“Champagne and Caviar”, is the title I’ve given to this spectacular quilt! It began as a 100ish year old, silk embroidered tablecloth, purchased from an estate sale. Unfortunately, I have no information about the maker, who is the major artist on this work!
This tablecloth was incredible when I found it! Exquisite handwork comprised of drawn thread work and a padded satin stitch. Seriously incredible because the maker essentially DOUBLE embroidered this piece. First, with a white cotton floss to create a 3-D effect, then she stitched over the first embroidery with silk floss. Of course, pictures don’t do it justice. I will hope you might see it in person someday!
To begin this quilt, which is 75″ square, I stitched around every bit of embroidery and thread work. I backed the entire piece with white satin to give it a subtle sheen. I used the new Glide Cream color, 60 weight thread for the outlining. It’s a great super fine, polyester thread.
I started in the middle, knowing this focal point would be an important part of the quilt. I used Handi Quilters’ Preview Paper, which is a sturdy, clear plastic to audition and play with designs. You can see what I decided on in the next photo. LOVE preview paper!!!
I worked different areas of this quilt depending on each days’ mood! I stayed on this for over a month, maybe 250 hours, which is really impressive if you know me! I get tired of working on the same thing and often hop from project to project. This was actually fun and I could hardly wait to get up every morning and work on something different.
At one point I realized I would need to start doing some embellishing as I quilted, so that I would make a show deadline. Yikes! Thank goodness I use Red Snappers, which made the loading process take just a few minutes each morning. I spent my evenings beading and my days, quilting!
Maybe the most difficult decision I had, was to eliminate some of the makers’ embroidery. It was the only part of this pristine piece that had some wear. I either had to repair the work that was missing or take it out completely. I spent many evenings taking out her work, which made me feel terrible. Once the quilt was finished, I loved that I made that decision!
A few more pictures of my process. This quilt is off to the Utah Quilting and Sewing Marketplace show in Sandy, Utah. It can be seen live and in person from May 4-6 at the South Towne Expo Center. Later this summer, it will hang at the Kansas City Regional Quilt Festival, held June 15-17, in Overland Park, KS.
I’ll share the final photos in a week or two. I want her to get through her very first competition in Utah next week. I’m so excited to finally have had time to work something for myself. I’m sure it was the makers heirloom piece and now it’s mine. I couldn’t be more thrilled!
I should probably start to title these pieces because I make so many! Vintage hankies have become a bit of an obsession, maybe because they are easy to find, inexpensive and can be finished in an afternoon. I created this as an auction item for an upcoming bowling tournament I’ll be doing with the hubs. I needed to raise $160 for my spot, I had a $300 bidder, score!!! I was so excited to let this piece have a new home and make some money for a worthy group, Big Brothers and Big Sisters.
Details are simple, a vintage hankie on a Dupioni silk background. I used two layers of Hobbs batting, 80/20 on bottom and wool on top, Glide thread, and a few Swarovski crystals for embellishment. Framed, the finish piece is 16″ square. Thanks for stopping by!
It’s been awhile! Websites are difficult to keep up with! I use Facebook for my daily posts, but for my friends who aren’t on FB, this is a great place to share my work. I also sell my rulers here and have information on my speaking and workshops. What did we do before social media!???
I’ve just finished another hankie, but this time I used the computer for 90% of the piece. It’s for an upcoming class I’m teaching in Australia (yes, I said AUSTRALIA!!!) I am super excited and finishing up so many sample pieces for the variety of classes. This is for a class called, “Prostitcher and Beyond”. The PS (as we call her in the Handi Quilter world) is a fabulous computer that some days does a majority of my work. She is my very loved, personal assistant, that goes by Patty Sue, when we are alone in the studio 😉
The hankie began very simply, stitched onto a piece of white satin, roughly 20″ square. The wonderful “pouf” is created by two layers of Hobbs batting, wool on top of 80/20. I always use Glide thread, this color is Cream.
White on white is tough to see in photos, especially when there is nothing there. Now, add some quilting magic and it starts to take shape! I forgot to take a photo of JUST the motif, but it was an outlined shape, without anything filled in. The digitized motif is by Kim Brunner and can be found here. It is free in my PS library! Over 1000 designs come in that library and rarely do I need to purchase anything.
