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  • 31May

    I have heard and read a couple of different theories about the origin of the term “poison green”.

    One is that “poison green” was another name for “Scheele’s Green” so named after the 18th century Swedish chemist, Scheele. By using a solution of copper sulphate mixed with a solution of sodium arsenite, Scheele invented a new green pigment. The pigment was used in paints, wall coverings of paper and cloth, and as textile dye. It was, of course, a poisonous arsenic compound.

    Another explanation is that a green dye was made using the Wormwood plant. Wormwood was used to make a tea that was toxic to parasitic worms, which used to be a problem for humans as well as animals. I have some wormwood in my garden; it is a rather pretty plant, related to the Dusty Miller plants you find for sale as annuals, except wormwood is taller. It spreads by roots and runners, and it must be contained or it will take over. Even most weeds do not grow near wormwood, so it definitely has some toxicity. I have not been able to locate a dye recipe using wormwood. If you know of one, please let me know!

    Wormwood is also the source for absinthe, a substance that became an illegal drug in many countries in the late 19th and early 20th centuries. Absinthe was processed from the plant and was used to make powerfully hallucinogenic green drinks. This is another possible reason for including “poison” in the name.

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  • 30May
    Antique fabric: Overdyed green with registration mark

    Antique fabric: Overdyed green with registration mark

    This sample of a “poison green” antique fabric dates from c.1870

    It is typical overdye of yellow and blue. The yellow dots were masked, and then the fabric was overdyed with blue.

    The darker green was achieved by masking the light green areas (along with the yellow) and then double dyeing with blue until the dark green was achieved on the unmasked background.

    The green stripe is a roller-printing registration mark.

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  • 29May

    Synthetic dyes first began to be economical to produce commercially sometime around the mid 1870s. Prior to that time, greens were produced in a double-dye process or by using overdye processes where shades of indigo and yellow were used in two steps to achieve the desired greens.

    On early chintzes and multi-colored prints from the 18th and early 19th centuries, the two-color techniques are evident. Sometimes the printer would print the first color on the fabric, then the second color would be overdyed. Upon examination of some early prints with green leaves, for example, you can usually see either yellow or blue areas (often at the edges of the leaves) where the application of the two colors did not have a precise match. Some printers actually painted on the second color by hand, a technique called “penciling”. Of course, this method was quite time-consuming and very costly.

    The sample in the image below is a reproduction with pencilling errors purposely included to try to make it look more authentic. On an antique fabric that was pencilled, the errors would be small, and they would not be repeated regularly throughout the pattern.

    Sample Pencilled Fabric, reproduction

    Sample Pencilled Fabric, reproduction

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  • 26May

    Not just a dye plant… Click the links to find loads of interesting information about woad, a member of the brassicaceae family and kin to broccoli.

    Source of ancient Blue Dye, Woad Plant, Now a Rich Source of Anti-breast Cancer Compounds Found in Brocolli

    glucobrassicon (GBS) The researchers assessed whether the GBS in woad leaves could be stimulated to such as level as to enable purification of the compound and found that an enriched source of GBS is easily obtainable in the open field.

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  • 25May

    The woad plant’s first year of growth is the best time to harvest it for dyeing. (It grows back the second year to flower and make seeds.) All above-ground parts of the plant are cut and used to make dye.

    Extracting and preparing the dye and the dyeing process are rather complicated. The dye requires a chemically oxidizing reaction in an alkaline environment. Once the dye is oxidized and concentrated, it is returned to to an alkaline solution and chemically reduced. Woad produces a long lasting blue color, and was used with indigo to enhance results.

    Woad was popular in northern Europe in early times because indigo could not be grown successfully in the cooler climate. Advances in shipping trade made the more concentrated indigo dye available at less cost than woad, and indigo soon overtook most dye markets.

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  • 24May

    Until the 1850s, dyes were either plant, animal, or mineral based. An interesting dye plant, woad, Isatis tinctoria, is native to northern Europe and the British Isles.

