Quilts and Coverlets

Welcome to  Lowndes County Historical Museum’s Quilts and Coverlets web display. As you browse through this section you may click on each picture to get a larger view on the item. Many of the quilts and coverlets shown here are currently not on display at the museum; however, they may be viewed at the museum by appointment.  When requesting an appointment; or, if you have information to share, please mention the item number located at the top or to the left of the large picture. (The numbers on this page should all start with a TB prefix.) 

 Pieced Quilts

Pieced quilts are formed by sewing together precisely cut shapes to make a larger shape which is usually called a block. These blocks are then sewn to sashing- a fabric frame- or sewn together without sashing to form the quilt top. The Railroad Ties Quilt shown here is designed with sashing but the Windmill Quilt blocks are pieced together without the sashing. The Wedding Ring Quilt Top is an example of a difficult quilt design to sew since it’s shapes are based on an arc.

Railroad Ties Quilt (Tb 56)

Railroad Ties Quilt (TB 56)

TB 56

Pattern Name: Railroad Ties
Overall Dimensions: 79″x 79″
Configuration: 6 blocks x 6 blocks
Sashing: Approx 3″
Fiber Content: Cotton
Backing: Cotton, black and white print
Block Size: 9 ”
Binding: backing wraps to front
Sewing Methods: hand pieced and hand quilted

History: The Lowndes County Historical Museum is seeking the history on this quilt. If you have any information, please let us know.

Double Wedding Ring Quilt Top (Tb 44a)

Double Wedding Ring Quilt Top (TB 44a)

Quilt Top TB 44a

Pattern Name: Wedding Ring
Overall Dimensions: 75 ½” x 75 1/2″
Configuration: 3 large complete rings across and 3 complete rings down, corner rings
Block Size: Inside rings 5″
Fiber Content: Cotton
Documented Georgia Quilt Project 4898

This quilt is made up of 3 large complete rings vertically and horizontally with corner rings. This quilt is a top only. The batting, backing, quilting,and binding were not added to complete the quilt.

TB 57                                               

Windmill Quilt (Tb 57)

Windmill Quilt (TB 57)

Pattern Name: Windmill
Overall Dimensions: 62 1/2″ x 80 1/2″
Configuration: 4 blocks across  x 5 blocks down
Block Size: 15″
Sashing: None
Fiber Content: Made of shirting material
Binding: Wrapped from back, gold 3 ½” wide on front
Backing: Cotton, pieced-stripes and solid
Batting: Dark
Sewing Method: Hand pieced, hand quilted

Trip Around the World (TB 44C 2013-10-02)

Quilt Top TB 44c 2013-10-02

Pattern Name: Trip Around the World
Fiber Content: Cotton

History: Given to Jamie M. Hulman around 1948. This top was made by either her grandmother, Mrs. Tom Dennard of Pineview, Georgia, or her cousin, Mrs Joe Dennard. This is a quilt top only. Ancestry work showed Thomas Jefferson Dennard (1879-1944) married Leona Barfield Dennard (1883-1974) in 1902 she is the possible maker of the quilt top. They are buried in Pineview Cemetery in Wilcox County, Georgia. They had Edith Dennard (1902-1959) who married John Hendley McLeod (1895-1952). Edith and John had Jamie McLeod Hulman (b.1922) who is donor of the quilt here and the Dresden Quilt shown later on this page.

Pieced Quilt – Log Cabin

Another type of pieced quilt is the Log Cabin. The museum houses several log cabin quilts. They are shown here together under its own heading to explain the variation in appearances when comparing the two examples of Log Cabin Quilts in the museum. Further down this page details, history, and the specifics of these quilts are explained.

Color value plays a large part of how an object is perceived. Using the same design pattern, quilters often arrange color value to change the overall effect of the quilt.  The two log cabin quilts in our collection are examples of how color value visually affects the overall design.