I used a different fill in each space, bubbles, scribbling and some ruler work.
The tatting on this piece is unbelievable, which is why I chose it! OH, and that sweet butterfly!
The finish! I added a piano key border, also found in my PS library, created by Susan Manry.
I added glass beads to tack down the tatting. The dime gives an idea of the scale.
Each finished piece becomes my favorite! I’ll add this one to the list!
Another quilted hankie! Can you tell I love this combination of a satin backing with a hankie on top? I made this one for a class sample for Melissa, aka, MK Quilts. It all starts with the satin backing as the “frame”, with the hankie quilted right on top. I used a double batting of 80/20 Hobbs on the bottom and 100% wool on top.
If I am using a hankie with LOTS of white space, I use Cindy Needham’s Ultimate Stencils. Her square and circle grids make it a breeze to design almost anything. They come with an enormous e-book of possible designs that will help you through the process. I think I’ll be ordering her ultimate background stencils soon, especially helpful if you are a domestic machine quilter.
So, pair the Ultimate Stencils with my favorite rulers, and you’ve got a great combination!
I’ve found the rounded end of the rulers make for a great scallop! I always look to repeat a shape or design, so I wanted to repeat the scalloped edge of the hankie on the background. The slim ruler is 1 1/2″ wide, so it made the smaller scallop. Then, I used my Palm ruler for the larger scallop echo. The width on the Palm ruler is 2 1/2″, so it was a perfect echo!
As if there weren’t enough scallops, I also made them inside the scallop! I was going for an open and lacy look.
I like to sign my name when I can work it into a piece.
And viola! I just love these pieces. Fun and fasts to design and stitch. I usually design as it’s on the frame. Each section tells me what to do with the next. They always speak to me!
I spent an evening with beads and the TV. I like a bit of sparkle where it can be added.
This little beauty flew off to Florida the next day, ready to share for show and tell at a few guilds. I will be speaking and teaching in the Tampa, Florida, area in November. My sit down, domestic machine workshops will be following this piece and I’ll guide you in the process. It can be accomplished on the longarm or on your domestic machine. Hope to meet you somewhere in my travels!
I have TUBS of linens and embroideries! One of my good friends, Shelley, mailed me this linen she found in an antique store recently. This did not get to the tub! I was compelled to stitch it the day I got it, but oogled over it for a few weeks before loading on the longarm. Originally, this was a 100ish year old pillow cover.
Having found a few of these, they date somewhere between 1900-1920. They were pre-printed/tinted pillow covers and were dyed in the areas where you would stitch. Some ladies chose to embroider the whole area, while others did smaller areas, leaving some of the printed colors showing. A few companies that produced these were Richardson’s, Royal Society and Vogart. I love when the selvage has the name of the maker as it can also give me clues to the date of the embroidery. This one did not have that information.
This treasure had quite a few stains when I received it, but I’m never bothered by smell or stains as I’ve experimented plenty with great results. My favorite cleaner is called Retro Clean. It is a powder that is dissolved in warm water for best results. You can find it in antique shops and quilt stores, also on the internet. I soaked this piece for 24 hours and it sparkled when it dried! The heavy stains were gone and it brightened the linen considerably.
I always begin by basting around the edge of the entire piece. I work like that is my frame. Then I stitch around all of the embroidery, as you would stitch in the ditch around applique. I use my very favorite palm size ruler to use as resistance against the hopping foot to guide the machine.
Once I have all of the outlining done, the fun begins! I did a very small fill in the center and the outside felt like it needed some flowing feathers to move with the stalks of what I think may be milo. I’m pretty sure I created the movement I wanted.
I always begin with what the linen is “telling” me. They don’t all speak the same way, but I definitely get a feeling from each one. The density of the french knots made me start with the pebbles and spirals in the center. YES, those are all french knots! The trapunto effect was caused naturally by using two layers of batting, 80/20 Hobbs Heirloom on the bottom and 100% Hobbs wool on top. This double batting will cause some drag on the machine when starting, but the effects are dramatic!
I made sure to work the feathers into the same direction as the stalks of milo. Beginning with a spine to follow that line, I worked the feathers right up to the original embroidery.
