Yellow and white Margandie and linen placemat and napkin in the Iris design.

Close-up of the Iris napkin showing the intricate detail Marghab Linens are known for.

Imagine a tablecloth of the finest Irish linen, embroidered with the best French embroidery floss in a design of exquisite colors and flowing lines. Not a stitch out of place or less than perfect; a design so intricate that it consists of more than 85,000 tiny stitches. Only one company ever produced such magnificent work—Marghab Linens.

Started in 1937 by Emile and Vera Way Marghab on the island of Madeira—a Portuguese archipelago in the mid Atlantic Ocean—Marghab produced the finest hand-embroidered linens in the world. The company produced nearly 300 designs, many of which had several variations. Until the company closed in 1980, Marghab reigned as the finest of the Madeira embroidery houses. Several competitors, such as Imperial and Jabara, also produced fine linens in Madeira, but they were always second to Marghab. To date, no other linen house has been able to match Marghab’s exquisite workmanship.

A native of South Dakota, Vera was the driving force behind the quality and design of Marghab linens. Her insistence on the most perfect embroidery and the finest materials was unparalleled. Every piece was inspected before being sold. She was known to have rejected an embroidered piece that took months to create if just a few stitches were missing or not to her very high standards.

A tablecloth with matching napkins in the Hibiscus pattern. Some tablecloths had 100,000 stiches.

A close-up of the Hibiscus pattern. Photos do not do justice to this exquisite needlework.

At the height of their business, Marghab employed nearly 90 people in its Madeira facility. However, the majority of the embroidery was done by hundreds of highly skilled women throughout Madeira’s countryside. Then, needlecraft was a skill passed down through the generations from mother to daughter. Only the most skilled embroiderers worked for Marghab. These ladies usually worked outside in the island sunlight. Few wore glasses, and almost none used any kind of magnifying glass to do their needlework.

The embroiderers were paid by the stitch. Some of the tablecloths contained nearly 100,000 stitches. Many of the designs took months to complete, and some of the more intricate took as long as a year.

Marghab used only the finest fabrics and threads. Many of the linens were woven in Ireland specifically for Marghab. Emile and Vera made frequent trips to Ireland to supervise and ensure the quality of their linen. Marghab is also known for its own trademarked organdy fabric, called Margandie. The organdy available on the market at the time was not up to Vera’s standards, so she partnered with Swiss weavers and developed Margandie, made from Egyptian cotton. To ensure the perfect colors for their embroidery thread, Marghab had thread dyed specifically for them in England and France.

A set of Dancer cocktail napkins, which came in several colors.

Two fingertip towels in the Water Leaf pattern.

In keeping with the high standards of quality that Vera demanded for her linens, she allowed them to be sold only in chosen stores. Vera personally inspected each store to ensure it met her standards. Fifty-four stores in the U.S. were granted the right to sell Marghab linens. These salons had to agree to very strict guidelines set forth by Vera. For example, Marghab linens could never be displayed with other linens and were never to be put on sale.

Marghab linens were not signed. When new, they had a paper label pinned to them. Although you can occasionally come across a piece with the original Marghab tag still pinned to it, or still in the original Marghab box, it is unusual and a real find. The best way to identify a piece of Marghab linen is to become familiar with the designs. While some patterns have been copied, such as Rose Tree, Jacaranda Tree, Knight and Ponto Grego, there are often small details that give them away as a copy.

The book, “Perfection, Never Less – The Vera Way Marghab Story,” by D.J. Cline, is the only published reference available on Marghab linens. Unfortunately, a great deal of the book is spent on Vera’s personal life, and not on the making of Marghab linens. It has some nice full-color photos of about 30 of the Marghab designs, so it is a fairly limited resource.

Jacaranda Tree placemat and runner, one of Marghab’s more popular patterns.

A Marghab Linen cocktail napkin with the Calla Lilly design.

The largest and most complete collection of Marghab linens is in the Marghab Gallery at the South Dakota Art Museum. Vera was instrumental in organizing this gallery, which opened in 1970. In 1995, Vera died at the age of 95, and left her personal collection of Marghab linens to the South Dakota Art Museum. Its web site has photos of a few of the patterns on exhibit there. There are also a few pieces of Marghab in the permanent collection of the Metropolitan Museum of Art in New York City.

