Kentucky Museum

Photo by Clinton Lewis

Kentucky Stair runner, 1949
Arline (Perkins) Rawlins, 1899-1962, Warren County
Rug Hooking

Arline (Perkins) Rawlins of Bowling Green won national recognition as a hooked rug
designer who did business under the name Nine Hearths Hooked Rug Designs.
During the late 1940s and early 1950s, articles she wrote on rug hooking and her
designs appeared in several national magazines, including American Home,
Woman's Day, Farm and Ranch and Family Circle. Many of Rawlins' patterns include
floral elements, likely an extension of her work as a nationally known flower and
garden judge. Celebrating the history and heritage of the Commonwealth, the
Kentucky Stair Runner is perhaps her masterwork, winning first place at the 1949
Kentucky State Fair.

Alicia McFarland Estate, Bowling Green, KY

Arline Rawlins' stair runner at her home in Bowling Green.
Courtesy of Library Special Collections, WKU

Pine Bloom
Anonymous
Overshot

According to weaving historian Lou Tate, Pine Bloom is found is found in many
collections. Other names it goes by range from Pine Burr and Pine Knot to
Kaintuck [sic] Beauty and Soldiers Return. The differences between this
pattern and the Sea Star coverlet elsewhere in this exhibit are, as is often the
case with many overshot coverlet patterns, extremely subtle. This coverlet
may have been woven by a member of the Helm family of Butler, Logan, and
Warren counties.

Unidentified Pattern
Howard Family Member, Monroe County
Overshot

Based on the classic Double Bowknot motif, this striking coverlet helps illustrate the color choices
home weavers faced during the 19th century. While they hadready access to indigo, a relatively
inexpensive dyestuff with excellent colorfast properties, the preferred options for dyeing wool red
– madder and cochineal – were more expensive. Brazilwood, a lesser dyestuff that was not as
colorfast, was a third option. In contrast to this single handwoven primarily red coverlet, the
Kentucky Museum's holdings include 11 two-color indigo and natural overshot coverlets.

Wilma Klein, New Albany, IN

Tennessee Trouble (Variation)
Mary Mates (Sylvester) Rhodes, 1830-1906, Allen County, KY
Overshot

Tennessee Trouble typically includes diamond-shaped wheels clustered or grouped together, but
in this variation, they are arranged in rows. This example does include the nearly universal divided
table, however. The use of "Tennessee" as part of the pattern name occurs at least six times, the
result perhaps of the longstanding tradition of coverlet weaving in the state of Tennessee. Besides
Tennessee Trouble, other uses include Tennessee Trouble in North Carolina, Tennessee Circles,
Tennessee Flower, and Tennessee Lace. As with many family pieces, the coverlet on exhibit
descended through several generations before its donation to the Kentucky Museum in 1998.

Whig Rose, 1825-1860
Anonymous
Double Weave

Double weave is a compound weave structure consisting of two sets of warps and wefts that
interconnect at specific points in the pattern, producing a reversible textile. The pattern of this
example is Whig Rose, perhaps a reference to political events surrounding the 19th century Whig
Political Party once led by Kentucky senator Henry Clay. Reproducible using many weaving
techniques, the Whig Rose design was also popular with 19th century quiltmakers. This example is
one of two panels in the collection that were woven as a single textile and cut but never sewn
together to create a finished coverlet.

Calvert Estate, Bowling Green, KY

Two Lilies and Sunburst with Bird and Bush Border, 1839
John Mellinger, abt. 1800-1888, Pennsylvania
Tied Beiderwand

Professional weavers used many of the same patterns for figured and fancy coverlets, including
the design of the coverlet on exhibit. Its major elements – Double Lily, Sunburst, and the Bird and
Bush (Distelfink and Rose Bush) border – appear in other patterns as well. Mellinger self-
advertised his work, signing the corner blocks in the style typical of coverlets produced by
Mennonite and immigrant German weavers from Pennsylvania. The coverlet on display is
particularly noteworthy given its use as the frontispiece of A Book of Hand-Woven Coverlets by
noted Bowling Green author Eliza Calvert Hall (Lida Calvert Obenchain).