The log cabin pattern is traditionally made by sewing logs of fabric the same width around a center square, building the block on a foundation material to its intended size. The quilt blocks are then sewn together to make a quilt top.  The quilt on the left is pieced starting with the center square first which is ether light or dark and then alternates the value worked around the center square. Each square ends with the opposite value of the one sewn next to it,  alternating light and dark. The overall look achieved is a quilt of squares.

The pattern on the right splits the center square with dark on one side of the diagonal of the square and light on the other side of the diagonal. Dark values are then worked on the diagonal that correspond to the dark center square around the square and light values are worked corresponding to the light diagonal. The order of light and dark are then reversed and four blocks are sewn together matching same values of the four blocks. The result looks like light diamonds glowing from a dark background.  It can be further enhanced by using different values of the dark areas as evident in the piece on the left. The small thumbnails under the detail of this quilt shows the slightly different dark values used for the “background” giving it an almost 3 dimensional appearance.

There are many other ways of arranging the value in this pattern to get other interesting overall effects. When identifying log cabin quilts, look for the center block and follow it around to see how the block was constructed. When designing a log cabin quilt use different softness of lead pencils on graph paper to sketch out the value of a design. Its amazing how many overall appearances can be achieved by varying the value but using the same pattern not to mention the addition of hues and how they react with one another.

Log Cabin (TB 44a 2000-05)

TB 44a 2000-05

Pattern Name:  Log Cabin
Overall Dimensions: 68″x 73″
Fiber Content: Silk, silk velvet
Configuration:  9 four block sections across x 10 four blocks down
Block Size: 3” each, 4 block section is 6”x 6”
Sashing: Green 3″ wide
Border: Metallic gold 1  5/8” wide. There are no corner blocks or mitered corners, border sides runs the length to the binding
Binding: 1/2 inch silk off white
Backing: Brick red print
Batting: Thin
Sewing Method:

History: Henry William “Billy” Peeples donated this quilt on the left in his mother’s name Lillian Audrey Bray Peeples (1896-2000) just after his mother’s death. Because this quilt was made c.1900, it was probably passed down to her from her parents John Newton Bray (1861-Aug 14, 1931) and  Corranette Brinson Bray (1865-July 22, 1931). The Brays owned a lumber mill in Valdosta, GA. and are buried in Sunset Hill Cemetery.  This unfinished quilt top measures 102″ x 84″. It is pieced the same as the Peeples silk log cabin but looks completely different due to the placement of light and dark fabrics used in each block.

Log Cabin Square overall

Log Cabin Squares (TB 44c 2000-05)

TB 44c

Name of Pattern: Log Cabin
Overall Dimensions: 84” x 102”
Fiber Content: Silk, crepe, other, cotton foundation
10 blocks across x 12 blocks down
Block Size: 8″
Sashing: None
Sewing Method: Log Cabin top was sewn by hand but blocks were sewn together by machine

History: The museum is currently looking for information on this quilt. Please contact the museum if you have information pertaining to this quilt.

Pieced Quilt- Based On a Triangle

Piecing triangles may be potentially more difficult for a inexperienced quilter since sewing pieces on the bias may potentially stretch causing the shapes to not fit together perfectly and thus the quilt to not lay flat. This did not discourage historic quilters who worked many varied designs using this geometric shape.  Two examples of quilts using  predominate triangular patterns are housed in the museum’s collections.

TB 44b

Pyramid quilt (Tb 44b)

Triangle Pyramid Quilt (TB 44b)

Pattern Name:  Triangle Pyramid
Overall Dimensions: 63″ x 74″
Fiber Content: Cotton
Configuration: 6 medium value triangles alternate with 10 light value triangles to make a large pieced triangle. The pieced triangles alternate with solid yellow triangles to form a strip. Half triangles are added to the ends so that each alternating strip is offset of previous rows strips.
Block Size: One pieced triangular motif measures 9 1/2″ at the base, and 11 3/4″ on the sides. An individual triangle within the motif measures 2  1/4″ at the base and 2  5/8″ tall.
Sashing: None
Binding: 1/2″ wide
Backing: Cotton, natural muslin
Sewing Method:  Hand pieced, quilting done by hand in the following manner; diagonal lines in the pieced triangles, vertical stripes in the solid yellow triangles, and rainbow pattern in the border.

