Archive for the ‘Embroidery’ Category

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Reader Solves Mystery about Bluework Block Origin

Sunday, April 11th, 2010

Bluework piece

Antique Bluework block in question

Hi, Pat,

I have always enjoyed reading your articles in quilt magazines. I got a small Bluework quilt today, and was glad to see your article. My quilt has the same reindeer block as yours. That was exciting to see!

I’m really writing about the pillow top block from Helene Middleton. The block comes from the Rainbow Quilt Block Company of Cleveland, Ohio, and is design #3, Conventional. I found this in Rose Alboum’s excellent index. It’s actually on the first page.

Just in case no one has pointed this out before, I thought I would. I hope this helps. I have a real fixation on the Rainbow blocks lately.

Have a great day,

Sylvia Adair

Thanks for solving the mystery, Sylvia! Intrigued, I have ordered a copy of Rose Lea Alboum index that documents the patterns sold by the Rainbow Quilt Block Company. Rose single-handedly has documented thousands of quilt blocks that are available in various volumes. I own her Index to the Clara Stone Quilt Patterns, and Index to the Ladies Art Company Quilt Designs, but there are others!

The source of that Bluework block has been elusive. Sandra Munsey shared the block that is published on my website and in an article for The Quilter magazine a few years ago. In the interim, Helene A. Middleton of Oregon sent a photo of a whole quilt with 9 large blocks of this same design. Here is a link to the file about Bluework.

A series about Bluework that I wrote was published in September and November 2007 in The Quilter.

Rose Lea Alboum’s web page

Have a great week!

Patricia Cummings
Quilter’s Muse Publications

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Posted in Embroidery, Reader Mail | Comments Off

Artograph Light Boxes

Sunday, February 7th, 2010

If you like to trace designs for hand embroidery, Artograph Light Boxes are the way to go. I love mine. I have had it for years, and it is so handy and lightweight to carry to classes for demonstration purposes. I thought I’d mention it because I am such a happy customer!

In fact, I was using it today to trace a drawing of my granddaughter onto fabric for the purpose of hand embroidery. I don’t know what I’d do without it. With its 18″ expanse, there is room enough to tape down just about any paper design, lay the fabric over it, and trace with a Pigma Pen. My stitches cover the permanent pen lines, and should the embroidery ever get damaged, there is a “record” underneath of my original intent. Yes, I’ve been a happy customer for years now, and highly recommend this system for preparing designs.

Learn many other tips, as well as instructions for doing Redwork Embroidery in my e-book, Redwork Renaissance Revisited. Please see our home page.

Patricia Cummings
Quilter’s Muse Publications

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Redwork Embroidery and Needlework Traditions in Europe and America e-book – Now Available

Wednesday, January 20th, 2010

CD cover

Redwork Embroidery and Needlework Traditions in Europe and America is currently available to acquire as a pdf file written to a CD disc that is easily inserted into a computer’s hard drive and read on any computer. We first published this as a wire bound book in January 2006 and received wonderful reviews at that time. There are 147 pages and 165 images (including photos of finished items and design patterns that you could re-create with needle and thread).

This book covers a wide variety of topics related to Redwork motifs and their usage in the 19th and 20th centuries.

Please visit the home page of our website for more details.

Patricia Lynne Grace Cummings and James G. Cummings
Quilter’s Muse Publications
Concord, New Hampshire
http://www.quiltersmuse.com

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Posted in Announcements, Books, Books for Quilters, Embroidery, History | Comments Off

Treasure Trove of Family Textiles Continues to Delight

Thursday, December 31st, 2009

Within the last two years, we have been documenting, cleaning, photographing, writing about, and publishing items from the Lewis family collection that represents at least four generations of needleworker/quilters who also worked in other media such as rug hooking, filet crochet, and the latest techniques of their day. Represented are the three most recent quilt revivals: the 1880s, the 1930s, and the 1970s.

I recently re-discovered a number of cartons/baskets/containers that contain textiles that I had not yet documented. I am not finished cleaning all of them yet but I found some interesting discoveries. At the moment, I have no way to share photos as we had to order a newer, compatible version of Photoshop, but at least I can tell you about some of the special “finds.”

1) A rayon, fringed square, probably a souvenir of World War II, with a U.S. Marines insignia on one corner. The father of the man who presented this collection to me was a Marine, as was he, himself.

2) A quilted potholder square, (4 patch), bound with a separate, muslin-color binding. I wondered if this was meant to be a potholder, as the batting is thin or non-existent, or if the item was the start of a potholder quilt.

