Contour embroidery played an important role in the history of quilting. It was used in blocks, most commonly penny squares, which were printed muslin pieces that sold for a hundred each. Outline embroidery designs spanned many styles and themes, and many of these vintage patterns are still available to quilters today. In recent years, vintage doilies have been a primary source of outline embroidery for patchwork projects.
While outline embroidery itself is centuries old, it made its breakthrough as quilt decoration in the 1870s and 1880s when it was used to decorate Crazy Quilts. Done in one color with a stem or outline stitch, it was quicker and easier than another Victorian technique called Kensington embroidery, which was realistically filled and shaded.
Although patterns of flowers, birds and animals were popular in the 19th century, designs featuring children’s drawings by English artist Kate Greenaway predominated. Dressed in the costumes of the early 19th century, Greenaway figures began appearing in the 1860s and adorned all manner of objects, even after the publication of his last book in 1900. There were many similar children’s embroidery patterns, such as those in Butterick’s manual of 1889 Needlecraft, recently republished by RL Shep. By the 1890s, outline embroidery had spread from quilts and quilts to pillowcases. So ubiquitous were the Good Night/Good Morning sleeping child motifs that a mass dealer, such as Montgomery Ward, sold pairs of cases pre-stamped with these designs in their 1894-1895 catalogue. Ward also offered printed suits with up to 75 patterns, including a full alphabet. The kit had white powder for dark fabrics and blue for light ones. The pattern was punched with a serrated tracing wheel, or the punches could be made on a sewing machine with a non-threaded needle. Powder was then rubbed through the holes onto the cloth. Montgomery Ward also sold embroidery thread in many colors, although by 1900, peacock red was the most popular hue for outline embroidery on pillowcases and quilts.
Some women marked or stamped their own fabrics. They used commercially available patterns or outline drawings found in coloring books. A 1902 quilt, in the collection of the Museum of American Folk Art, has coal shuttles depicting the United Mine Workers strike of that year. Happy events also found their way onto the red-embroidered bedspreads; for example, the 1901 Pan-American Exposition and the 1904 St. Louis World’s Fair. Redwork persisted beyond the 1900s. An antique quilt, made of 16 large blocks, included some embroidered with the words “War declared 1914 ” and “Armistice signed in 1918”. The date “1922” was embroidered on a monogrammed crown.
Children, however, continued to be the most favored subjects for outline embroidery. Whether sewn in red or other colors, children’s patterns were usually drawn from book and magazine illustrations. In the early 1900s, for example, Bertha Corbett’s Sunbonnet Babies and Bernhardt Wall’s Overall Boys took off where Kate Greenaway’s patterns left off and went on to grace countless embroidered and appliquéd quilts.
Dutch children’s patterns, embroidered in blue or red thread, reached their peak of popularity just before World War I. Dolly Dingle and Billy Bumps, drawn by Grace Drayton, rose to fame as Campbell Soup Kids and as embroidery subjects. Rose O’Neill’s Kewpies provided strong competition, particularly in the 1920s.
Other major themes from the interwar decades included country houses, flower baskets, and Western themes, especially cowboys. President Roosevelt’s Scottish pet, Fala, practically had a souvenir industry to himself. The puppy was used in many needlepoint projects. World War II produced embroidery motifs of cartoon-like sailors and soldiers and their girlfriends. In the postwar period, cute puppies, kittens, chickadees, and overweight French chefs appeared in embroidery, mostly on tablecloths, pillowcases, and ruffles, tea towels rather than quilts, though today’s quilters can make adorable creations based on them. these designs.
Very old pillowcases turn up from time to time in antique shops and shows, but they are often expensive. Separate redwork blocks, usually sold in a kit, are more affordable. Rugs and dish towels from 1920-1950 will rarely cost more than $10 each and can be as little as a dollar. Some quilt guilds may have collections of vintage designs that members can track down. Flea markets and garage sales are good sources for old, unused transfers, items that are patterned but never embroidered, and even dental floss in colors that are no longer available. Chinese painting patterns from old magazines and books were similar to the embroidery designs of that decade, so they can be substituted.
For those who enjoy reliving the past with quilts rich in tradition, making reproductions of penny squares and other contour embroidery work can be very satisfying. And what little girl wouldn’t want a quilt stitched with kittens, puppies, Kewpies or figures from nursery rhymes for her bed?