Sold— Eggplant Velvet & Robin Egg and Grass Green Silks

[vc_row][vc_column][vc_column_text]This presumably 19th century silk log cabin recently acquired from Tower Hamlets, London, UK, is holding its story close. Understanding its provenance would be easier for one more versed in antique textile trade across the Atlantic and the origins of the various designs of the progressively-pieced blocks we call ‘log cabin’.

The Log Cabin may very well be the quintessential idea of the quilt for the average American. Its folklore abounds, with various attributions of what the pattern means or the center block signifies— but the pattern, while heavily Americanized, didn’t actually find its genesis in America at all. It’s a pattern as old as Egyptian mummified animal remains wrapped in pieced linen; as worldly as a Kyrgyzstan tush kiiz (pieced tapestries decorating yurts across the centuries); as continental as the designs from the Isle of Mann. In fact, British log cabin quilts can be found in the first half of 19th century, prior to the trend taking root in America in the mid to later 19th century. Yet, what makes a log cabin American or British is perhaps something that only the most well-researched individuals can ascertain. While this quilt was recently sourced from Tower Hamlets, London, the question of whether it has an American provenance and has traveled the world, or whether it is of British origin and is now located in the USA remains an open question. There is much to be learned from this quilt.

Hand pieced, it is approximately 65″ x 60″ with a rich eggplant silk velvet border and a single embroidered stitch running the length of a seam, as would be found in Victorian era crazy quilts. The center of the quilt consists of a large variety of silks, with rich colors from soft teals to robin egg blues to a spring green and bright blue which seem certainly over-dyed. The silk blocks flaunt many woven jacquards or brocades or ribbon weaves, and the colors have a quality to them that I cannot put my finger on.

It’s in very good condition for a textile this age, yet silk is unfortunately prone to deterioration and this quilt has not been spared. Many of the silks have shattered but are intact upon the face of the quilt (no brittle breaking off of silk pieces, just shredded warp and weft which is still attached in the seams). Some of the light tan blocks present a little surface dirt upon close view, but the quilt as a whole presents as truly regal and remarkable. The true color is much closer to a plum eggplant— certainly more eggplant than wine color. Judging from the sides of the quilt, there clearly once was a backing fabric attached but it is no longer present. The entire quilt is hand pieced using white and black thread, with a loose weave muslin (linen?) foundation and tufts of batting and loose threads that can be examined for fiber content.

It should be spared from light but I can’t stop looking at it.