History: The Lowndes County Museum is still seeking information on the history of this quilt.

Double Sawtooth Quilt (Tb46b)

Double Sawtooth Quilt (TB 46b)

TB 46b

Pattern Name: Double Sawtooth
Overall Size: 63″ x 74″
Fiber Content: Cotton
Configuration: 6 blocks across x 7 blocks down
Block Size: Center block is 5 inches square, the sawtooth around the square is 1 1/2″ wide, overall block 8″
Sashing: 1  1/2″ wide print
Border: 2  1/2″ wide, corners rounded
Backing: Cotton-natural
Binding: Wrapped from back
Sewing Method: Hand pieced, hand quilted in eggshell pattern

History: The Lowndes County Museum is still searching for information on the history of this quilt.

Crazy Quilts

Pieces that make up a crazy quilt do not follow a certain shape but are made of scraps of fabric sewn to a foundation material. The foundation material is not seen since it is fully covered. Many of the seams of the fashion fabric are covered with embroidered stitches displaying a wide range of stitches and combinations of stitches. Some of the pieces of fabric within the quilt might also have been embroidered with motifs such as flowers and animals or signed with embroidery stitches with names, dates, or initials.  Many of these quilts were used as show pieces instead of utilitarian quilts. They were very popular during the Victorian Era and many times included fancy materials such as pieces of  velvet, upholstery, and silks. However, more modern pieces also exist in the museum as it was a good way to use up scraps of fabric.

 TB 76 1971-26


Crazy Quilt (TB 76 1971-26)

Pattern Name: Crazy Quilt
Overall Dimensions: 66″ x 67 ½ ”
Fiber Content:  Various satin, various velvet
Configuration: 3 blocks across x 3 blocks down
Backing: Beige polished cotton
Binding: Rolled from back
Sewing Method: Lots of hand embroidery including combination of embroidery stitches, pictorials of birds, and monograms. This is a beautiful piece to study fabrics as well as  the use and combination of embroidery stitches.

History: This crazy quilt below was donated to the museum in 1971 by Natalie Williams. Her mother, Mrs. Missouri Roberts Sirmans (1871-1951) wife of Joseph (Josiah, Joe) W. Sirmans (1867-1940), made the quilt and her initials are embroidered in the center. This quilt is extensively embroidered. The 1910 Census shows Missouri Roberts was married in 1894 (16 years) but the 1900 Census shows her being married 8 years (1892). Some family ancestry accounts suggests she was married in 1891. Since her married name and husbands initials are on the quilt, it dates this quilt between 1891-1951; however, the fabric on the quilt top and the popularity of this type of quilt might suggests a narrowing of the date between 1891-1925.  Joseph W. and Missouri Roberts Sirmans first lived in Berrien County and moved to Valdosta between 1914 and 1917. They are listed in the 1917 Polks Valdosta Business Directory and he is listed as a dentist with his office in the 303 McKey Building and living on 217 Central Ave. Both  are buried in Sunset Hill Cemetery in Valdosta, GA.  See also the 1833 coverlet made by Lucretia Thames, great paternal grandmother of Natalie Williams. This is located on this same page under the heading Coverlets.

pic home Missouri Roberts and Joesph W. Sirmans 1909-1916 Ber (2)

Picture of the home of Missouri Roberts and Joseph W. Sirmans 1909-1916 in Berrien County before moving to Valdosta with daughters Natalie and Aline.