Mrs. Sarah (Gilbert) Garris, Bowling Green, KY

Double Roses and Stars with Baskets of Fruit Border, 1861
Dennis Cosley, 1816-1904, Kentucky
Tied Beiderwand

Documentation of the work of professional weavers in Kentucky is limited. A Virginia native,
Dennis Cosley worked in Pennsylvania before moving to Greene County, Ohio, after 1845. Like
most professional weavers, he used standard centerfield and border motifs such as the ones used
in this coverlet. Cosley also wove in two, three, and four-color combinations. Known examples of
his work date between 1845 and 1862 with the Kentucky Museum’s coverlet dated 1861. How
long he worked in Kentucky is unknown, but a second coverlet dated 1861 and one dated 1862
have been documented.

James L. Young, Murfreesboro, TN

Sea Star or Seven Stars
Anonymous
Overshot

Nineteenth century weavers took rigorous steps to prepare and process wool and cotton into
yarns. For this coverlet panel, the weft yarns were dyed a dark blue using indigo, the most
colorfast and widely available natural dye from the 1700s through the 1800s. The McReynolds
Family which had ties to Todd County, KY, followed this recipe for dying with indigo:

For 3 pounds of Blue wool or yarn take one ounce
of Indigo and grind it fine.
Put 4 ounces of oil of vitriol in a bowl
a little at a time and stirring well until
the Indigo is all well mixed with the acid
this mixture must stand twenty four [sic]
hours then boil the water put the mixture
into it then put in your goods for 5
minutes and it is done.
[Allum your goods before you put it in]

McReynolds Family Papers
Library Special Collections, WKU

Margie Helm, Bowing Green, KY

Lee’s Surrender
Anonymous
Overshot

Current and past events often inspired the names of 19th century coverlet patterns. Braddock’s
Defeat, Washington’s Victory, Bonaparte’s Retreat, Travis’ Favorite, Mexican Banner, and the
pattern of this remnant – Lee’s Surrender – are just a few of the designs that speak to public
awareness of American history from the French and Indian Wars to the U.S. Civil War. Although
time was not kind to this fragment, a previous owner repurposed it into a pillowcase.

Bertha (Young) Jones, Bowling Green, KY

Liddie Prince’s Thirteen Squares
Elizabeth (Hendricks) Sisson, b.1844, Henderson County, KY
Overshot

Indigo and red weft yarns floating over natural cotton warp yarns create a geometry lesson in this
coverlet. The fact that it was constructed from three panels that do not match up precisely does
not lessen the overall impact. This textile is attributed to a farmer’s wife from Henderson County,
who ran a household that included seven children in 1880.

Dr. Henry Hardin, Bowling Green, KY

Double Bow Knot
Anonymous
Overshot

Panels woven on narrow, four-harness looms were the building blocks of 19th century overshot
coverlets. After weaving enough fabric for two to three panels of the desired length, the weaver
cut the cloth into sections and sewed the panels together, typically using a simple butt seam. This
example was woven from indigo and natural cotton yarns, perhaps the most popular of the color
combinations available to rural weavers in 19th century America. This was due in large part to the
availability and colorfastness of indigo dyestuffs. The panel on exhibit was woven in the
frequently used Bow Knot motif, variations of which include Muscadine Hills, Hickory Leaf, and
Blooming Leaf. This motif was also used in two other textiles in this exhibit.

Bena (Allen) Farnsworth, Bowling Green, KY

Scottie Hooked Rug Canvas, late 1940s

A popular 20th century craft, for many the appeal of rug hooking lay in how it was “turning the
clock back to early American days.” Crafters could come up with original designs, use the patterns
published in women’s magazines or purchase pre-printed canvases and kits. Purchased by Hazel
(Yowell) Wilcher (1910-2002) of Bradfordsville, KY, this Wonder Art “Scottie” burlap canvas called
for 35 skeins of “Needlequeen” wool yarn in seven colors.

LaJuana S. Wilcher, Alvaton, KY
Larry Wilcher, Scottsville, KY

Lover’s Knot with Pine Tree Border, ca. 1825-1850
Anonymous
Double Weave

Double weave patterns are classified as geometric or figured and fancy. An example of the
former, this coverlet was likely woven in Ohio by one of the many professional weavers who
migrated from New York and New England to less settled areas of the United States and Canada
after 1825. The main pattern elements, Lover’s Knot and Pine Tree, were woven into many
coverlets between 1825 and 1850, the heyday of double weave. A two-color version in indigo and
natural known as Virginia Beauty with Pine Tree Border, circa 1825, is in the collection of the
Metropolitan Museum of Art.