Another good resource for Marghab designs is the WorthPoint website. Go to Research Your Items and under the Price Guides, do a search for Marghab linens. Susanin’s Auctions held a sale of Marghab linens for the South Dakota Art Museum in 2005, and most of the items sold are shown here with a description and photo. This is one of the most reliable resources, since these descriptions were provided by the South Dakota Art Museum, the pre-eminent authority on Marghab. If you are a registered member of WorthPoint, you will also be able to see the prices realized for each item.

Because of their limited numbers and the high quality of workmanship, Marghab linens command high prices. If you are buying them online, be sure to deal with a knowledgeable and reputable dealer. I have seen a number of embroidered linens described as Marghab that were not. I have also come across embroidered linens described as “Marghab-style.” There was only one Marghab—a piece either is Marghab or it isn’t. Once you have seen firsthand some of the exceptional embroidery done by Marghab, you will understand why it stands alone as the finest embroidery in the world.

Lynda Kolski is a Worthologist who specializes in vintage textiles.

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Wilendur’s popular dogwood pattern came with several different colored backgrounds, including dark green and white.

The Begonia pattern is typical of the bright colors found on Wilendur tablecloths. This one still bears the original tag.

An early Wilendur paper tag, which, if still attached, adds value to the piece.

Wilendur tablecloths can still be occasionally found with its matching napkins.

Some of the most popular items in collectible linens today are the brightly colored printed tablecloths of the 1930s-1960s. These vintage table linens take us back to a simpler time, often evoking fond memories. Perhaps the best-known of printed table linens is the Wilendur brand produced by the Weil and Durrse Company from 1938-1984.

Weil and Durrse actually produced several lines of table linens, but Wilendur is the most popular and most sought-after. The company first began manufacturing table linens in 1924 with its “Pride of Flanders” table linens, made of fine European linen, primarily from Belgium. When importing products from Europe became difficult during the run-up to World War II, the company shifted to a heavy cotton or sailcloth fabric, and in 1938 introduced Wilendur tablecloths.

When most people think of vintage tablecloths, the heavy, durable cotton fabric for which Wilendur and other early brands are known is what comes to mind. Decades later, however, Wilendur tablecloths were actually made from a variety of fabrics, including lighter cotton, synthetic blends, terrycloth and even plastic.

There are hundreds of Wilendur designs, but the name is closely associated with the classic repeating patterns of 14-inch- and 16-inch-squares of design. This is sometimes referred to as the “array design” or “three-across.” Typically, there were three squares of the same design repeated across the tablecloth. The number of rows depended on the length of the cloth. Wilendur also made traditional border patterns, in which the design formed a border around the cloth or a solid color bordered the design.

Wilendur’s American Beauty pattern was one of several rose patterns offered.

After 1958, Weil and Durrse added an e to the end of the Wilendur name.

Royal Rose was yet another example of the popular Wilendur rose pattern.

An early Wilendur fabric tag. Not all Wilendur tablecloths had fabric tags.

Few of the Wilendur designs were patented, so they were often copied by other companies. Sometimes Wilendur linens had a cloth label attached, but not always. It’s not unusual to find a classic Wilendur “American Beauty” rose pattern on a tablecloth bearing the label from another company. Wilendur patterns were often used on other brands made by Weil and Durrse, such as Setting Pretty, America’s Pride and Oppa Tunity. Although design can be one clue to identifying the maker of a tablecloth, because so many designs were copied, it is not a definitive identifier.

Wilendur tablecloths are commonly found in smaller sizes, such as 54-inches square or 54 inches by 72 inches. Like other printed cloths of the time period, they were meant to be used on the kitchen table, which seated four to six people. I often have customers looking for larger sizes to accommodate farm tables or today’s larger tables. However, during the ’30s, ’40s and ’50s, kitchen tables were much smaller. It’s difficult to find a vintage printed tablecloth longer than 72 inches. There are some reproductions made from vintage designs that are sized for today’s larger tables. A vintage tablecloth can work on a larger table, however. Often people will lay the tablecloth at an angle, allowing the wood corners of the table to show. Another way is to cover the table with a larger solid color cloth and drape the vintage cloth over top of it.

This Wilendur Aster tablecloth has the original tag and has never been used, but has significant storage soiling.	Wilendur did a number of fruit prints, including this handprinted strawberry design.
The tag on a Wilendur handprinted strawberry print design.	This is an early Wilendur paper tag that was used only on towels.