TB 45

Watermarked Crazy TB45

Pattern Name: Crazy Quilt
Overall Dimensions: 77″x 80″
Fiber Content: Varied scrap pieces of wool, polyester and cotton in a variety of weaves including tweed, gingham, herringbone, twill, plaid flannels
Configuration: 2 blocks x 3 blocks
Block Size: Approx 26″ x 41 1/2 ”
Sashing: None
Backing: Crepe
Binding: None
Sewing Method: Hand pieced and hand stitched together,  variations of feather stitches, blanket stitch, couching and french knots are used on top to secure pieces

History: The Lowndes County Museum is still searching for the history on this quilt. If anyone has information on this quilt. please contact the museum. This quilt contains examples synthetic fibers.

TB 56 

Crazy 54

Pattern Name: Crazy Quilt
Overall Dimensions: 71″ x 81″
Fiber Content: Polyester, rayon, silk, cotton
Configuration: Made up of 17 irregular size blocks
Backing: Print
Binding: Rolled from back
Sewing Method: Hand embroidered with different initials and figures.
GA Quilt project quilt # 4901

History: The museum is in the process of  searching out the history on this quilt. We hope to have more information available soon on this quilt. It would be difficult to date this quilt since it has been patched over with sometimes several layers of fabric. Evidence of earlier embroidery stitches still holding bits of fabric caught in the work can be seen where even the patch fabric that was to cover  has deterioration- evidence of a loved quilt. It looks as though it received a wider border and backing in the 60’s and was tied at that time with pink yarn. Several Sunbonnet Sues were outlined in embroidery and the word Mother was also embroidered.


Appliqué Quilts

The museum also has several appliqué quilts.  Appliqué is a technique by which a fabric is stitched onto a foundation fabric in order to make a pattern and is thus not limited to geometric shapes.The foundation fabric may be a whole cloth or it may be blocks which are then sewn together with other blocks to make up the quilt. Sometimes pieced and appliqué techniques are used within the same quilt.

TB 43a  2000-24-01


Kentucky Rose (TB 43a 2000-24-01)

Pattern Name: Kentucky Rose
Overall Dimensions: 92″x 92″
Fiber Content: Cotton
Configuration: 4 blocks x 5 blocks
Block Size: 20″square
Sashing: Green bottom and top boarder are 2  6/8″ wide, Unbleached muslin boarder top and bottom are 2 1/4 ” wide Red boarder at binding 2 1/2 “wide, side sashing meets edge, side borders are 1 1/2 ” wide, edges are rounded
Backing: Cotton, natural
Binding: Rolled from back, exact 1/4 ”
Sewing Method: Hand appliqued using invisible stitch center flower uses reverse applique technique; Hand quilted – quilting thread color matches color of  top in diamond shape, shadow quilting in applique areas

History: This beautifully executed quilt was a gift to the museum from Erma Jordan. She left information on the quilt which said “Made by N. A. K. Kendrick, wife of Samuel Payton Kendrick with sister Sallie to help.  It was then left to the granddaughter Mollie Poitevint who after her death left it to Erma Jordan, the quilter’s great granddaughter.”  Although the quilt is inscribed with quilting on the bottom with the initials N.A. E. K May 25, 1860, there is a mystery behind  who made this quilt. Research finds that the wife of Samuel Payton Kendrick was Nancy Ann Martin Kendrick but this Nancy died in 1845. However, their son Payton Kendrick who married Mary Ann Horsley had a child named N. A. Kendrick born 1840 and had a daughter Sallie born 1858. This N. A. Kendrick, the granddaughter of Samuel Payton Kendrick and Nancy Ann, would have been the perfect age to finish such a quilt.

In the 1880 Census, this N.A. Kendrick was living in Brooks County with her parents and sister Sallie.  Sallie could not have helped make the quilt since she would have just been age 2 in 1860; however, several different hands did work on the quilting as evidenced by the gauge of stitches; not an uncommon practice. This was  the note of sister Sallie’s help could have referred to the knitted spread donated at the same time. This spread is exhibited in the lace display. Since N.A. Kendrick was in the household of her parents at age 40 with her sister who was 22, according to the 1880 Census, they could have worked together on this very large and wonderfully executed knitted project.

