Textiles

Coverlet

The 50,000 objects in the textile collections fall into two main categories: raw fibers, yarns, and fabrics, and machines, tools, and other textile technology. Shawls, coverlets, samplers, laces, linens, synthetics, and other fabrics are part of the first group, along with the 400 quilts in the National Quilt Collection. Some of the Museum's most popular artifacts, such as the Star-Spangled Banner and the gowns of the first ladies, have an obvious textile connection.

The machinery and tools include spinning wheels, sewing machines, thimbles, needlework tools, looms, and an invention that changed the course of American agriculture and society. A model of Eli Whitney's cotton gin, made by the inventor in the early 1800s, shows the workings of a machine that helped make cotton plantations profitable in the South and encouraged the spread of slavery.

Overshot Coverlet; 1800-1850

This is a blue and white, cotton and wool, overshot coverlet from the 19th century. The patterns used is similar to both “Governor’s Garden” and “Double Chariot Wheels.” The upper edge is hemmed, the lower edge has a warp fringe, and the remaining two sides have applied fringe.
Description
This is a blue and white, cotton and wool, overshot coverlet from the 19th century. The patterns used is similar to both “Governor’s Garden” and “Double Chariot Wheels.” The upper edge is hemmed, the lower edge has a warp fringe, and the remaining two sides have applied fringe. There is a border along three sides created from a fractional reduction of the main pattern. There coverlet measures 100 inches by 72 inches and was constructed from three panels which were woven as one length, cut, and seamed together to create the finished coverlet width. There is little provenance on this coverlet’s origins, but based on the design and construction, this coverlet was likely domestically produced by a woman or group of women sometime in the first half of the nineteenth century.
date made
19th century
maker
unknown
ID Number
TE.T17390
accession number
321804.210

Copp Family Overshot Coverlet; Connecticut; c. 1790-1800

This red and white, cotton and wool, overshot coverlet comes from the Copp Family collection of Stonington, Connecticut and was woven sometime between 1790 and 1800.
Description
This red and white, cotton and wool, overshot coverlet comes from the Copp Family collection of Stonington, Connecticut and was woven sometime between 1790 and 1800. The pattern is a variation of the “Monk’s Belt” pattern most commonly known as “Braddock’s Defeat.” The coverlet is constructed of a natural linen warp, natural cotton weft, and madder-dyed, red wool supplementary weft yarnsThe coverlet is composed of three panels woven as one length, cut, and seamed with a 2-ply, S-twist, Z-spun, linen thread. This a 2.75 inch looped fringe is attached to three sides. The coverlet is a rare example of early imported spun cotton threads being used in weaving. The cotton yarns were not yet strong enough for use as warp threads, but here serve as the ground cloth weft threads.
Location
Currently not on view
Date made
early 19th century
probably late 18th century
date made
c. 1770-1800
c. 1790-1800
maker
unknown
ID Number
TE.H6675
catalog number
H006675.000
accession number
28810

"Granite State;" coverlet; overshot; late 18th century, poss. Rhode Island

This brown and white, overshot coverlet has been separated into its two panels. Whether this is due to use or because of early-20th-century Colonial Revival repurposing as portieres or curtains is unknown.
Description
This brown and white, overshot coverlet has been separated into its two panels. Whether this is due to use or because of early-20th-century Colonial Revival repurposing as portieres or curtains is unknown. The pattern is a variation of a pattern known as “Granite State.” Each panel measures 102 inches by 42 inches, making the whole coverlet measure 102 inches by 84 inches. There is no evidence of fringe and the top and bottom edges are hemmed. The coverlet is composed of a linen warp, cotton ground weft, and brown wool, supplementary pattern weft. The use of linen in the warp indicates a likely late-eighteenth-century manufacture date as industrially-spun cotton was not strong enough to be used in the warp until the start of the nineteenth century. There is evidence in the accession file to suggest that this coverlet was made and passed down through the Babcock family of Rhode Island, but more research is needed to confirm the attribution.
Location
Currently not on view
Date made
early 19th century
date made
late 18th century
maker
unknown
ID Number
TE.T12598
accession number
220211
catalog number
T12598