Besides tablecloths, Weil and Durrse also produced placemats, napkins, runners, towels and aprons in matching patterns for their Wilendur tablecloths. Luncheon sets or tea sets, consisting of a small (usually about 34- or 35-inch-square) tablecloth and four napkins, were also available. The company also sold its fabric from bolts. Housewives could buy any length of fabric and make tablecloths, napkins, placemats, towels or curtains. The bolt fabric was either 44- or 54-inches wide with two selvage sides. All the lady of the house had to do was hem the two ends.

Wilendur tablecloths always had two selvage and two hemmed sides. This provides an easy way to spot Wilendur reproductions, as most are hemmed on all four sides. Also, reproductions are usually 60-inches square; a size that Wilendur never manufactured.

Although Wilendur is known for its vibrant and colorful floral designs, it also had patterns with fruit and vegetables, Christmas, southwestern motifs, stripes and solids, home décor, and barnyard themes. A number of classic Wilendur patterns came in several different colors. For instance “Dogwood,” a 1950s pattern, came in at least eight different color backgrounds that showcased a white and gray flower. While several of the colors—such as pink, green and red—are readily available, finding the Dogwood pattern with the black background is difficult. There were a number of rose patterns, which also were available in several colors. Roses were very popular, so this design was used widely among many of the tablecloth manufacturers. Wilendur’s “American Beauty” came out in the 1940s and was one of their best-selling designs. Red rose patterns are still abundantly available.

The back of the Wilendur label declares the company’s commitment to quality.

A Wilendur yellow rose towel with an early paper label still attached.

This southwest design is another example of the vibrant colors used by Wilendur.

Towels manufactured by Wilendur will sometimes have a sewn-in tag.

In 1958, Wilendur added an “e” to the end of its name on all its labels. Finding a tablecloth with Wilendure on the tag will date the cloth to 1958 or later.

There are many variables that affect the price of Wilendur tablecloths—condition, design, color, size and fabric are the most important. Unused tablecloths that still have their original paper tags attached command a higher price, even with minor storage soiling, which many will have. Certain designs or patterns, such as Wilendur’s 1950s lobster and clam pattern—which is hard to find and still very popular—will bring higher prices. Prices can range from $30 to $150 or higher for a pristine, unused, hard-to-find pattern. Towels generally sell for $10-25.

The bold, vibrant colors of Wilendur tablecloths and kitchen linens are still quite popular today. And thanks to the exceptional quality of the fabric used, there are many cloths still available in good condition despite the fact that they are anywhere from 30-70 years old.

Lynda Kolski is a Worthologist who specializes in vintage textiles.

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If you’re a collector of handkerchiefs, scarves or printed kitchen textiles, then you’ve probably come across some of Tammis Keefe’s wonderful and whimsical designs. Keefe was an American textile print designer who produced a large number of designs that are characterized by her vivid colors, fun and innovative designs and unique perspective.

Although she was quite prolific during her short life, you have to wonder what other fabulous designs she would have created had she lived longer. She was born Margaret Thomas Keefe in Los Angeles on Dec. 27, 1913 (there are numerous incorrect references on the Internet that say she was born in 1920). She died in Ridgefield, Conn., on June 5, 1960, at the very young age of 47 and at the height of her career.

Tammis Keefe did a series of linen towels and handkerchiefs with dog and cat themes. This momma cat and her kittens came in several different color schemes.

One of her more popular towel designs is Feed the Animals. Note the dancing monkey in a bell hop suite holding a tin cup with a parrot on his shoulder.

Keefe graduated from the Chouinard Art Institute (now part of the California Institute for the Arts) in Los Angeles and worked through the 1940s with Dorothy Wright Liebes in her San Francisco studio, which was well-known for its hand-woven fabrics. Liebes frequently used unusual, innovative materials, such as aluminum foil or Chinese grasses, in her weaving. Her fabrics were found in automobiles, bathing suits, lampshades, ships, airlines and hotels around the world. Considered one of the most successful textile designers in the world at the time, Liebes’ designs were often the basis for mass-produced machine woven fabrics. When Liebes opened a New York, studio in the late 1940s, Keefe moved east to work there.

Keefe designed many hankies with scenes from around the country, including San Francisco's Fisherman’s Wharf.