TB 45 2010-48

Whole Cloth Applique Quilt (2010-48Tb 45)

Whole Cloth Applique Quilt (TB 45 2010-48)


Pattern Name: Unknown

Overall Dimensions: 89″ x 89″

Fiber Content: Cotton

Configuration: 16 blocks, The round roses wreath is repeated 3 times, the melon vine pattern is repeated 4 times in variation of color, the cherry tree design is repeated 3 times and the flowers in a vase is repeated 2 times. There is one of a tulip and flower tree design. A 9” shallow scallop boarder is also appliquéd with the flowers and cherries.

Block Size: 19 ¼ “

Sashing: None


Binding: 1/8”  in red

Sewing Method: This work is all hand done including the sewing of the blocks together. Appliqued by hand with invisible stitch. Quilted at 9-10 stitches per inch and very even this a seasoned quilter.


History: John Deming III donated this appliqué quilt in pinks, gold and a fugitive green that faded to browns. This quilt was made by Sampson Brewer Barfield (1853-1918) who married Elizabeth Davis Lawson(1861-1947). The story told by John Deming was that Sampson got kicked by a horse and was left paralyzed and could no longer work on his farm. To keep busy, he made quilts and won several blue ribbons in the fairs for his quilts. Their 12 living children grew up on the family farm was south of Hahira  in Lower Fork, Lowndes County. According to The Huxford’s Pioneer’s of the Wiregrass Vol VIII Sampson Brewer Barfield donated the land that the Bethany Baptist Church building is on. Founded in 1874 it is named after Sampson’s mother Bethenia Brewer Barfield (18817-1889)

Combination of Techniques

Sometimes quilters use pieced and appliqued techniques in the same quilt. Shown below are several  examples of these quilts, using multiple techniques,  which are housed in the Lowndes County Historical Museum.

TB 83 2012-34

Blue quilt for Web

Pattern Names: Written on back see photo
Overall Dimensions: 77” W x 93”L
Fiber Content: Cotton
Configuration: 5 blocks x 6 blocks
Block Size:
Sashing: 4” blue
Border: 2” wide
Backing: Cotton, white
Binding: ½” binding
Sewing Method: Quilting outlines block, clam shell design

History:This Blue Sampler Quilt was the first project of the Withlacoochee Quilt Guilders made in 1980 and registered with the Georgia Quilt Project in 1999. It uses a combination of appliqué and pieced blocks.  The blocks names are typed on the back along with the person who made the block. This quilt hung in the office of Gil Harbin, who was the Director of Industry and Trade of the Chamber of Commerce in  Valdosta, Georgia from 1987-1994. The quilt was donated to the Lowndes County Historical Museum in 2012.

TB 83



Overall Dimensions: 94 5/8” x 51 ½”

Fiber Content: Cotton
Configuration: 7 blocks across x 4 blocks down, 2 blocks combined to form center
Sashing: Green, 1 ½” wide
Border: Green 4”
Backing: White unbleached muslin
Binding: ½” green
Sewing Method: Quilting according to each block outline.  Loop quilting on sashing.

History: Made by Withlachoochee Quilt Guild. Presented Georgia Welcome Center 16 January 1992.  Names of Quilters in ink on bottom right-hand square.

TB 44c 2013-10-01

(2013-10-01Tb44C) Huckman Collection Dresdan


Pattern Name: Dresden Plate
Overall Dimensions: 143″ x 171″
Fiber Content: Cotton
Configuration: 4 blocks across x 5 blocks down
Block Size: Approx 13 1/2″ x 14″
Sashing: None
Border: Approx 8 1/2″
Backing: None
Binding: None
Sewing Method: Pieced and appliqued

History:  Jamie M Hulman donated this quilt top to the museum. The same quilter(s) that pieced this quilt top also pieced the Trip Around the World Quilt seen above. In this quilt top, the petals of the flower were first pieced together using a straight stitch on the sewing machine. The center circle was then appliqued using embroidery thread. The Dresden plate was then appliqued to the background square using embroidery floss. The blocks were then arranged and sewn together. A green border was added to enhance the unity of the quilt top and draw the viewer’s eye inward.