Overshot coverlet panels, Catalpa Flower; New York, first half 19th century

This overshot, indigo and white coverlet (now separated into two panels) is woven in the "Catalpa Flower" pattern. Overshot patterning is based on a float weave structure, where a supplementary weft yarn is added to create the pattern.
Description
This overshot, indigo and white coverlet (now separated into two panels) is woven in the "Catalpa Flower" pattern. Overshot patterning is based on a float weave structure, where a supplementary weft yarn is added to create the pattern. The yarn floats or shoots over the top of the plain weave ground cloth creating the pattern. The pattern is a reversible negative, meaning that the color combination is reversed on the opposite side. Overshot coverlets can be woven on simple four-shaft looms. They are usually associated with domestic production and many of them are attributed to female weavers. Professional male weavers also wove floatwork coverlets. Many overshot patterns have names; however, these names changed and varied due to time and location. According to the donor, this coverlet descended through the Van Meter family of New York and was likely woven in the first half of the nineteenth century by a female ancestor. The two coverlet panels would have been joined with a center seam. These panels were repurposed during the early 20th century Colonial Revival decorating period and used as portieres in the Van Meter home. Each of the two panels measures 75 inches by 35.25 inches.
Location
Currently not on view
Date made
19th century
date made
1800-1850
maker
unknown
ID Number
TE.T14960A
catalog number
T14960.00S
T14960.A-S
accession number
286274
catalog number
T14960-B/S

Binche Bobbin Lace Cuff

Early 18th century Binche bobbin lace cuff made by gathering the laceCurrently not on view
Description (Brief)
Early 18th century Binche bobbin lace cuff made by gathering the lace
Location
Currently not on view
date made
1700-1725
ID Number
TE.L7297A
catalog number
L7297.00A

Overshot coverlet, 19th century

Overshot wool and cotton coverlet in black (oxidized indigo?) and natural. Small-scale geometric pattern of opposing meanders and flower heads. Two panels, stitched together. No borders. Unknown maker.Currently not on view
Description
Overshot wool and cotton coverlet in black (oxidized indigo?) and natural. Small-scale geometric pattern of opposing meanders and flower heads. Two panels, stitched together. No borders. Unknown maker.
Location
Currently not on view
Date made
19th century
maker
unknown
ID Number
1979.0725.059
accession number
1979.0725
catalog number
1979.0725.0059.000

Coverlet panel, geometric double-cloth; 19th century

This white and blue, geometric, double-cloth coverlet panel features a “Single Snowball” pattern centerfield and “Pine Tree” border.
Description
This white and blue, geometric, double-cloth coverlet panel features a “Single Snowball” pattern centerfield and “Pine Tree” border. These patterns were developed in the German States of the Holy Roman Empire at the end of the seventeenth century and were initially used in damask linen weaving on a much smaller scale. Several German weavers published books during the Early Modern period, and they were translated into numerous languages and this style of block weaving, as it is known, spread across Europe. Immigrant weavers brought these structures and pattern to the United States, increased the scale of the patterns and wove them as double cloth both for coverlets and ingrain carpet. This coverlet panel was initially woven as one length, cut, folded back on itself, and seamed up the middle to create the finished coverlet. The center seam was usually removed to wash coverlets as the double cloth would have been heavy and unwieldly when wet otherwise. The coverlet panel measures 84.5 inches by 34.5 inches, and there are traces of self-fringe along the bottom edge. The upper edge has been repaired with a blue printed cotton band to prevent unraveling. This coverlet panel is in overall poor shape and features several areas of loss. The “Pine Tree” borders found along three sides were created from fractional reduction of the main block patterning. While women were fully capable of weaving overshot and summer and winter coverlets on their own simple looms, many of the geometric double loom patterns required looms with multiple shafts and are traditionally associated with male, professional weavers. There is no information about who may have woven this coverlet or where it may have come from.
Location
Currently not on view
date made
19th century
maker
unknown
ID Number
1979.0725.066
accession number
1979.0725
catalog number
1979.0725.66