3) A calico pocket, similar to those that drape over an armchair to hold sewing utensils. There is a “pocket” on each end. Inside the pocket is a card that says in old-fashioned Victorian print: “Merry, merry Christmas and a happy New Year too.” – (written as printed). The reverse side of the card has a hand-written message: “Eleanor – To add to your hopeless chest. – Mother” Somebody had a good sense of humor! A “hope chest” is the name given to collected textiles and household goods that would help a young lady set up housekeeping after marriage. We don’t hear the term very often, these days.

4) There is a 3-D Dahlia pillow made of a “fancy fiber” in a light orange color.

5) Pillowcases, woven in the round, are present in sets of two, each set embroidered with one of the family names, monogrammed, or embroidered. Round pillowcases are no longer sold. The bottom edges often sport crocheted edges, often in variegated thread colors.

6) There are bureau scarves, bridge sets, and piles of handkerchiefs. One that has yellow, scalloped edges was never used and had a small tag that said, “35 cents, Woolworth’s.”

I am left to wonder about some of the other items. I don’t know their potential use. One is a long, rectangular unit, folded in half, that has silk ribbon work on the top edge when it is folded in half, and ribbon ties. It is well-used, but for what purpose?

We have published aprons, potholders, (other) handkerchiefs, and quilts from this collection. It might have all gone to the dump had a family member not been so kind enough as to pass it all on to us, where it has found a broad audience of interested people.

Have a wonderful New Year’s Eve! We will leave the roads to the drunks and instead, we’ll be happily at home with our books, our projects, and our own company.

Happy New Year!

Patricia and James Cummings
Quilter’s Muse Publications

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Posted in Antiques, Embroidery, Fabrics, New Hampshire | 2 Comments »

Birds of a Feather, Flock Together

Monday, November 9th, 2009

antique bird drawing from my book - Redwork Renaissance

Antique bird drawing, one of many for Outline Stitch Embroidery (Redwork, etc.) from the e-book, Redwork Renaissance Revisited, available on the Products Available page of Quilter’s Muse Publications website.

Who doesn’t thrill at seeing the first Robin of Spring, with its ear so finely-tuned as to detect worms just under the surface of the ground? Sometimes, like last year, Robins have appeared in my yard, while snow was still on the ground. Just recently, I learned that Robins are changing their migratory patterns. Some are remaining year round in heavily-wooded areas of New Hampshire.

We all love to see birds, and in New England, there is an abundance of them. My favorite bird is the Puffin, although I have never been to the rocky area off the coast of Maine where they live. I have just viewed them in videos and in photos. I remember seeing a picture of an outstanding quilt that depicts Puffins. The birds live in colonies, as do seals and sea otters. They travel together, as do Cedar Waxwings, another very social bird.

It is no surprise that photographers have wanted to capture the beauty of birds, scientists have wanted to study them, and the ordinary citizen has joined the Audubon Society to be with other birding enthusiasts. Some people decide to help the birds survive the winter by putting up bird stations. This seems like a wonderful thing to do, at first glance, but think again.

In New Hampshire, our state bird, the Purple Finch, has been dying off, perhaps due to the diseases they are picking up from other birds who visit feeding stations. Birds are not exactly clean creatures, especially while eating. Feeders pose a danger that are seldom or never washed or sterilized with Clorox bleach.

Authorities warn about the fact that outdoor feeders can and do attract Black Bears to yards, even in residential neighborhoods. Bears have a keen sense of smell, which is why they will tear their way into tents that have food inside, and will sometimes, even break windows to get into houses. I have not heard of that happening in New Hampshire, but I have seen videos of bears entering homes in Colorado.

Nature is always in a fine balance and whenever man inserts himself into the picture, changing food sources, or habitat conditions, there is always a price to pay. In the case of wild turkeys, just a few years ago, there were few of those in this state. They have made a comeback, due partially to restocking, and partially to no wolves or natural predators that can “take them,” except for man, in a limited turkey-hunting season.

The result is that we see turkeys in fields and by the side of the road, all the time. The other more serious result is that they sometimes fly in front of motorcycles and cars, unexpectedly, and in some cases, have caused fatalities.

In the dead of winter, we feed the birds with suet. When it is freezing cold outside, there is no chance of the animal fat becoming rancid, and birds happily utilize this food to help them keep warm and survive New Hampshire’s dire cold. As soon as the “bear alert” goes out, or as soon as the weather warms, that is the end of our bird feeding efforts. Birds are beautiful! I love them. To preserve them, it is best to leave them alone and let them feed on the natural seed pods and other forage they find for themselves.