What was I thinking when I made a 1/2″ grid! It was a bit tedious, but the end result is fantastic! This ruler is so great for small areas. For design purposes, I often balance straight lines and circular forms. You don’t want too much of anything!
I can’t decide which is my favorite, the checkerboard or the feathers!
AAAAAAND the almost finish! I can’t ever wait to share these things, so no binding yet. For traveling purposes, I’ll put a tiny binding on so it lays flat in my suitcase! Have a fabulous weekend folks!
I LOVE these unique pieces of handwork! I found this one at D. Palma & Co. Mercantile last weekend and I just had to get it on the frame!
This style of lace is called Teneriffe. I sent a quick note to Mary Corbet, Needle ‘N Thread, who was a doll to identify this for me. I’m always concerned with correctly identifying handwork. I visited YouTube to see how this is done and WOW! Amazing!
The lace piece is about 10″ square. It’s so delicate, which intrigued me when I saw it. I did my best to press and give it a good starch. Those circle laces were rather loose, so they took a bit of moving, stretching and starching, to get them to behave!
My favorite background these days is satin! On this particular piece I used a double batting of Hobbs 80/20 on the bottom and 100% Hobbs Wool on top. You’ll see this gives some great loft to this piece. I stitched around the perimeter of the inside square first.
Next, I stitched around the outside edge, outlining around all of the lace circles. My hand gives you an idea of size.
Once I have all the outlining and edges stitched down, I start the design process.
I added a “piano key” border with my longarm ruler.
Beads and rhinestones add the finishing touch!
I bought this beautiful, framed silk embroidery, last week on a trip to Maine. It was purchased at Liberty Tool, in Liberty, Maine. I was even able to take it to a free appraisal day at an auction house in a neighboring town. The few things I know, the embroidery dates to about 1850, the frame to 1902. Thankfully, framing kept it clean and in great shape. However, the lack of acid free mounting has made it very fragile. This is how I found it.
I plan to re-frame and enjoy it’s beauty. No quilting of this piece! Now, the mystery. I have had it on my Facebook page, out to many foreign friends, and no one can exactly distinguish the word or origin. The appraiser thought it could be Asian stitched, the possible middle word, “dai”, is possibly Japanese detection, says Google. I’ve asked Mary Corbet, who has inquired with other embroidery experts, with no answers. She thought it might be Thai.
We removed it from the frame and now I am enjoying the beauty before I frame it again. My question to you is, what does it say? Is it a surname, a warm welcome, a brand, a first name? The stitching is amazing. The individual who embroidered this would have spent a lot of hours stitching, so maybe it was a gift. Following are some close up pictures in varying light. The last image has been photoshopped in black and white. That may help you distinguish the letters. I’ve looked at it every day for a week and still am not 100% sure!
Thanks in advance if you spend time on this puzzle! The unknown is driving me and a few others, crazy!
***A HUGE thank you to Kathy, a follower here who emailed me last night. After recognizing the origin, she sent a photo to a Greek cousin, who in turn took it to her Greek church festival yesterday! It is Greek and translates to, “this too shall pass”!!! Which, by the way, is my mantra! There could be nothing more perfect than this saying for me. I’ll be framing it soon and enjoy it’s original beauty! Thanks to all of you who attempted the puzzle 🙂
This is a small project I’m doing for a friend. She will be doing a giveaway next month and I’ll be sure to report back and show the final piece when she’s ready! You may want to follow Stephanie Palmer at Late Night Quilter 🙂
When I say small, I mean the linen was tiny! All of 5″ square. I almost didn’t choose this piece, but I’m glad I did. This was a drawn threadwork coaster. I used a satin backing and placed the linen in the middle.
I used my rulers for the piano key border before I began the inside work.
I stitched an inside line, then pinned back the outer edge so I could finish the border.
Once I have the border finished, I start the work on the inside. I also put a shiny little piece of costume fabric underneath the linen. It’s amazing what a tiny bit of sparkle will do for one of these pieces!
I’ll add a few beads, mat and frame this piece. I’ll be sure to show you the whole thing when I can! Until then, happy quilting!
One of my most recent favorites! This began as a 100 year old pillow cover. Lovingly embroidered, most likely by a woman from Iowa. Because, only a lover of her state, would spend the time embroidering kernels of corn! OH MY GOSH, I love this piece! It was stunning in it’s original state, but of course, I took it to a whole new level.