 TB 44c 2014-40-01,02

2014-40-01 QuiltPattern Name: Underground Railroad Sampler

Block Name: left to right top to bottom -Monkey’s Wrench, Wagon Wheel, Carpenter’s Wheel, Bear’s Paw, Baskets, Crossroads, Log Cabin, Shoofly, Bow Tie, Flying Geese, Birds in the Air, Drunkard’s Path, Sailboat, North Star, Pattern Block Identification.

Overall Dimensions: 59″ x 89″

Fiber: Cotton

Configuration: 3 blocks across x 5 blocks down

Block Size: 12″

Sashing: 3″

Border: 5″

Backing: None

Binding: None

Sewing Method: Pieced and appliqued

History: This quilt sampler top was stitched in 2013 and given to the museum by Kim Joseph. It is based on the pattern book Quilt in a Day in Underground Railroad Sampler by Eleanor Burns and Sue Bouchard. It was the fourth quilt she had made.  This quilt top is machine pieced and machine appliqued.

Currently on Display On Main Floor.


Hand Woven Coverlets

Hand woven coverlets are generally thought of as woven bedspreads which were usually made from wool, linen, and /or cotton. There are several different types of coverlets and some were made by professional weavers while others were handwoven in the home. Among those woven at home, a vast majority of these were made from a type of weaving called overshot. The name overshot  describes  how the pattern is made- the weft shooting over two or more warp threads, sometimes in groups, to make a geometric pattern. A soft homespun and home dyed wool- usually natural dyes- was employed for the pattern work and contrasted with the more firmly spun linen or cotton, sometimes commercial thread, that was used for the warp as well as the weft’s tabby or plain weave. It is interesting to note that in at least one of the examples in the museum, the natural black color of the sheep’s wool was used instead of a dye. Much like quilt patterns, overshot weave patterns had names that  sometimes varied according to regions. Many of these names were taken from common everyday life such as “bow tie” and “wagon wheel.” Although these were beautiful show pieces in their own right, their sturdy structure made them practical for every day use. For those who would like to try their hand at weaving their own heirloom, many of these historic coverlet patterns may still be found in many weaving pattern books including Mary Black’s Book The Key To Weaving and  Frances L. Goodrich’s  Brown Book of Weaving Drafts.

1833 Coverlet (TB 76 1971-26-7)

1833 Coverlet (71-26-7 TB76)

1833 Coverlet (TB76 1971-26-7 )


Size: 87 ” wide X 85 ” length
Configuration:  Woven in 3 panels sewn together by hand
Weaving Width approx: 28 ½ inches
Threads: White = Cotton, handspun singles Z twist,   Purple=combination of wool & cotton in carding process, handspun singles,     Black =natural color of wool handspun, singles,   Z twist
Weaving Pattern: adaption of snowball pattern

History: This coverlet has an interesting story that unfolded during research.  Information is written on the lower right hand corner of this coverlet, “Made in 1833 by Lucretia Thames- the year the stars fell- Dr. Sirmans’ grandmother.” This coverlet was made to commemorate the Leonid Meteor Shower that lit the night sky in November 13,1833 and was thus termed “the year the stars fell.”

The Acquisition also states that this coverlet maker was related to Natalie Sirmans Williams. A follow up of ancestry research revealed the following:  Lucretia Thames (1822-1905?) was the  wife of William Nelson Thames. They had two children Elizabeth Francis (b.1834) and William (b.1836). Elizabeth Frances married Benjamin J. Sirmans (1831-1877) –this was his first wife.  Joseph W. Sirmans (1867-1940) was the son of Benjamin.   Joseph’s  second wife was Missouri Roberts (1871-1951). Joseph is listed in the 1923 Polk’s Valdosta Business Directory as Josiah W. Sirmans and wife Missouri  (dentist) living on 223 W Central Ave.,  thus being the doctor in position of the coverlet  according to the inscription.  Missouri Sirmans was Natalie Sirmans Williams mother.  Lucretia Thames is therefore the great-grandmother to Natalie Williams who donated this coverlet to the museum.  She apparently was only eleven years old when in 1833 she saw “the stars fall” and made the coverlet

Pattern: The design of this coverlet is a modified overshot pattern called Snowball.  With an overall view of this coverlet one can almost imagine meteors falling and streams of light.