In textiles, birds have been an endless theme of celebration in lovely old chintz fabrics and in more recent bird prints, as well as in Crewel embroidery kits, and in quilts, both antique and new. Have you made a bird quilt? If so, we’d love to see it! As birds are one of my pet subjects, I could say much more, but will leave you for now, with the suggestion of a book title that seems most interesting.

Patricia Cummings
Quilter’s Muse Publications website

Posted in Books for Quilters, Embroidery, Nature | Comments Off

Oh, My! Here We Go Again!

Friday, October 23rd, 2009

Half of my life, it seems, has been spent trying to correct other people in their erroneous, fallacious, and mythical statements about the “facts” surrounding textile and quilt history, including, but certainly not limited to, embroidery techniques such as Redwork. In these financially-trying times, it appears that unqualified people are willing to charge money to tell gullible buyers falsehoods. I refer to a new site that has come to my attention, but, alas, shall remain unmentioned by me.

The site owner has been writing about Redwork, among other topics. I cannot verify the truth about the “other topics” because I would have to pay quite a lot of money, per month, to access the files.

A friend sent me a brief “summary” of Redwork, according to the individual in question. It was described as “a quilting technique” (no, it is embroidery!) The person writing the short essay described Redwork and Bluework as being popular in the 1800s. (Bluework, and other colors seem to post-date Redwork for an obvious reason that any who knows anything about the topic would know).

If we loosely say “popular in the 1800s” that implies that we mean popular for 100 years, that is, all of the 19th century. Redwork was, in fact, popular AFTER crazy quilting. I think of Crazy Quilts as enjoying their most popularity in the 1880s, and Redwork as being most popular, beginning in the 1890s.

The writer stated that Redwork was done on muslin and white fabric. To tell you the truth, I wracked my brain trying to think of any WHITE fabric that I’ve seen in a quilt from the period when Redwork was most popular. She also states that Redwork was done mostly on small items (not necessarily a true statement), and that larger Redwork quilts had sashings. The only Redwork quilt I have in my collection that has sashings is from the early 20th century. In fact, the Redwork bedcoverings are most often tied, not quilted, so are not true quilts.

Sometimes, it is not what a writer says, but what he/she does not say. I could continue with my objections, inasmuch as I took issue with just about everything this person had to say. Make a mental note here. I have written five books on this subject.

I realize that there are hobbyists out there who want to move into the realm of being a “professional.” I will tell them one thing. They only make themselves look untrustworthy when “they” do not do their homework, are vague, and rely on hunches, rather than established facts. It is okay to make money by sharing what one knows, but for heaven’s sake, please make sure you “know” what you purport to know before spreading misinformation that makes my task of clearing up errors all the more difficult.

Greed does not do anyone any favors.

No one can prevent anyone from putting falsehoods or unsupported information on a website. Apparently, this is lucrative and money being money, that is the draw.

I will never ask you to pay to read my well-researched files online. They are shared freely because I believe that knowledge is a good thing, and because I am a teacher by training, temperament, and experience. “Knowledge is Power.” The truth, as I’ve said many times, will always stand. “B.S.” will always be what that is, a pile of trumped up lies that can easily be spotted.

By the way, if anyone wants to read some true statements about Redwork, you will still find some information on my website. I have removed the three books that had been there for free access. Perhaps I should have left them longer so that my information, that is offered for free, could have been copied to a paid site. At least the person might have gotten a few more “facts” right.

As it stands, my 5th book, never online, is available in an e-book style, on CD, and is for sale of my Products Available page. For the most part, I do not get paid for my research, book writing, and web entries, unless I happen to occasionally sell an e-book. My labor is an extension of my compulsiveness to share information, and an example of my personal dedication to quilt history and world textiles. And, I would not have it any other way. There is a great deal of satisfaction in being a scholar and in having earned the title of “certified master craftsman in quilting,” one of only eight people in the country to have ever done so, as far as I know.

Have a great weekend.

P.S. For a great online paid site, I highly recommend “The Quilt Show” with Ricky Tims and Alex Anderson!

Patricia Cummings
Quilter’s Muse Publications

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Question from Reader re: Thread

Friday, September 18th, 2009

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

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Sampler Consortium Updates for New Hampshire

Saturday, September 12th, 2009

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

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Reader from Namibia Adds Information about Brot Bags

Friday, September 4th, 2009

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.

Brot bag

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

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The Allure of Antique Needlework, or, “What Will You Do With That?”

Wednesday, September 2nd, 2009

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:

Crewel fire screen

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

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Posted in Anecdotes, Antiques, Embroidery | 2 Comments »

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