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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