William Wolf; coverlet panel; Jacquard; tied-Beiderwand; 1853; Ohio

This Figured and Fancy, tied-Beiderwand coverlet panel reveals when, where, and who made it, but William Wolf has remained elusive to historians.
Description
This Figured and Fancy, tied-Beiderwand coverlet panel reveals when, where, and who made it, but William Wolf has remained elusive to historians. The centerfield features octagonal carpet medallions filled with stylized sunflowers or sunbursts around which can be found geometric stars arrangements and foliate garlands. The side border features a meandering grape vine and the lower border depicts a swag garland and flower motif. The cornerblock inscription reads, “WOVE*BY/*W*WOLF/*SHELBY*/RICHLAND/*COUNTY*/OHIO*1853.” There are dozens of people names William Wolf recorded in Ohio in the 1850 Federal Census, and more research is needed to determine which of those men was the weaver of this coverlet panel. What is known of Wolf comes from his extant coverlets which date from 1836-1858 and have woven inscriptions indicating that he was weaving in Hanover, Licking County, Ohio and later in Shelby, Richland County, Ohio. This coverlet panel was woven in tied-Beiderwand structure using 2-ply, S-twist, Z-spun cotton and wool, warp and weft yarns and Z-spun cotton singles for binding warps.
Location
Currently not on view
Date made
1853
maker
Shelby, W. Wolf
ID Number
TE.T13141
catalog number
T13141.000
accession number
249565

Philip H. Anshutz; coverlet; Figured and Fancy, double cloth; c. 1845; Ohio

Philip H. Anshutz (b. 1802) wove this blue and white, Figured and Fancy, double-cloth coverlet in Carrollton, Carroll County, Ohio sometime after 1845.
Description
Philip H. Anshutz (b. 1802) wove this blue and white, Figured and Fancy, double-cloth coverlet in Carrollton, Carroll County, Ohio sometime after 1845. This coverlet measures 81 inches by 75 inches and was woven as one length, cut into two pieces, and hand sewn together to create the width. There is a self-fringe along three sides of the coverlet. The pattern consists of eight whole, large floral wreaths, with eight half wreaths along the sides. Filling in the spaces between wreaths are two floral groups. The elaborate centerfield pattern suggests that Anshutz was very skilled at pattern design and likely producing coverlets in a semi-industrial fashion. The corners of the lower edge have woven inscriptions which read, "xPxH ANHUTZ YN Carrol-ton.” The white yarns are 2-ply s-twist z-spun cotton, and the blue yarns are 2-ply s-twist z-spun wool. The binding is white 2-ply s-twist z-spun wool. The sewing thread 6-ply s-twist z-spun cotton. The yarn count is 22 warp x 20 weft per inch. The top edge is bound in a bias binding and stitched by hand. Philip Anshutz was born in 1802 in Germany and emigrated to Baltimore about 1833. In the 1840 census he was listed as the head of a household in Baltimore engaged in manufactures and trades—likely in one of Baltimore’s large industrial textile mills. He left Baltimore in 1842 with his wife, whose name we only know as the initial W., and moved to Carrollton, Carroll, Co, Ohio. In the 1850 Federal Census, Anshutz was listed as a weaver. It is likely that Anshutz came to American as a trained, industrial weaver or machinist in a factory, worked in Baltimore long enough to raise the capital needed to move west and attempt to establish his own regional mill in Carroll County. This was a common practice for coverlet weavers.
Location
Currently not on view
date made
mid-19th century
mid-19th century ?
c. 1845
weaver
Anshutz, Philip
ID Number
1989.0270.001
accession number
1989.0270
catalog number
1989.0270.01