    Woad produces a blue dye, and according to British lore, was used as body paint by ancient Celts. The plant is a source of the chemical indigotin which is also produced in the more well-known sub-tropical plant, Indigo, Indigofera tinctoria. Indigotin concentrations are much weaker in woad than indigo, but woad is a much better source for making your own natural dye if you live in a cooler climate because it will grow abundantly in full sun in any soil.

    Woad is a hardy biennial plant which self-seeds. The plant grows the first year, then reappears to produce flowers/seeds the second season (biennial). Woad will run rampant if left unchecked, so if you want to grow it to make your own dye you should be careful where you plant it. To control the spread of seeds, clip back all of the flower heads except a few and only allow those few to go to seed. Harvest the seeds and keep them safe in a container or allow them to drop and reseed in a controlled area of your garden.

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  • 23May

    I love the colors of the mid-19th century fabrics. The quilt below is hand appliquéd and hand quilted, with the blocks joined by my treadle machine (pictured here on this site). The reproduction fabrics I used in this quilt include a pretty rust madder reproduction with a tiny ivory resist leaf frond in an all over design. The poison green and chromium yellow were typical of the era.

    I wasn’t sure how I wanted to quilt the muslin background, and began echo quilting it. Then at the Rotary Club antique quilt display at Paducah one year, there was an antique oak reel quilt and it was echo quilted! That gave me the nudge I needed to finish this one. The quilting still took me months, but I think it was worth it.

    There is a close-up picture of the echo quilting here.

    c.1850 Reproduction Quilt

    c.1850 Reproduction Quilt

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  • 22May

    In the 1880s a print style appeared where a black ground with a white discharge or a white resist was overprinted with bright surface designs. A white discharge was a white bleached out print design;  a white resist was made by applying a resist paste to white fabric, then dyeing it black. When the resist was removed, it left undyed white design areas.

    The bright colors used to overprint were just that! Remember the “hot” pink and chartreuse of the 1960’s? Nothing new…! Similarly bright colors were overprinted on the black & white, and some other bright colors used were brilliant blue, bright turquoise, bright purple, and sunny yellow. The colors seem to POP off the black and white ground. In fact the process yielded a somewhat raised printed design, and you can often still feel the raised ink on the surface of an antique fabric of this type.

    Antique fabric, resist prints and overprints, c.1885

    Antique fabric, resist prints and overprints, c.1885

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  • 21May

    Quilt Question:
    Why are there different shapes of sewing machine needles?

    Quilt Answer:
    Here are pictures with labels for the different parts of sewing machine needles.

    Note the front groove, which guides the thread into the eye. Different sized front grooves will accommodate different kinds of threads. If you are doing machine embroidery or topstitching with a heavy thread, use an embroidery or topstitching needle that has a larger groove for the thread. It will move much more smoothly through the eye if it is directed accurately by the groove.

    The scarf is like a cut away area along the back of the needle. It allows the bobbin hook to slide along the needle and loop the upper thread (from the needle) to make a stitch. A longer scarf makes it easier for the hook to grab the thread. A shorter scarf means that the timing of the sewing machine must be more precise. It is possible that a short scarf needle could cause skipped stitches if the timing is off.

    Sewing machine needles explained

    Sewing machine needles explained

    Related Information:
    Sewing Machine Needle Sizes Explained
    Types of Sewing Machine Needles

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  • 20May

    These two lovely antique fabrics are fine examples from c.1870.

    The butterscotch Tan print may have been a variation of a chrome yellow and brown dye combination, or it might be the result of a specific mordant.


    The overdyed green was probably a yellow dye with resist dots applied prior to the blue overdye process. Another series of resist on the resulting green, followed by more overdyeing with blue would give the three-tone print.

    Antique Fabrics, overdyed green and butterscotch tan, c.1870

    Antique Fabrics, overdyed green and butterscotch tan, c.1870

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