Keefe’s Delaware hanky, also available in several color schemes, is fairly easy to find around Delaware.

She also made several hankies that depicted scenes from New York City. This one is of the New York Public Library.

This is another handkerchief from Keefe's New York series, this one showing a street scene in Greenwich Village.

By 1949, Keefe had begun doing freelance design for other companies, including Lord and Taylor, and Kimball scarves. Keefe’s designs are most commonly found on women’s handkerchiefs and scarves, linen kitchen towels, tablecloths and cocktail napkins. She produced more than 200 towel designs alone. Some of her most popular designs depict animals with great whimsical personalities. Her holiday themes are also popular. She did a number of designs for famous places throughout the country, such as Fisherman’s Wharf in San Francisco and the Liberty Bell in Philadelphia. While in New York, she produced a New York series of handkerchiefs that is still very sought after today.

Keefe would sometimes use the pseudonym Peg Thomas on her designs. It’s not unusual to find pieces, particularly handkerchiefs, signed with this name.

Although harder to find, Keefe did a number of tablecloth designs. This one has Cattle on Parade, with the different beef cows sporting different hats and signs for cuts of beef.

One of the few quotes in which Keefe talks about her designs appeared in a 1948 issue of American Fabrics. “Whenever possible, I like to introduce the three-dimensional in prints. I like ‘depth’ in a fabric. I also like the introduction of current objects treated artistically. Warm colors are my favorites—beige, tan with the addition of some cool color for relief.”

Keefe's handkerchiefs and towels with holiday themes are the easiest to find.

Other holiday handkerchiefs featured reindeer and ornaments, like this one.

Keefe spent the last four years of her life in Ridgefield, where she lived with her good friend Jane Trahey. As businesswoman, Trahey was also a maverick for her time. She owned and ran a well-known New York advertising agency, Jane Trahey and Associates, which was prominent in fashion and cosmetic advertising. Not only was her agency one of the first women-owned agencies in New York, but Trahey was the first woman to earn $1 million in advertising. She was very vocal and involved in women’s issues and was an early leader of the National Organization of Women.

This is one of several different handkerchiefs in Keefe’s Persian series.

Keefe’s signed linens command a high price, particularly items that are unused and still retain the original label. Animal, holiday and geographic designs tend to be the most collected. Look for examples in good condition and with good color. Often pieces signed Peg Thomas bring less, since few people realize this was Keefe’s pseudonym.

Lynda Kolski is a Worthologist who specializes in vintage textiles.

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These towels are nice examples of Appenzell embroidery, although because they are only floral without any figures, they are not as highly desired.

Through the 18th and 19th century, this exquisite needlework was done by hand by thousands of women working at home. The industry flourished during the early 1900s, when some of the best work was produced. Today, there are only a few embroiderers who continue to do this fine, time-consuming needlework. Strolling down the main street of Appenzell today, by the many early homes, you can look up at the rows of windows that provided bright daylight for the upstairs workshops and imagine the women bent over their embroidery hoops creating beautiful heirloom pieces.

Buratto work fills the center of the flower.

Appenzell is usually done on a fine Irish linen fabric with linen embroidery thread. The background consists of Buratto work, which is a grid or net type of needlework. True Appenzell embroidery will have lots of tiny five-petal flowers. The embroidery consists of a very fine satin-stitch embroidery and delicate seed stitches that are so tiny and exquisite, it’s hard to imagine it was done by hand. In fact, often women doing the embroidery worked under a magnifying glass. The satin stitching is used as a filer for various parts of the embroidery from full figures to the smallest flourish, or as a fine scallop along the border. Although Appenzell is considered whitework, often pieces will have a soft gray, silver or light blue shadow, which accents the fine stitching. In addition, the borders often are highlighted by a row or two of fine hemstitching.

Notice the tiny seed stitches in the bottom center of this towel.

Figures are commonly found in Appenzell embroidery, ranging from Victorian couples in all their finery to hunt scenes, or, less commonly, battle scenes. Sometimes children are depicted, or just a man or woman’s head. Pieces with figures are more desirable than, for example, a piece with just an urn of flowers, which is another common theme.

Appenzell embroidery is becoming harder and harder to find. It is also difficult to accurately identify a piece of true Appenzell, since similar types of work were done in other parts of Europe, particularly during the early 20th century. The most accurate way to verify a piece as true Appenzell is if it still carries the original label or tag. Since most labels were removed, however, it’s rare to find a piece with the label still attached. Most textile experts refer to pieces as Appenzell-style or Appenzell-type if the origin cannot be documented.