Ira Hadsell; coverlet; Figured and Fancy, double-cloth; 1859; New York

Ira Hadsell (b. 1813) of Palmyra, New York wove this red and white, Figured and Fancy, double cloth coverlet for Catharine M. Wilson in 1859.
Description
Ira Hadsell (b. 1813) of Palmyra, New York wove this red and white, Figured and Fancy, double cloth coverlet for Catharine M. Wilson in 1859. The coverlet design is symmetrical along the center seam and feature a large compote overflowing with flowers and accent by more botanical designs, birds, and cornucopias. There are borders on all four sides featuring swag garland designs. The warps and wefts are made up of red, S-spin wool singles and white 3-ply cotton yarns. The date"1859" appears woven under each of the cornucopias. "Catherine M. Wilson woven at Palmyra NY by Ira Hadsell" is woven along the bottom border. The coverlet measures 86 inches by 78.75 inches. Ira Hadsell was born March 16, 1813, in Marion, New York. He was the son of Sarah Hadsell and William Cogswell. Ira Hadsell led an interesting, if somewhat difficult life. He was "bound out" to A.R. Galloway and apprenticed as a canal worker at the age of eight. From age 14 through 26, Ira worked at various jobs on the Erie Canal until returning to Palmyra in 1839. Eventually, Ira went to work for James Van Ness, another well-known weaver of Wayne County. Ira Hadsell had finally found his calling. During his lifetime, Hadsell wove over 1,180 coverlets. Ira married Lydia Dansits Scudder (1810-1879) April 9, 1840. On December 30, 1879, he married Laura Jane Ingram (1855 - 1945). He died July 17, 1896. The coverlet was made for Catharine M. Wilson. She was the wife of Daniel P. Wilson and was born c. 1819 in New York. Wilson was the great-grandmother of the donor.
Location
Currently not on view
Date made
1859
weaver
Hadsell, Ira
ID Number
1986.0880.01
accession number
1986.0880
catalog number
1986.0880.01

Coverlet; Figured and Fancy, double cloth; 1836; New Jersey

An as-of-yet unidentified weaver from the Bergen County, New Jersey area wove this medium blue and dark blue, Figured and Fancy, double cloth, coverlet.
Description
An as-of-yet unidentified weaver from the Bergen County, New Jersey area wove this medium blue and dark blue, Figured and Fancy, double cloth, coverlet. There is no center seam, indicating that this coverlet was woven on a broad loom, which would have required at least two weavers to throw the shuttle back and forth or a spring-loaded fly shuttle. The centerfield design is made up of an ovular central medallion composed of various flowers including what appears to be hyacinths. There is a ring of silhouetted floral designs and fylfots circling that. There is a double border of grape vines and single grape leafs with grapes on three sides. The outer border is cut off and the inner border is cut almost in half along the top. The name Mary Van Emburgh and the date 1838, are woven into the two lower corners. The thread count of this coverlet is 16 warp and 18 weft per inch. The fringe is three inches deep. There is a possibility that this coverlet was woven by David Haring (1880-1889) or a weaver in his shop. Harring is known to have owned a broad loom and the designs, layout, and double border all fall into his design aesthetic.
Location
Currently not on view
Date made
1838
ID Number
1981.0274.06
accession number
1981.0274
catalog number
1981.0274.06

Diana Austin's Sampler

This sampler features two script alphabets to “X,” and there are also two block alphabets: one with 26 letters and one to “W” with “NOPQ” not worked but a space left for them.
Description
This sampler features two script alphabets to “X,” and there are also two block alphabets: one with 26 letters and one to “W” with “NOPQ” not worked but a space left for them. At the bottom of the sampler, is a two-story house (in perspective) with a tall pointed tree and a spreading tree behind an ornamental fence, which has reverse-curved sections between fence-posts topped by urns. The house on Diana Austin’s sampler could be her home or the home of her teacher. She showed advanced technique by using surface stitches for her trees and not cross stitch. Diana included the inscription:

