quiltersmuse.com Blog

The question – “Can you tell me where to buy turkey red embroidery thread?”

At first, I was floored by this question because I wondered where the reader found the term and why she was asking me. Mystified, and short on time, when I read the one-line message, I wrote back, “Why do you want to know?”

The subsequent reply was that she had seen a (19th century) pillow, worked in turkey red thread, in an article I wrote for the current issue of The Quilter magazine.

If someone were to go into a general store that carries hobby supplies, like JoAnn Fabrics or Michael’s, and were to ask for “turkey red” thread, the look on the face of the customer service representative would be priceless. Most likely, the person would not have a clue as to what the customer meant.

“Turkey Red” is a process, not a specific color, that was effected by the use of root madder dye and many processing steps, in other centuries. Today, companies such as DMC and Anchor make red embroidery thread, some colors of which can sometimes approximate the color of 19th century dyes.

The main quality that accounted for the popularity of so-called “Turkey Red” thread, in the 19th century, is that it is colorfast and lightfast. Yet, not all thread that was used for embroidery, at that time, had those endearing properties.

“Turkey Red,” madder-based fabrics were printed, as well. To see and/or purchase simulated fabrics of that kind, visit Margo Kramer’s Reproduction Fabrics website.

As far as thread goes, none of it is now commercially called “Turkey Red,” a relatively archaic term. At least, not at this writing. I may give someone an idea. However, embroidery threads are sold by number, not color name.

In the recent past (early 1990s), some thread manufacturers had “issues” due to changes in environmental laws. Some reds were unstable. However, the problem seems to be resolved.

My best advice for choosing threads for outline stitch embroidery (Redwork, Bluework, etc.) is to choose a cotton embroidery floss that you like, in whatever color you choose, even perhaps a variegated color for a more avant garde look. For more information, you may want to consider purchasing my CD e-book: Redwork Renaissance Revisited that does provide more specific information. It is listed on my Products Available Page on our website.

Best wishes,

Patricia Cummings

This is a copy of information brought to you courtesy of the Sampler Consortium, an international organization of scholars, historians, curators, educators, genealogists, textile conservators, collectors, dealers, and needlework enthusiasts interested in the study of historic samplers and other girlhood embroideries.

Stitches in Time: Portsmouth Samplers 1760-1840

Exhibit of 33 samplers from the collection of the Portsmouth Historical Society and the private collection of Jean Sawtelle. On display at the John Paul Jones House in Portsmouth, NH through October 31, 2009. The samplers are arranged chronologically, with information about the sampler makers as well as the schools, when available. On sale during the event, the new second edition of In Female Worth and Elegance: Sampler and Needlework Students and Teachers in Portsmouth, New Hampshire, 1741-1840 – available for purchase for $20. Gallery talks on September 26 and October 31.

Through the Eye of the Needle

The Portsmouth Historic House Association hosts a tour highlighting textiles on display at the museums of Portsmouth, NH on Friday, September 18, from 1 to 4 pm. The tour will focus on needlework by Portsmouth women in the 18th and 19th centuries, including samplers and other embroidered items. The tour will highlight five needlework exhibits, including samplers at the Moffatt-Ladd House and the John Paul Jones House, which is featuring its exhibit: Stitches in Time: The Portsmouth Samplers from 1760-1840.

The contact person for the Sampler Consortium seems to be Lynne Anderson.

We have an ongoing interest in Antique Schoolgirl Samplers. See our online file: Samplers

Patricia Cummings

This is a “letter to the editor” to my editor at The Quilter magazine, to be exact), in regards to an article I wrote about Bluework Embroidery several years ago. To view similar photos and information, visit an article that is now on our website. European Bluework Embroidery The author of the letter is from Namibia in western South Africa, a country that was partially settled by Germans.

German Brot (bread) bag, collection of Patricia Cummings

Dear Editor:

I am writing to you from Windhoek, Namibia.

I was recently given two of your magazines, one dated September 2007 and one dated November 2007, but a friend who is a missionary here in Africa. In the November issue is an article on Bluework which I found very interesting, in fact I thoroughly enjoyed the whole magazine and have started making the wallet in the September issue.

In the article on Bluework there is a picture of a bag with the word “Brot” on it. Quite rightly the word Brot means bread, but the author seems to be uncertain as to the use of the bag. I remember well when I was a child my mother used hang just such a bag on the outside of the front door with her order for bread and “Brötchen”, small breads, written on a slip of paper and left inside the bag with the relevant amount of money. Early the next morning, the baker would come by and place the bread required in the bag and remove the money. This was in the 1950s and early 1960s. As I understand from friends who lived in Germany at that time and earlier, this was standard practice in the villages. Incidentally, the milkman also delivered milk, cream and yogurt.

With regards

Pat Sivertsen
Windhoek, Namibia

We always appreciate receiving notes from readers. This one was passed on by my editor at the magazine, Laurette Koserowski, who is such a dear soul, in any season.

Patricia Cummings
Quilter’s Muse Publications

Generally speaking, my husband is fun to take along on visits to stores that sell antiques. More often than not, he will spot items that I have overlooked. One fine example are Victorian tradecards that can be stuck in the most unlikely places.

We used to have a ready-made place to buy them, until the Laconia antiques store burnt to the ground on one winter’s night. I could go on and on about those special little cards, but have already written a large file about them for our website, so you can learn more there.

No, the purpose of this column today is to talk about antique needlework. For me, it is often “love at first sight.” For example, this past week, I spotted a gorgeous “runner” done in Cutwork, with green thread, a stunning piece to freshen up and use on a bureau.

On one particular summer’s day, Jim and I spent quite a lot of time looking around a shop that has an upstairs and a downstairs. After going down the stairs and turning a corner, my heart beat a little faster when I saw this item:

Fire screen rendered in Crewel Embroidery, with the typical, stylistic, swirling motifs of Jacobean Era embroidery

The tag on the framed, free-standing object had no provenance information, just the words, “Cruel Embroidery.” I figured this must have come out of an estate sale, but no one knew much about it, least of all how to spell “Crewel” correctly. I suppose the embroidery technique could be considered “cruel,” depending on how many times the needleworker stabbed his or her fingers while making it.

I stopped dead in my tracks and proclaimed, “I want that!” I don’t believe that Jim took me seriously. We picked up a few other small items of interest and then he said, “Ready to go?” I replied, “Yes, except for one thing … will you please carry the fire screen up the stairs? It’s a little too heavy for me to manage.” Then he knew I meant business. Still resistant, he retorted, “And where do you think you will put that?” I said, “Don’t worry. I’ll find a spot.”

I love this piece! The stitches are impeccably executed and the framing is exquisite. Its latest “provenance” (our purchase of it) brings a smile to my face because every time I look at it, I recall what Doreen Speckmann once told a worker in a quilt shop who quizzed her about what she wanted to do with the fabric she’d lined up to buy.

She reportedly said, “I’ll take it home, I’ll pet it, and I’ll love it.” Doreen, rest in peace, you made all of us laugh more than once. For me, I am visually-stroking this piece and am enjoying it so very much. If anyone happens to know more about who made it, or where the design originated, I’d love to hear from you! e-mail: pat@quiltersmuse.com

Click on the link below my name which will take you to the front page of our website, where, at the moment, there is a close-up view of the needlework of the fire screen.

Patricia Cummings
Quilter’s Muse Publications