These early patterns were color tinted, so the embroiderer could decide what parts they would like to stitch and could choose more or less embroidery. I’ve seen some that are very heavily stitched and some that have only been outline stitched. This is the way I found it, a little wrinkled and a few aging stains. I chose not to soak this one as I really didn’t know what might happen to the floss. I recently had soaked a piece in Retro Clean, which I consider very safe. I had also put Shout, Color Catchers, in the water. I still had bleeding from the brown floss. I sure couldn’t take a chance on this beauty!
When working these old patterns, I also remove this tiny edge with the pattern name and number, then attach it to the back when I’m finished.
Mostly, when I quilt a piece like this, I know what I’m going to do and the designs are free flowing. This one was different and seemed to need a plan. I have a few different methods for auditioning designs. I used Handi Quilter’s Preview Paper. It comes in a roll with a dark black line, so you don’t accidently take your design over the edge and onto your fabric. I use a black sharpie so it’s fast drying, then rubbing alcohol to wipe the slate clean.
I always start a piece like this by outlining the entire design. It stabilizes and sets the boundaries for me to start the background work. I used two layers of batting on this piece, 80/20 Hobbs on the bottom and 100% Hobbs wool on the top. This makes for an easy trapunto look without all the work. I also stitched inside the original embroidery and chose to go around each and every kernel of corn for some fabulous dimension!
And there you have it! Finished piece is 20″ square. All free motion quilted. I always hope the original maker would be thrilled with what I have done with her work. I think she would!
I never knew I was such a hankie lover! They are the simplest linen you can quilt. Small, simple and fast! I’ll take you through the steps to create this one-of-a-kind piece. Let’s go!
These are the fabrics used in this piece. The background is a red cotton with a sheen, underlayment is a gold lame’ and then the hankie is on the top of this sandwich.
Hankies are usually quite thin, so I like to put something underneath them. Sometimes it’s just a white layer or a thin piece of batting, but this one has some cutwork, so I put the lame’ just under the inside open area. I will admit it was a little tricky to position it!
I work on a Handi Quilter Fusion longarm. I’ve recently become a Handi Quilter Ambassador, so you can imagine how much I adore my machine! To begin, I have loaded a piece of muslin backing on my frame, then I begin “the stack”. First, is a piece of 100% wool batting. Then a layer of background fabric, which is the red cotton with a hint of sheen. Next, is the gold lame’ just underneath the inside cutwork. Finally, the hankie.
I begin by stitching down the red fabric, creating the shape I want, in this case a square. Then I stitch the perimeter of the hankie, following the lines of the lace. This will also anchor the lame’ on the inside.
On this piece, I used Cindy Needham’s Ultimate Stencil. When faced with a lot of white space, this IS the ultimate stencil. It is a fabulous grid system that let’s you create a unique design. I used a purple air erase pen to draw my lines. I like these pens because the lines disappear in about an hour.
After using the grid for the straight lines, I connect the dots where I like and then start my free motion quilting in those spaces. I use my favorite quilting ruler to do the ditch stitching around the perimeter and then to outline my design.
This is where the design starts to take shape. I don’t necessarily know where I’m going. I decide each step as I go!
Now that I have the inside designed, I go back out to the background fabric and echo the scallop of the hankie. From there, I decided on a piano key border.
The last thing I do while I have the piece on my longarm, is to stitch around the perimeter of the hankie to finish the edge. Once I have the hankie off the frame, I add small glass beads to tack down the middle of the flowers and give the piece a wee bit ‘o bling. For this particular piece, I trimmed about 2 inches beyond the size of the frame, wrapped around a piece of acid free foam core board, then completed with the inset piece of cardboard that came with the frame.
Here is the finish! Framed it is about 24″ square. I put spacers right inside the frame (1/4″ strips of foamboard) so the fabric does not touch the glass. Many times I cut a mat, but this one looked great on its own.
I made this piece to sell at my guilds’ silent auction a few weeks ago, so it no longer resides with me. This was a tough one to give up, but I know it’s making someone smile when they look at it! Thanks for following my process. I hope you’ll give it a go, whether you work on a domestic or longarm machine. Have a fabulous weekend!