for the first time was like looking into the past: over a century of family stories held in the cloth and stitches of an antique quilt.
Word of mouth is a wonderful thing. Last year I received an email through a mutual connection asking if I might conserve a much-loved, antique quilt top which had been displayed in the owner’s home for many years, and would I be able to help.
Intrigued by the project ahead, I met with the owner to discuss the history of the quilt and her expectations for the outcome, clarifying the difference between restoration and conservation, and what its end use would be.
This initial meeting is always a favourite part of the commission process. A chance to ask questions and share knowledge with the people who care deeply about the item they’re looking to save for future generations.
During our conversation, I discovered that the quilt was made over one hundred years ago in Canada from silk and brocade off-cuts, by members of the owner’s family. The quilt was small (approx. 40” x 30”) and was stitched to a synthetic felt backing. This had then been fixed to a wood batten with upholsterers tacks which had rusted into place.
Following the meeting, and once a ‘light touch’ approach to the conservation process and a timeline had been agreed, I was able to assess each block, carefully noting areas of damage and considering the best ways to reinforce the delicate fabrics.
Researching quilt conservation techniques allowed me to make informed choices about the materials and processes I used. I also contacted the Quilter’s Guild for guidance on sourcing conservation-grade materials and on how the quilt might best be displayed once the work was complete (not behind glass as this can create a microclimate susceptible to moisture damage).
Before beginning the conservation work, I sketched each block of the quilt, noting areas of damage and planning how they might best be stabilised. It was a painstaking process, but a necessary one. The most fragile sections were supported with layers of conservation-grade silk or gauze, depending on the original fabric and type of damage, and carefully secured in place with tiny stitches, all by hand.
As I worked on this quilt, it revealed its secrets to me. I could see that the Log Cabin blocks had been foundation pieced, by hand, onto a calico ground and that each block was then machined together to create the whole. Stitch sizes changed, showing perhaps the evidence of a number of different makers, but also could simply show the needleworkers reaction to the different weights of cloth that were used.
I left my own mark too - on the back of the canvas there’s a record of the materials and techniques I used, as well as my name and the date, so I have become a part of the history of this precious quilt.
It’s been a privilege to spend time assessing each hand stitched block, noticing areas where the fabric was crumbling, had faded or, in the case of the velvet, had rubbed away. I worked sensitively using minimal intervention, and making sure everything I did could be ‘undone’ during future restoration.
A labour of love, it is now back with its owner after six weeks of dedicated work. Dropping the quilt off, mounted onto canvas and ready to hang back in the family home, was a chance for the owner to reflect on stories of the quilt and its place in her life over the years. Now it’s been conserved for her family who knows, one day it may return to Canada where it was first created.
If you have an antique or heirloom quilt that needs conserving or repairing so its story can continue as part of your family history, please do get in touch using the link below.
