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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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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I personally have a passion for antique table linen and usually can find great pieces in less august settings. Therefore, these pieces are sometimes in less than perfect condition. Double, triple and quadruple damask (categories which denote successive levels of thread quantity, the higher the better) in less than perfect condition are usually redeemable.

Most old linen is yellowed due to oxidation, and sometimes spotted due to improper or ineffective prior cleaning and storage. The cleaning process like the aging process will not achieve perfection over night, but never fear; with patience you will see results.

Step One: Never, and that would be never, put your antique table linens in the washing machine. The fabric, in some cases, is much too fragile to withstand the ringer/spin action. Antique table linens must be done by hand.

Step Two: Use oxygen bleach like Oxiclean or Tide. Never use liquid bleach even if heavily diluted, as prolonged exposure to liquid bleach will literally eat the fabric. I personally get great results with Tide (and no, I am not getting a kickback for the recommendation). Always use powder, never liquid. Presoak the linens in lukewarm water prior to adding them to a detergent solution. This will loosen the fabric and actually get some superficial residual dirt out of the fabric.

Step Three: Add three cups detergent to one gallon of water. The water must be very hot to activate the detergent. Add one gallon of warm water to solution. Drop each item, one at a time, into the soapy water and stir as each item is added. Allow mildly soiled items to soak for two days, stirring occasionally, and heavily soiled or discolored upwards to a week. (If soaking for a week rinse out the linens by hand in warm water and repeat the process)

Step Four: If you are eco-friendly, you may consider 2 cups white vinegar plus one-quarter cup salt, plus one cup lemon juice to one gallon of cool water. Pre-wash spots with lemon juice and salt prior to soaking. Soak upwards to two days. Repeat, if necessary.

Step Five: After desired whitening is accomplished rinse the linens twice in clear warm water. Never wring out the fabric but instead squeeze out the water then place it in a towel, wrap the towel around the items and press gently. The towel will absorb more of the water.

Step Six: Drying. Line drying in full sun is the best way to dry the linens, or lay small items out on wadded towels. Make sure the damp linen does not come in contact with metal, either in the wash line of by using a hanger; the metal may discolor the linen. In some parts of the world placing the linen flat on the grass aides in the whitening process, as the combination of chlorophyll and sunlight is a natural whitener. If drying outside is not possible use a laundry rack, preferably one that is plastic or vinyl covered wood, as untreated wood may leave a mark. Never dry linens in the dryer, as it will break down the fibers, but if you must set the heat gauge to delicate and remove the linens while still damp to iron them.

Step Seven: Ironing and storage. If linens have been washed and are to be stored indefinitely do not use starch when ironing — this will potentially yellow the linen and defeat all your hard work. Instead using an iron with a linen setting (usually the hottest) mist your linens with water and iron dry. You can use some of the commercially-scented products to moisten the linen such as rosewater or verbena. Make sure the scented product is an essence not an old based extract.

Ironing in creases, especially in napkins and table clothes will, over time, break down the fibers. If the linen is monogrammed with a raised design or all over embroidered, turn the fabric over onto a folded towel or completely cover your ironing surface with a towel or double folded white bed sheet before ironing. This will keep the monogram or embroidery raised and not flatten it. It will also prevent the tip of the iron from possibly ripping the fabric around the monogram.

Before storing make sure the linens are completely dry. If stored damp the linen may mildew, and that is virtually impossible to remove. If possible napkins, placemats and table clothes should be rolled over a tube.

For long time storage small items can be wrapped in acid free paper sleeves, or sheets of acid free paper can be used for larger items. For short time storage, place in a drawer or closet in a climate controlled environment.

Note: I love old wives tales about cleaning. If you have a great hint, I invite you to write in.

In China’s southwest province of Guangxi, the Zhuang nationality comprises the largest ethnic minority with about 14 million people. I was fortunate to meet types of people from this ancient tribe – men and women and little babies – while touring the region. Wherever I found examples of Zhuang collectibles, the one that struck me as particularly unusual was the embroidered ball.

A Zhuang woman, who was also on the tour, explained the history of the craft. The balls are made of colored silk cloth whose pattern indicates the connection of twelve petals or months. Each petal (month) has a mascot. A mascot could be a plum blossom, bamboo, swallows, dragon, chrysanthemum, orchid or phoenix. All these symbols represent reunion and eternal happiness. The petals typically are red, yellow and green.

Originally a love gift, a Zhuang woman would climb a mountain and sing out to her fiance who she hadn’t yet met face-to-face. He would answer with song. If she liked the sound of his song, she would present him with an embroidered ball as a sign of affection–the bigger the ball the greater the love. She whispered in my ear an old Zhuang saying that is passed on from mother to daughter. “If you don’t embroider, you won’t find a good man.” That is why every Zhuang girl learns to embroider from an early age.

You can see the difference between hand-woven and machine-made balls by the tightness of the weave. If it’s done by hand, the weave is flatter and looser. There are three layers to the balls, all sewn. Even so, it is sometimes tricky to see the difference if you are purchasing one at a night market with glaring neon. The Chinese name for the old technique is called Diuxiu Xiuqiu. As the years pass and China modernizes, it is becoming harder to find the hand-woven balls.

A true “King of Embroidery Ball” named Zhu Zhu Xian is held in high esteem because he apparently made the largest-ever embroidery ball at 2 meters long. He’s now in his fifties and still follows the old way of hand-making the balls.

Modern and vintage examples of these “love balls” are on display at the Guangxi Provincial Museum in Nanning.

If you’d like to purchase the authentic Zhuang Embroidered Ball, please contact ShunZhou Embroidered Ball Company, Miss Sarah Lee. email: xiuqiu@live.cn. Her telephone is: +86 – 138776 54107 or +86 – 137188 72913. She speaks very good English and will answer all your questions. If you’re wondering about her name well, like many Chinese who choose an English name, she acquired it after eating a sweet cake made by same company.