“Diana Austins Sampler
Marked AD 1827 Aged 8
PENFIELD NY”
The sampler is stitched with silk embroidery thread on a linen ground with a thread count of warp 39, weft 46/ in. The stitches used are cross, detached chain, four-sided, Algerian eye, buttonhole, outline, and satin.
Jotham Austin from Vermont, married Hannah Case. At some point they moved to Penfield, New York, where Jotham died in March 1830 and Hannah died on May 11, 1830. They had eight children. Two of them made samplers, Diana (b. May 9, 1819) and Sabrina P. (b. March 13, 1824). Libbeus Ross, who was married to Hannah’s daughter Honoria Austin, was appointed guardian of the family according to Hannah’s will, dated March 15, 1830.
Location
Currently not on view
date made
1827
maker
Austin, Diana
ID Number
TE.T14276
catalog number
T14276
accession number
276184

Woman's Corset, 1810-1820

When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries.
Description
When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries. Today, the word corset conjures an image of painful tight-lacing that was endured to produce an unnaturally small waist. However, the woman who wore this garment used it simply to support her chest (the brassiere would not be invented for another century) and to confine her shift, a voluminous knee-length undergarment, so that her high-waisted dress would sit smoothly over her torso and hips. If laced correctly, the wearer would have left a gap of several inches between the back edges of the corset, preventing it from being “tight-laced.”
Even so, this early 19th-century corset was distinctly different from the variations that came before and after it. During the 1700s, women had worn heavily boned, cone-shaped corsets called stays that had flattened their chests and made their torsos triangular. By the middle of the 1800s, the corset was once again heavily reinforced with narrow bones or steels to produce a curvy, hour-glass shape that was round and full both above and below the waist. By contrast, the corset shown here was intended to produce a natural-shaped figure. Hence, it relied mainly on cotton cording rather than bone or steel to coax the wearer’s body into the desired form. The only inflexible part of this corset was a long wooden or bone insert called a busk that slipped into a pocket at the center front and could be removed for washing.
Because of its lack of boning, this type of corset could be sewn at home without great difficulty. However, making a garment that fit was more complicated. The English author of The Workwoman’s Guide, Containing Instructions to the Inexperienced in Cutting Out and Completing those Articles of Wearing Apparel, &c., Which are Usually Made at Home (1840) suggested that “with respect to the cutting out, it is recommended to those who make their own stays, to purchase a pair from an experienced stay-maker that fit perfectly well, and also a pair cut out, but not made up, so as to be a good pattern for the home-made stays.” Sturdy cotton jean or satin were the most commonly used fabrics for corsets in the early 19th century. White was the preferred color, but gray and brown were both thought to be practical for “inferior” corsets.
This tan cotton sateen corset is made to be laced up the back through nine pairs of irregularly placed bone eyelets. The shoulder straps are meant to tie in place at the front of the corset through one bone eyelet at the end of each strap and a corresponding one over each shoulder blade. The original lacing and ties are missing. Two triangular inserts of fabric called gussets provide shape and support for each side of the bust. A decorative three-leafed motif is backstitched at the lower end of each bust gusset. Another matching, inverted trefoil is centered below the bust gussets, rising from the midriff. The upper and lower edges, and the edges of the shoulder straps, are bound with dark tan twill tape.
The only rigid part of this corset would have been a separate smooth strip of wood or bone, just over a foot long and 1.5" wide, called a busk. This would have been inserted through a slotted pocket that is sewn through all layers of fabric onto the white twilled cotton lining, down almost the full length of the center front. The lowest 1.125" of the busk pocket is closed with thirteen closely spaced, vertical rows of quilting. All other shaping is achieved through rows of cording that are run through channels quilted in brown thread through all layers of fabric. Double or triple parallel lines of cording define the high waist, stomach, and hips of the corset. The center front length of the corset body is 14.75"; the center back length of the corset body is 13.875"; the strap length is 7.875"; the edge-to-edge measure at the waist is 20.75".
To see a cartoon showing a lady slipping a busk into her corset, link to Progress of the Toilet.—THE STAYS.—Plate 1., 1810, by J. Gillray at The Lewis Walpole Library, Yale University. To find out how to make a corset, link to The workwoman's guide, containing instructions in cutting out and completing articles of wearing apparel, by a lady (Second edition: 1840), pages 80 to 83 and Plate 11.
Date made
1825 - 1849
1810-1820
ID Number
CS.256746.006
catalog number
256746.006
accession number
256746

butterfly

Currently not on view
Location
Currently not on view
date made
late 19th to early 20th C
ID Number
TE.T15033
catalog number
T15033.000

veil

Currently not on view
Location
Currently not on view
ID Number
TE.T14376
catalog number
T14376.000
accession number
278083