Delicate, five-pedal flowers are characteristic of Appenzell embroidery.

Lynda Kolski is a Worthologist who specializes in early linens and textiles.

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Now that they’ve been washed, the linens are clean and ready to use. The final touch that really brings them to life is a good pressing. I’ve heard people brag that they don’t even own an iron. I actually find ironing linens and textiles to be relaxing. Try ironing while watching TV or listening to your favorite music.

A good iron does make a difference. I prefer the Rowenta irons, which have a smooth stainless soleplate and easily regulated temperature settings. They are also heavier, which facilitates the ironing. The weight helps press out the wrinkles and leave a smooth finish.

Antique Cast Iron Sad Iron: This weighty iron build up the arm and shoulder muscles why finishing the laundry. Marked “U D X 5″ on the top, this iron measures and weighs 4.5 pounds. Wow, what a job getting your laundry caught up! Offered by GoAntiques dealer Pieces of the Past.

Textiles are much easier to iron when they are still slightly damp. If something is completely dry, then dampen it with a spray bottle. If there is any embroidery or needlework on the piece, place it face down on a soft towel and iron the back. This prevents the stitching from getting smashed by the iron. Also, avoid ironing in creases. Repeatedly ironing along the same crease lines will eventually break down the fabric and cause weak areas.

Never iron fabric at too high a setting. If, by accident you get a light scorch mark (not a burn, but a light pale brown scorching), don’t worry the piece isn’t ruined. You can resoak the item to remove the scorch mark. Sometimes, if the iron is too hot and there’s any detergent residue left in the fabric from a poor rinsing, it will scorch easily.

Vintage Electric Iron and Storage Rack: This vintage General Electric steam iron comes with its own special holding, storage rack. Titled “True Heat” and sold by Betty Crocker, it has the steam attachment and is in working condition. Offered by GoAtniques dealer Globe Antiques and Collectibles.

I’m often asked by customers what kind of starch I use. Well, I don’t use any. I don’t like starch or the stiff roughness it gives to wonderful old linens. I prefer the soft natural feel of the fabric. A well-ironed tablecloth will lie on a table and fall beautifully over the edges eliminating any need for starch. Too much starch can take away from the natural feel and draping of the fabric.

If you absolutely must starch something, don’t starch it and then store it. Starch yellows over time, causing stains that can be difficult to remove. Some starches, particularly the older ones, attract bugs that eat the starch and the fabric along with it. Iron and starch an item just before using. Then be sure to wash it well after it’s been used and before putting it away.

In general, it’s best to store linens before they are ironed and then iron them before using. Never store linens or textiles where they will be in contact with wood. This will deteriorate the fabric and cause yellowing and brown staining, which can be very difficult to remove. Always wrap linens or textiles in acid-free paper or cotton to protect them. An old cotton sheet works great for this.

And never store textiles in plastic! Fabric consists of natural fibers that need to breathe. If you plan to store tablecloths, napkins or runner for a long time, roll then on a cardboard tube covered in acid free paper. This prevents fold line creases from setting in, which again may weaken the fabric.

Tablecloths and runners can be stored draped over a wide hanger to avoid creasing. Never use a wire hanger, unless it has a cardboard tube or something to protect the items from the metal. With any hanger, especially wooden ones, place either acid-free paper or a cotton sheet between the hanger and the tablecloth to protect it. If you don’t plan to use it for awhile, cover it with another piece of acid-free paper or sheet to keep the dust off.

With a little care and attention, your vintage and antique textiles and linens will last for many more generations, providing a wonderful keepsake to pass on to your family. But most importantly, don’t be afraid to use them and enjoy them as they were meant to be.

Lynda Kolski is a Worthologist who specializes in early linens and textiles.

The one question that I get asked over and over whenever I’m doing a show is: “How do you get your linens so clean?” The answer is not very exotic: A lot of soaking and patience! Antique and vintage linens require gentle care, but in most cases, can be used and enjoyed for years to come.

Soaking and washing will clean most linen quite nicely. Occasionally, there will be a spot or stain that just won’t come out. In that case, all you can do is accept it as part of the piece and think of it as adding character. Often, a stain can be minimized so that it doesn’t distract from your enjoyment of the overall piece.