Evelyn Allen, Bowling Green, KY

Governor’s Garden
Mary Ann (Rose) Riley, 1829-1894, Logan County
Overshot

Woven on a four-harness loom, this coverlet is typical of the overshot bedcoverings made in 19th
century rural America. Dozens of patterns were possible on these looms, and home weavers often
chose designs whose names suggested the natural world around them. In her book on
handwoven coverlets, author Eliza Calvert Hall identified at least eleven botanical patterns
associated with Kentucky – Rose in the Wilderness; Dogwood Blossom; Rose of Kentucky; Lemon
Leaf; Twining Vine; Granny’s Garden; Flowers of Edinboro; Trailing Vine; Rose of Sharon; and Pine
Bloom. The maker of this textile was a farmer’s wife who bore ten children and reportedly raised
the sheep and the cotton that provided the raw materials used in it.

James Riley Huff, Park Forest, IL

Cover of minute book from Kentucky Weavers' Guild
Courtesy of Library Special Collections, WKU

Zella Brown of Bowling Green working at her loom, 1961.
Courtesy of Library Special Collections, WKU

Beatrice Richards demonstrating weaving at Fountain Square, downtown Bowling Green.
Courtesy of Library Special Collections, WKU

Bea Richards (1900-1989) of Bowling Green became interested in weaving after she began
working at Berea College in the late 1920s. A founding member of the Kentucky Weavers of
Bowling Green, she wove a variety of textiles and was active in the arts and crafts program
at First Baptist Church in Bowling Green.
Courtesy of Library Special Collections, WKU

"Oh yes, I can't weave without colors. I guess I'm probably the only one in our little weaving
club that would ever dabble with color, but since I also do, or used to do a lot of painting, I
just have to have color. I like color all around me and I'm not afraid to use it, although I
doubt I know the rules, but whatever. I just do it."
Courtesy of Library Special Collections, WKU

Bedspread
Gwendolyn Anderson, 1916-1989, Butler County
Loop Weaving

During the mid-20th century, small handheld metal looms for weaving small projects were
popular with women and children. In business since 1917, the Wool Novelty Company of New
York advertised looms that could be used to transform loops of jersey into potholders, placemats,
doilies, rugs, and dolls. Other firms sold looms with patterns for making bath mats, bags, and
luncheon sets. The bedspread on exhibit was reportedly made using fabric from the nearby
Auburn Hosiery Mill in Logan County. Loop weaving remains popular today as a craft activity,
particularly with children.

Marilyn Anderson, Bowling Green, KY

Cat Tracks and Snail Trails
Anonymous
Overshot

Lou Tate, founder of the Little Loom House in Louisville, identified 25 additional names for this
pattern. Fourteen, including Cats [sic] Paw, Dog Tracks, and Rattlesnake Skin, reference the
“animal” qualities of the design; six others, such as Blooming Vine and Vine around the Stump,
incorporate “Vine” into the pattern name. Old Girl is the oddest name she documented.
Identifying the weavers of overshot coverlets is generally difficult as home weavers did not sign
their work. Family history attributes this example to Caroline Dabney Alexander (1810-1838) of
Cumberland County.

Marjorie Claggett, Bowling Green, KY

Advertisement for Churchill Weavers in Vogue Magazine, September 1948.
Courtesy of Library Special Collections, WKU

In 1922 David Carroll & Eleanor Churchill founded Churchill Weavers in Berea, KY.
Capitalizing on improvements David had made to the fly shuttle and Eleanor's design
aesthetic and marketing skills, the Churchills' concern grew from a small business to an
internationally recognized source of woven household linens, blankets, garments, and
clothing accessories. Churchill Weavers operated stores in New York, Chicago, and Detroit,
placed its products in upscale stores across the country, and advertised in Vogue. Eleanor
Churchill sold the company to Richard and Lila Bellando in 1973, who later sold it to Crown
Craft, Inc. In 2007, changing tastes and economic conditions forced Churchill Weavers to
close; eight years later, the Kentucky Historical Society purchased the archives.

Cover of minute book from Kentucky Weavers' Guild
Courtesy of Library Special Collections, WKU

Zella Brown of Bowling Green working at her loom, 1961.
Courtesy of Library Special Collections, WKU

Beatrice Richards demonstrating weaving at Fountain Square, downtown Bowling Green.
Courtesy of Library Special Collections, WKU