Susan Jane Thompson Deuel's crazy patchwork needle book, ca. 1880

A crazy quilt style needlecase, with an inside Kate Greenaway design from Briggs & Co book of patterns, page 100 #519. Briggs & Co. was founded in 1874. They invented the iron-on method for transferring an embroidery design onto a piece of fabric.
Description
A crazy quilt style needlecase, with an inside Kate Greenaway design from Briggs & Co book of patterns, page 100 #519. Briggs & Co. was founded in 1874. They invented the iron-on method for transferring an embroidery design onto a piece of fabric. Kate Greenaway was an English artist and illustrator/writer of children's book, cards, calendars and much more. Her subjects mainly consisted of children, young girls, flowers, and landscapes. Kate’s books were very popular in both Britain and America. Her artwork has endured and is still in print today. She was born in London, March 17, 1846 and died November 6, 1901.
The needlecase was embroidered by Susan Jane Thompson ca. 1880 who married John W. Deuel on March 15, 1853 in Gowanda, New York. She was born on March 9, 1830 in Derby, Connecticut to Ezra and Cornelia Baldwin Thompson and died on July 21, 1903 in Van Wies Point, New York. They had three daughters – Harriet, Bertha, and Sarah.
Location
Currently not on view
date made
ca. 1880
maker
Deuel, Susan Thompson
ID Number
TE.T18171
catalog number
T18171.000
accession number
1977.0179

Embroidery foundation letter shapes by G. Reis & Bro., NYC

Woven cotton foundations in letter shapes to be placed on fabric and embroidered over with silk floss in order to give the initials definition and dimensionality. One package with 2 cursive Gs and one package with one gothic C; in wax paper packaging under Reis' Tex brand name.
Description
Woven cotton foundations in letter shapes to be placed on fabric and embroidered over with silk floss in order to give the initials definition and dimensionality. One package with 2 cursive Gs and one package with one gothic C; in wax paper packaging under Reis' Tex brand name. Made by G. Reis & Bro., Inc. New York. Retail sticker label from John Daniell & Sons, Broadway New York; with handwritten prices ".10 ea." ".06" Needlework was an important skill and a popular leisure activity. These foundation shapes for letters enabled even amatuer stitchers to include initials or words and phrases with uniform sizing and style in their work.
Location
Currently not on view
date made
ca. 1900
ID Number
TE.T15472.56
accession number
293999
catalog number
T15472

