Sara wows us again! This time, she shares some of her vintage swatches in the popular turkey reds, creams and both indigo and wedgewood blues. This delightful mix of small calicos, large florals and beautiful, hard-to-find prints offers a wide array of coveted textile designs from the late 1800s and early 1900s.

The fondue prints, also known as ombré or rainbow prints, are a combination of the vivid reds and blues of the late 19th century, while the narrower stripe is indicative of those fabrics produced several decades later. Additionally, Sara has chosen some patterns with a slightly mottled ground for the exaggerated look produced by the overdye process often found on textiles from that time period.

The use of oil often caused Turkey red fabric to be described by vendors as "oil boiled" - and quilters loved it. Turkey red was a luscious color, it didn't fade, and it didn't bleed; without it, the elaborate red-green applique quilts of the 1840-75 period would have been an impossibility. But it was expensive. Even after synthetic reds were introduced around 1875, Turkey red "oil boiled calico" sometimes cost ten times more.

The term “turkey red” actually refers to the actual dye process used to produce the brilliant, vivid and incredibly colorfast cool red. In the early 1800s, turkey red grounds featured chrome-yellow, green,blue and black overprints. Large scale paisley prints and small repeated motifs were also popular designs.

Historically, reed pens, quill pens, and dip pens were used with a nib of some sort to be dipped in the ink. The writing instrument that dominated for the longest period in history (over a thousand years) was the quill pen, introduced around 700 A.D.

The quill was a pen made from a bird feather. The strongest quills were those taken from living birds in the spring from the five outer left wing feathers. The left wing was favored because the feathers curved outward and away when used by a right-handed writer. Goose feathers were most common; swan feathers were of a premium grade being scarcer and more expensive. For making fine lines, crow feathers were the best, and then came the feathers of the eagle, owl, hawk and turkey.

Blue Hill Fabrics™ is pleased to present the first series of new fabric collections born from our alliance with the Rocky Mountain Quilt Museum.  The Ohio Star collection is based on a true gem from the Rocky Mountain Quilt Museum archives, from the original collection of Lydia Skinner.

Lydia Mitchell was born in Maine, somewhere around 1820, and became the second wife of William Skinner, a mariner who ferried timber harvested in Maine to New Jersey. William was prosperous at the time of their marriage and went on to become quite wealthy. The couple moved to New Jersey and had 12 children.  Lydia was an ardent abolitionist, and she was known to have made several quilts that were sold to raise money for the anti-slavery movement and later for the Union Army.

Carrie's Madders, 1860-1880

Madder is a low creeping plant that will quickly cover an area of ground without a great deal of maintanence. The plant matures at fiveyears old, bearing small yellow/green flowers and berries. The berries are dark when ripe and can be used as seed stock to multiply the crop.  The part of the plant used for the dye is the tuber type root. The plant is pulled from the ground after loosening the soil, the leaves are stripped from the plant and the roots are dried out until they can be ground up into a powder and put in a pot with some water. This mixture is heated to extract the bright red dye. If a copper dye vat is used, the color will be brighter.