Antique Linen Damask Monogrammed Tablecloth or topper:  A wonderful old piece of damask linen, offered for sale by Victorian House Antiques on GoAntiques.  The piece is noted to be 28.5 x 34 inches, and is in good condition with only one spot.  That spot might be able to be soaked out.

Cotton and linen damask tablecloths and napkins, damask and huck towels, sheets and pillowcases should be soaked in lukewarm water mixed with Biz or Oxy-Clean. Although Oxy-Clean is fairly new to the market, Biz has been around for years and is an old laundry staple. Don’t be afraid to let the items soak for hours, even days. Check the item to see if the stains are still there, mix a fresh solution and soak again. I’ve soaked items two and three times until the offending stain or spot was either gone or reduced enough that it didn’t detract from the piece.

Sears Linen and Cotton Table Cloth and Napkins 1936 Ad:  A Sears ad shows damask table cloths and napkins and their prices in 1936.  Antique linen can still be used today if you take care and wash carefully.  The ad is courtesy of GoAntiques dealers Charles & Phyllis J. Wille.

Both Biz and Oxy-Clean are great at getting out all kinds of stains. I’ve even removed red wine stains from a tablecloth with Oxy-Clean. However, never soak any fabrics with rayon, silk, wool or metallic threads in either stain cleaner. Also, if the item has any colored embroidery on it, go cautiously. A lot of early embroidery threads were not colorfast, particularly, the reds, blues, and purples. Start with cold water and watch it. If any color appears in the water, immediately remove the items and rinse in cold water. If the water stays clear, let it go a little longer, but keep an eye on it. If after awhile, you don’t see any discoloration in the water, the thread is probably colorfast.

Carefully remove linens and textiles from water. The weight of the water can pull and stretch the fabrics or even tear them. Many old fabrics are very fragile when wet. It’s best to use an old towel as a sling to pick items out of the water. Never wring old textiles or linens. Gently roll them in an absorbent towel to remove the excess water.

Once you’re done soaking, rinse the item in water until the water is clear. Damask and linen textiles can usually be put in the washing machine in cold water on a delicate cycle. Use a mild detergent, such as Ivory. Any pieces with intricate handwork, such as drawnwork, or lace should always be gently handwashed.

Sun bleaching is another method for cleaning linens. This is a technique that dates back generations when grass fields in Europe were known as bleaching fields. I’ve never had the opportunity to try this, since my yard is full of trees with no large sunny areas. However, I’ve heard great success stories from many textile experts and collectors who have used this technique. After soaking an item, rinse and wash it, and then lay it out on green grass in the sun. This works particularly well with damask and huck tablecloths, napkins, towels and sheets. A few cautions: Colored tablecloths and linens will fade in the sun, and watch out for birds, insects and roaming neighborhood cats and dogs.

Huge Damask Huck Linen/Lace – Towel:  This beautiful antique towel, made from cottage damask huck linen and adorned with hand-made lace, also listed by Victorian House Antiques on GoAntiques, is listed as in excellent condition, with a few faint spots.

Chlorine bleach should never be used except in rare instances as a last resort. Bleach is very harsh on delicate fabrics. I never soak an entire piece in bleach. On a few occasions, when all other attempts have failed, I may spot-treat a stain with bleach. Bleach pens are good for this. I’ll do this only on sturdy white fabrics, such as damask or huck. After treating the area, be sure to rinse the entire piece thoroughly. I would rather have a small spot than a hole in a nice vintage or antique textile.

Rust stains are some of the toughest to remove. Whink, a rust spot remover, often works. However, this is a strong chemical, so read the label carefully and use sparingly. A paste made from lemon juice and salt may also work. Often, rust is one of those stains that you have to learn to live with.

Once your linens are clean and fresh, hang them to dry. I don’t recommend a dryer because the high temperature can be hard on delicate or old fabrics.

Wonderful linens and textiles should be used and enjoyed. I have hand-crocheted pieces from my great-grandmother that I cherish despite a few spots and worn areas. She was a prolific crocheter and would be thrilled to know that her pieces had been passed down and were still being used and enjoyed rather than stored in a drawer. Unless it’s a rare museum piece (in which case it should probably be in a museum), don’t be afraid to display and enjoy your collection and heirlooms.

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