Javanese pictorial batik, "Wayang" scene; Sie King Goan (factory); 1927

Javanese pictorial batik, "Wayang" scene; Sie King Goan (factory); 1927.
Description
Javanese pictorial batik, "Wayang" scene; Sie King Goan (factory); 1927. This is a long rectangular wall hanging with figures laid out horizontally along the selvage of the cloth, representing historical drama of early Java, as follows: Kolo Denla, the king of the Wild men, or giants, with a crown of ivory, receiving the tree of peace from the Kristeno dynasty, represented by Bratasena, the Strong man of Java, 2nd son of Krisno, the first king of the Kristeno dynasty. Djojodrolo, the son of the Strong man, who was able to fly, accompanying his father for protection. Gadamana, another son of the Strong Man, able to traverse the sea and earth, also helping his father. The decoration across the top of the hanging represents the ceiling and corners, each man being near a corner, of the court room of the Giant. At the bottom is the representation of a cement floor inlaid with square marble slabs, of three kinds, carved. Between the two sons is a pot of flowering plants, much prized by the Javanese. Note the characteristic armlets, bracelets, and anklets and necklaces. Colors are: Nilo (indigo), Bang bangan (red), Koedoe (brown), poedih (white or flesh). The donor described the batik-making process she observed at the factory of Sie King Goan (proprietor and name of the factory), Solosche Batikhandelaar, street address: Kanggotan, Solo, Java. First, the plain cotton cloth, which she described as muslin, is bleached in castor oil and lye water for about 15 days. Then it is boiled for about 2 hours to remove the oil and prepare it for waxing. The wayang figures representing historical accounts of early Java were drawn in pencil by men. Women traced the pencil drawing with the tjanting, which deposits the wax for the resist-dyeing. They use beeswax, which is melted in an oven. The blue and black dyes are from indigo, obtained from a plant which the Javanese call "nilo." The cloth must be in the dye bath for the indigo for from 10-30 days. After dyeing the cloth is boiled to remove the wax. The cloth is then rewaxed for the next dye bath. For the brown dye the root of the koedoe tree is used. The bark is crushed and the juice diluted. In this bath the batik is dipped twice a day and immediately dried, but not in the sun, because the heat of the sun may melt the wax. Dyeing takes 10 to 15 days. The dyed cloth is then again boiled and rewaxed. The red dye, bang-bangan, is a mixture of about a dozen different kinds of leaves and flowers that give red coloring materials. The length of time to be kept in the bath depends upon how deep the color is wanted. The dyed cloth is again boiled and rewaxed. The yellow dye is from Koeningan, obtained from a tree. Branches are chopped off into small pieces and boiled for 5 or 6 hours. The batiks are boiled in it for at least 2 hours. Starch may be used to stiffen the batik. Usually the hard press of packing serves to iron the batiks.
Location
Currently not on view
date made
ca. 1927
maker
Sie King Goan, Solosche Batikkery
ID Number
TE.T05648.000
catalog number
T05648.000

Greek Needle Lace Border

Coarse Greek Reticella type needle lace with bobbin lace added to one end. It is possibly two cuffs sewn together.Currently not on view
Description (Brief)
Coarse Greek Reticella type needle lace with bobbin lace added to one end. It is possibly two cuffs sewn together.
Location
Currently not on view
ID Number
TE.L6911
catalog number
L6911.000
accession number
50762

Floral Argentan Needle Lace Edging

Currently not on view
Location
Currently not on view
ID Number
2013.0121.45
accession number
2013.0121
catalog number
2013.0121.45

Lace Cuff in Burano Venetian Style Needle Lace

Currently not on view
Location
Currently not on view
ID Number
TE.E331764C
catalog number
E331764.00C

Tønder Bobbin Lace Edging Made by Danish Women in Greenland

Currently not on view
Location
Currently not on view
ID Number
TE.E247149
catalog number
E247149.000

fan leaf

Currently not on view
Location
Currently not on view
ID Number
TE.T13747
catalog number
T13747
accession number
262265

Javanese batik sarong or wrapper, 1915

Javanese batik sarong or wrapper in yellow and blue. Central field has patterning of multi-patterned stepped diagonal stripes. Traditional Javanese form in traditional Javanese technique.
Description
Javanese batik sarong or wrapper in yellow and blue. Central field has patterning of multi-patterned stepped diagonal stripes. Traditional Javanese form in traditional Javanese technique. Narrow side borders, Kepala with tumpal (opposed elongated triangles) design flanked by floral borders. 83" L x 42" W. One of 22 finished batik textiles, together with 14 process samples, made by prisoners in Java for exhibition at the 1915 Panama-Pacific Exposition in San Francisco. Purchased by the US National Museum for the Division of Textiles from the Netherlands East Indies Commission at the close of the Exposition. The original cataloging identifies the pattern as "Orangoring" and gives the price as 20 F. or $8.00.
Location
Currently not on view
date made
1914-1915
ID Number
TE.T02924.000
catalog number
T02924.000
accession number
59191

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