Harlequin Medallion Quilt1800–182087 × 96"Glazed woolGift of Cyril Irwin Nelson in loving memory of his grandparents John Williams and Sophie Anna Macy1984.33.10Whole cloth, glazed linsey woolsey coverlet. Design composed of red, yellow, pink, green, turquoise, and black triangles and squares. A black saw toothed edge surrounds three sides. The fourth side has a plain bright pink band. The whole coverlet is quilted with lines following the design of the triangles and squares. Backing is a course yellowing wool. Two brass rings sewn to this edge of the bright pink band. Running stitch 1/8" from edge holds top and backing edges together. Outline quilting in half triangles, arc quilting.1530891261Artist unidentifiedTextilesThe American Folk Art Museum believes this work to be in the public domain. United StatesTextileseMuseum - Collection HighlightspiecedFor many years, late eighteenth- and early nineteenth-century quilts made of wool were called "linsey-woolsey." Today, however, it is understood that these quilts are not made of a homespun combination of linen and wool, as that term implies, but usually sewn entirely of wool. Often, the wool that was selected for quilts such as the Harlequin Medallion Quilt was a professionally manufactured, glazed, worsted fabric known as "calimanco," which probably was imported from England. This early bedcover retains much of its original glazed surface. It is constructed in the center-medallion format that was popular before about 1840 but anticipates the elaborate pieced patterns of later quilts. Its bold, geometric composition of large triangular pieces in bright, saturated colors appears very contemporary, belying the still commonly held notion that early American homes were devoid of color. In fact, this type of bedcover often displays beautiful shades achieved with natural dyes. When compared with the similar palette of polychrome silk threads used in Lucina Hudson's needlework, it becomes apparent that the use of bright colors was widespread in the needle arts by the turn of the nineteenth century.
Stacy C. Hollander, "Harlequin Medallion Quilt," in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 304.calimancoFor many years, late eighteenth- and early nineteenth-century whole-cloth wool quilts were mistakenly referred to as “linsey-woolseys.” Today, however, it is understood that these bedcovers were not made of a homespun combination of linen and wool, as that term implies, but rather were usually sewn entirely of wool. Often, the wool that was selected for textiles such as this Harlequin Medallion Quilt was a professionally manufactured, glazed, worsted fabric known as “calimanco,” which probably was imported from England. In the eighteenth century, this type of fabric was common for clothing, especially quilted petticoats, and sometimes the fabric used for bedcovers was salvaged from worn petticoats.
Elizabeth V. Warren, "Harlequin Medallion Quilt," exhibition label for QUILTS: Masterworks from the American Folk Art Museum. Elizabeth V. Warren, curator. New York: American Folk Art Museum, 2010.18001820 1984 33 1 piecedFor many years, late eighteenth- and early nineteenth-century quilts made of wool were called "linsey-woolsey." Today, however, it is understood that these quilts are not made of a homespun combination of linen and wool, as that term implies, but usually sewn entirely of wool. Often, the wool that was selected for quilts such as the Harlequin Medallion Quilt was a professionally manufactured, glazed, worsted fabric known as "calimanco," which probably was imported from England. This early bedcover retains much of its original glazed surface. It is constructed in the center-medallion format that was popular before about 1840 but anticipates the elaborate pieced patterns of later quilts. Its bold, geometric composition of large triangular pieces in bright, saturated colors appears very contemporary, belying the still commonly held notion that early American homes were devoid of color. In fact, this type of bedcover often displays beautiful shades achieved with natural dyes. When compared with the similar palette of polychrome silk threads used in Lucina Hudson's needlework, it becomes apparent that the use of bright colors was widespread in the needle arts by the turn of the nineteenth century.
Stacy C. Hollander, "Harlequin Medallion Quilt," in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 304.calimancoFor many years, late eighteenth- and early nineteenth-century whole-cloth wool quilts were mistakenly referred to as “linsey-woolseys.” Today, however, it is understood that these bedcovers were not made of a homespun combination of linen and wool, as that term implies, but rather were usually sewn entirely of wool. Often, the wool that was selected for textiles such as this Harlequin Medallion Quilt was a professionally manufactured, glazed, worsted fabric known as “calimanco,” which probably was imported from England. In the eighteenth century, this type of fabric was common for clothing, especially quilted petticoats, and sometimes the fabric used for bedcovers was salvaged from worn petticoats.
Elizabeth V. Warren, "Harlequin Medallion Quilt," exhibition label for QUILTS: Masterworks from the American Folk Art Museum. Elizabeth V. Warren, curator. New York: American Folk Art Museum, 2010.