Diamond Coverlet (TB75 82-332-02)

This coverlet pattern is sometimes called “gods eye” or “diamonds.

Diamond Coverlet TB75 82-337-02

Diamond Coverlet (TB 75 82-337-02)

Size: 72″

Configuration:woven in 3 panels, 2 at 27 ” one at 18″- might indicate later alterations
Weaving Width: at least 27 inches
Epi: 46
Threads: pattern wool spun singly probably handspun

Weaving Pattern: diamond pattern draw down and threading recorded in museum

History: This coverlet is attributed to the Mrs. Madge Edwards Acquisition at the museum in memory of her mother Ola Folsom Watkins (April 22, 1887-Dec 20, 1965) who was born in Lowndes County.  Ola is buried alongside her husband William David Watkins at the Mt. Zion Cemetery in Lowndes County. Ola’s parents were Laura Virginia Newsome Folsom (1861-1940) and Pennywell G Folsom (1844-1915). (This was his third wife.) Pennywell was a confederate solider. Pennywell ‘s father was Ebenezer George Folsom ( b. Mar 28,1817 Pulaski County, GA d. Feb 1, 1864 Brooks) who came to Lowndes County as a young man to join his brothers according to Huxford Vol 4p and married Priscilla Jane Rogers Folsom (b.1820 Lowndes County d. Aug 17, 1903 Brooks)They are both buried in John C. Spell Family Cemetery in Brooks. Due to the time frame coverlets were in style, this probably belonged to Priscilla Jane and Pennywell Folsom. This coverlet might have been made by a professional weaver since the pattern requires an 8 shaft loom, not usually seen in home looms at that time; however, the piece is not signed. Each of the 3 pieces of this coverlet are whipped stitched together making it easy to take apart the sections for washing. (Coverlets are large and heavy when they are wet. This practice served to aid the launderer in the washing as well as protecting the piece from undue stress.)  They were not always matched back together correctly when resewn after the sections were dry.

1861 Double Bow Knot Coverlet (TB75 1967-02-03)

Bow knot coverlet overall - Copy

Double Bow Knot Coverlet (TB 1967-02-03)

Size: 79 1/2″ X 96

Configuration: three pieces
Weaving width: 26 1/2 each
Epi: 40
Threads: Pattern handspun wool -natural color of sheep
Weaving Pattern: A bow knot pattern, draw down, threading recorded in the museum


History: This coverlet had recorded history that it was made by Jane Smith that later became a Brooks. She sheered her own sheep, spun her wool, and wove the coverlet to keep from being lonely while her husband was fighting in the Civil War.

Research on this coverlet was most engaging and still has mysteries that need to be found.  Jane Smith before marriage was Jane Webb the daughter of Dawson Webb (1787-1850). Her father was born in North Carolina and lived Wilkinson County, Georgia and fought in the Revolutionary War. He married Frances Beall and had eight children. Among his children are Martha Webb and Jane Webb (b.1837)  In the 1850 Census he is living in Lowndes County Georgia and his neighbors are Jeremiah Shaw Jr. and Rachel Horn Shaw who also have children.  Between the 1850 and 1860 Census, Martha who is older than Jane married William Jasper Shaw the son of Jeremiah and Rachel while her sister and maker of the coverlet married James Smith.  Martha had at least one maybe two children and died before the 1860 Census and William Jasper Shaw remarried Elizabeth Wetherington.  Information on James Smith’s enlistment in the Confederacy has not been by the museum staff at this time. However, Jane Smith does not list him in the 1870 census and her last child, Mary was born before the war. In 1880 census she is listed as a widow.

