While the collection hosts a large number of textiles, including garments, linens, and needlework, I primarily focused on quilt blocks over the summer. In January of 2024, I worked with needlework and embroidered towels in the collection, so I decided to branch out. The collection dates as a while to the 18th and 19th century, though the individual blocks were not labeled or dated. I collected data including the manner of construction (often hand-stitched), fabrics, overall measurement, and the common name of the pattern used. This last piece of information was often the most difficult to find. Many quilters used patterns passed down from previous generations, shared patterns with other quilters, or created original designs. Some of the traditional block patterns have since been reprinted with a variety of names.

In doing research, I found that there are not many anthologies of quilt patterns. Many collections are the passion projects of quilters who created blogs in the early ages of the internet. While the sites are older, they are still very useful! However, the most efficient way to find the name of an unknown pattern is to look for visual matches to the block. This was time-consuming and sometimes inconclusive: For example, the difference between the Bear’s Paw and Hen-and-Chicks patterns lies in small factors such as the angles of the outer triangles. In the below example, the block doesn’t quite match either pattern. It’s not conclusive if the quilter was attempting a specific pattern or simply creating an original design!

In addition to collecting data to input into the state database, I created photo documentation for each block. Often, there were dozens of individual items grouped A-ZZ under one accession number. I probably photographed a few hundred blocks over the months I was there! Each grouping of blocks followed the same pattern and often used the same fabrics. While many groupings did not have enough blocks to comprise a bed-size quilt, it was easy to imagine how the colors and patterns would have worked together in a finished project.

I often wondered why these projects were never completed. Perhaps it was due to lack of time, or the project simply slipped to the bottom of the sewing pile and was forgotten about. As a quilter, I know how much time and effort goes into completing a quilt. It always makes me a bit sad to think that the components parts of these quilts will never be finished. On the other hand, unfinished projects allow historians and conservators to observe the methods and practices that went into their creation. While quilts hide evidence of their construction when finished, quilt blocks and unfinished quilt tops can be flipped to reveal seams and the individual stitches holding fabrics together. I especially enjoyed looking at the hand-pieced blocks. Many of them used an ⅛ seam allowance! The standard for quilting by machine today is ¼ inch, and even then some sewists use larger seam allowances. I was so impressed to see how well these blocks had helped up centuries after their creation!

My favorite block in the collection is an applique block in pink, yellow, white, and green with curved piecing and little flowers in the corners. The stitching in the block is incredibly fine, and the colors have held up well despite some fading from the front! There is no information about the quilter of their life, but I imagine that this block brought them the same sense of joy I feel now centuries later.

This experience meant a lot to me as a conservation student with a passion for quilting. I have had an interest in textiles in conservation since I began working at a fabric and quilt store a few years ago. Multiple people have approached the store looking for information about antique quilts, from sourcing the pattern or seeking repairs for worn heirloom pieces. Unfortunately, there is not a wide base of knowledge about antique textiles or how to properly care for heirloom quilts. I have lived in an area with Pennsylvania German heritage my whole life, and quilting, to me, represents the cultural knowledge and heritage of my local community. Working with the quilt samples in the Landis Valley collection was an amazing experience that allowed me to learn directly from historical cultural items. I look forward to applying this knowledge in my studies as I learn more about my heritage in order to serve my community with my conservation research.

I am so grateful for this opportunity to work with this unique collection. I want to thank the Vicki Cassman Award Committee for allowing me to pursue this work, and to the Landis Valley Village and Farm Museum for providing access to their collections. I am excited to share this knowledge and continue my work in textile conservation.

• Sarah Nolt, UD Class of 2026

The Vicki Cassman Undergraduate Award in Art Conservation was established in 2021 to honor the life and legacy of Dr. Vicki Cassman, former Director of the Undergraduate Program in Art Conservation, the Vicki Cassman Award provides professional development funds for undergraduate students in the Department of Art Conservation. It is given to support projects that embody the spirit of exploration, creativity, and service that Vicki encourage in each of her students. More information about undergraduate student awards, including the Cassman Award, can be found on the UD Department of Art Conservation website.