Roy Shaw gave the museum the coverlet and is the grandson of William Jasper Shaw. Roy Shaw’s father was Leonard Filmore Shaw who was possible son of Martha before she died. Some sources say that Leonard Filmore Shaw was the son of Elizabeth Wetherington, William Jasper’s second wife after the death of Martha Webb Shaw, Jane’s sister. Questions that remain are how did the coverlet come into the position of the Shaw family, was it through Jane Webb Smith to her nephew Leonard Filmore Shaw? Also, what company was James Smith attached to and did he die during the war? Still another unanswered mystery is when did Jane Smith remarry a Brooks and what is his name and where are they buried? This Jane Smith was definitely part of the Roy Shaw family, but was this the Jane Smith who made the coverlet in the Roy Shaw family or was there another Jane Smith within this family? (This is possible.) If you have any further information which could help us in the history of this coverlet, please contact the museum.

This particular coverlet is made in black and white utilizing the natural color of the sheep to enhance the design. The documented date on this coverlet is 1861.


Lover’s Knot Coverlet (TB105 2011-25)

This lovers Knot pattern is a variation off of another pattern called the Whig Rose. This particular coverlet is made in brown and white.

2011-25 Lovers knot overall

Lover’s Knot Coverlet (TB105 2011-25)


Size: 69 1/2 x 90 1/2

Configuration: 3 panels whipped together

Weaving width: 25″

Epi: 44

Threads: pattern brown wool handspun singles- z twist, cotton handspun fine singles- z twist

Weaving Pattern: recorded in the museum

History: Mrs Jacqueline Norton Wiggins donated this coverlet with the information that someone in the Pitts family made the coverlet and the Pitts lived near Norman Park, Colquitt County, Georgia. Mrs. Jacqueline Norton was from Boston, Georgia and her parents were Hugh G Norton (1880-1957) and Ola C Norton (1895-1967) and they are buried in Boston, Ga. There is a Ola Pitts is living in Norman Park in the 1920 US Census with her parents Hezekiah H Pitts (b. 1864 d. 15 Jan 1923) and mother Bettie. (Research has not been confirmed this is Ola Norton.)

Table Coverlet (TB105 1991-4-11)

Table Coverlet (TB105 2011-25)

Size: 67 1/2 x 70

Configuration: 3 panels whipped together

Weaving width: 22 1/2

Epi 27

Threads:Pattern  purple and black wool handspun in singles, cotton

Weaving pattern: The Nine Star and a Table pattern from the book American Woven Coverlets by Carol Strickler would have to be modified to make this particular coverlet.

History: John Robert Wiggins (1927-2011) married Jacqueline Norton in 1950. This coverlet is attributed to the John Robert Wiggins family. At this time the exact pattern name for this coverlet has not been identified; however, it closely resembles the Nine Star and a Table Pattern  seen in the book American Woven Coverlets by Carol Strickler 1987 Interweave Press pages 114-115,35,51 while omitting the “stars.”

Indigo Coverlet (TB 69 2016-07)



Fiber content: Cotton ground threads with wool overshots: Hand woven coverlet.
Thread: Hand spun
Dye: Indigo
Size: 76 ½” W x 92” L,
Configuration:  2 panels 38” W which indicates a minimum 40” loom. Edges  hand-whipped,   pattern does not match- may have put back together wrong after laundry,
 Epi. 21
Pattern: Brick Work (revised)

History: The museum just recently received this gift and are still investigating the history on this piece. Please check back with us!

Knitted Bedspreads

Knitted Bedspreads are included here because of their relation to quilts and coverlets. To date, two very similar knitted bedspreads have be donated to the museum. Each have raised leaf areas are were probably made around the same era. Both are testaments to the skillfulness, precision, and patience of the stitcher.